SPECIAL ISSUE TODAY'S BEST PERSONAL AUDIO GEAR

HeadphonesIn-Ear Monitors

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Long before she ran the family company, Angela Cardas was a radio DJ using Sennheiserheadphones. She suggested to her dad, George, that Cardas Audio should make headphone cables. That led to the first Cardas Headphone Cable, which we still make today. We’ve since added Clear Light, and our flagship, Clear Headphone Cable. As well as personal audio accessories, DIY headphone cable parts, and In Ear Monitors. All of our personal audio products incorporate the same quality materials and design

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Ultimate Headphone Guide – Summer 2018 1

Ultimate Headphone Guide

ContentsEARPHONES & CIEMS

34$199 and Below34 1MORE Triple-Driver35 FiiO F9 Pro36 iBasso IT0138 Final E300045 Periodic Audio Ti

40$200–$49940 Cardas A8 30th Anniversary41 Final F720042 Sennheiser AmbeoSmart44 NuForce Primo 847 Etymotic ER4SR & ER4XR

45$500–$99947 Audeze iSINE 2048 Noble Audio Sage49 Sennheiser IE 800 S51 Ultimate Ears Reference Pro

Remastered

53Exotica: $1000 and Up53 Audeze LCDi454 Campfire Audio Andromeda55 EarSonics EM1057 Westone W80

FEATURES

4From the Editor: Welcome to Headphone NationChris Martens on the rise of headphone culture in high-end audio

6Encyclopaedia HeadphonicaA comprehensive glossary and explanation of headphone and personal audio terms and technology

14In the Pipeline: Cool New Products Coming SoonSneak previews of new earphones and CIEMs, headphones, personal audio electronics, and cables and accessories

25How to Choose Earphones and HeadphonesRobert Harley shows how to choose the right earphones and headphones in this excerpt from The Complete Guide to High-End Audio, Fifth Edition.

106How to Choose a Digital Audio PlayerVeteran personal audio specialist Steven Stone gives a quick course on personal audio players—and how to choose the best one for you.

SUMMER 2018

2 Ultimate Headphone Guide – Summer 2018


SUMMER 2018

HEADPHONES

59$499 and Below59 AudioQuest NightOwl Carbon60 1MORE Triple-Driver Over Ear61 Beats Studio364 Beyerdynamic DT-99065 Bose QuietComfort 35 II66 Dekoni Blue68 Final Sonorous III69 Grado SR60e70 HiFiMAN Sundara72 Meze 99 Classics74 Oppo PM-375 PSB M4U 876 Sennheiser HD 660 S79 Advanced Alpha86 Stax SR-L300

79$500–$99980 Audeze LCD2 Classic82 Campfire Audio Cascade84 Focal Elear85 MrSpeakers ÆON Flow Open87 Stax SR-L700

88$1000–$199988 Focal Clear89 MrSpeakers ETHER Flow90 Oppo PM-191 Sennheiser HD 800 S

92High End: $2000–$399992 Abyss Diana93 MrSpeakers VOCE96 Audeze LCD-MX497 Final D800098 Stax SR-009

98Exotica: $4000 and Up99 Abyss AB-1266 Phi Edition100 HiFiMAN Shangri-La Junior

system102 LB-Acoustics MySphere 3.1/3.2104 Sonoma Acoustics Model

One system

PERSONAL AUDIO ELECTRONICS

110Digital Audio Players110 Astell&Kern KANN112 Astell&Kern A&ultima SP1000113 Echobox Explorer114 FiiO X7 MkII115 iBasso DX200117 Questyle Audio QP2R

HEADPHONE AMPS AND AMP/DACS

118$199 and Below118 AudioQuest DragonFly Red

& Black119 iFi Audio nano iDSD Black

Label120 Meridian Explorer 2121 Schiit Audio Magni 3122 Ultrasone NAOS

123$200–$499123 Arcam rHead124 CEntrance BlueDAC125 iFi Audio xDSD127 Schiit Audio Jotunheim

128$500–$1499128 Chord Electronics Mojo/Poly129 Questyle Audio CMA600i130 RHA Dacamp L1

132High End: $1500–$2999132 Ayre Codex133 Chord Electronics Hugo 2134 Feliks Audio Euforia MkII135 iFi Audio Pro iCAN136 Prism Sound Callia137 Schiit Audio Ragnarok

138Exotica: $3000 and Up138 Pass Labs HPA-1139 Cayin HA-300141 Trilogy SPD H1142 XI (Eleven) Audio Formula S

PERSONAL AUDIO CABLES

145145 Introduction to Personal

Audio Cables145 Audience Au24SE and Au24SX146 Cardas Clear 146 The Chord Company ShawCan147 Effect Audio Lionheart147 Kimber Kable AXIOS AG148 Purist Audio Design Impresa

Silver Revision148 Wireworld NanoEclipse150 WyWires Platinum

…plus one follow-on review…152 Nordost Blue Heaven and

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Ultimate Headphone Guide – Summer 2018

Editor-in-Chief Chris Martens

Associate Editor Arnold Williams

Creative Director Jenny Watson

(Jenny Watson Design)

Contributing Writers Neil Gader, Jim Hannon, Robert Harley, Buzz Hughes,

Chris Martens, Tom Martin, Michael Mercer, Julie Mullins, Alan Sircom, Steven Stone, Alan Taffel

Publisher, North American Edition Jim Hannon

Advertising Reps, North America Scott Constantine (609) 275-9594,

Marvin Lewis (718) 225-8803 (MTM Sales), Cheryl Smith (512) 891-7775

Publisher, European Edition Pete Collingwood-Trewin,

[email protected]

Advertising, UK and Europe Tom Hackforth,

[email protected]

Ultimate Headphone Guide is a joint venture between The Absolute Sound and Hi-Fi+ magazines.

The Absolute Sound is owned by: Nextscreen, LLC

2500 McHale Court, Suite A, Austin, Texas 78758 USA

Hi-Fi+ is owned by: Absolute Multimedia (UK), Ltd

Unit 3, Sandleheath Industrial Estate, Sandleheath, Hampshire SP6 1PA UK

Absolute Multimedia (UK) Ltd is a subsidiary of: TMM Holdings, LLC

2500 McHale Court, Suite A, Austin, Texas 78758 USA

Nextscreen LLC and TMM Holdings Chairman and CEO:

Tom Martin

All Rights Reserved

© 2018, Ultimate Headphone Guide, Nextscreen LLC, Absolute Multimedia (UK) Ltd.

Not one word of Ultimate Headphone Guide may be reproduced without the express

written consent of the Editor.

From the Editor

Like many of you, I have been an avid audiophile and music lover for my entire adult life (many decades, now, and counting). With that said, let me tell you nothing has fired my imagination or stirred my enthusiasm in the way that

headphones, earphones, and personal audio have done over the past 10 years or so. What drives this level of inspiration? I would say the personal audio world offers music lovers young and old three unbeatable benefits: sonic performance, accessibility, and value.

If you’ve not been in touch with the explosive growth that’s taking place in the personal audio realm, then you might be astonished to hear just how sophisticated and impressive the sound of today’s best headphones, earphones, and personal audio electronics can truly be. In fact, you might find high-performance personal audio systems now offer sound quality competitive with (or better than) loudspeaker-based systems costing 10, 20, or even 30 times their price!

Next, I would point out that personal audio is the one form of the high-end audio sport that almost everybody can play. Traditional speaker-based music systems are fine things, but they entail serious commitments both in terms of money invested and the space necessary to house those systems. But personal audio makes no such demands; it’s a form of high-end audio that doesn’t require much space, that is comparatively reasonably priced, and that—in some cases—is portable so that you can take your music system with you when you travel. Given these clear-cut advantages, is it any wonder people from all walks of life are embracing personal audio systems in record numbers?

ABOUT THIS GUIDEFrom the start, Ultimate Headphone Guide has been envisioned as a personal audio almanac—that is, as a guidebook that could help introduce newcomers to the hobby, while also providing thought-provoking material to help inform, enlighten, and entertain veteran ‘headphonistas’. With this thought in mind, our Summer 2018 edition provides several strong background articles but also places a renewed emphasis on product reviews (more than 85 of them!) In an effort to make our reviews more usable and relevant, we have also started to experiment with graphical summaries that show how the products at hand perform (please let us know if you find these summaries useful).

Most of all, we hope the Guide will inspire you to sample the rich musical joys that fine headphones, earphones, and personal audio systems can bring. Welcome to Headphone Nation: join us!

Chris MartensEditor-in-Chief, Ultimate Headphone Guide

bowers-wilkins.comResponds naturally to you

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Encyclopaedia headphonica

Encyclopaedia Headphonica

As you might expect, the world of high-performance headphones and earphones has specialized terminology all its own. This article attempts to make it easier for both newcomers and veterans to navigate that lexicon.

BALANCED-ARMATURE DRIVERA type of miniature drive unit frequently used in earphone and CIEM (custom-fit in-ear monitor) designs, but also—much less frequently—in full-sized headphones. Balanced-armature drivers feature extremely small, can-like enclosures containing tiny armatures wound with wire coils and suspended within a magnetic field. As audio signals are applied, the changes in the magnetic field across the wire coil cause the armature to rock back and forth, pivoting on its balance point or fulcrum. As one end of the armature is driven upward, the other end goes downward (much like a child’s “seesaw” or “teeter-totter”). In order to produce sound, one end of the armature drives an actuator connected to an extremely small diaphragm, which flexes inward and outward as the armature moves up and down. Output from the diaphragm typically is routed to the listener’s ears via a sound-outlet tube commonly called a “bore.”

BALANCED HEADPHONE AMPLIFIERS In the world of headphones and earphones—as in traditional audio—there are two distinct kinds of amplifiers: single-ended and balanced. By convention, in a single-ended amplifier the “-” output terminal is tied to electrical ground, while the “+” terminal carries the active signal. In single-ended headphone amplifiers, outputs are typically delivered through a three-conductor jack sized to fit either a 6.35mm phone plug or a 3.5mm mini-plug. In either case,

Chris Martens

one of the conductors in the jack/plug serves as the “-” or ground connection, while the other two conductors serve, respectively, as the “+” connections for the left and right audio channels.

In balanced (sometimes called “differential”) amplifiers, internal circuitry is differently arranged so that in essence the amplifier has two equal but opposite halves; one handling the positive-going side of the audio signal and the other handling the negative-going side. Both the “+” and “-” halves of the amplifier are referenced to electrical ground. As a result, the outputs of each amplifier channel will have three (rather than just two) connections for audio signals: a “+” connection, a “-” connection, and a dedicated “GND” or ground connection. In balanced headphone amplifiers, outputs are often handled by two 3-pin XLR connectors (one for the left channel and the other for the right), where the 3-pins correspond to “+,” “-,” and “GND.”

BORE Many CIEM and some earphone manufacturers use the term “bore” to describe the sound-outlet tubes associated with balanced-armature drivers. Sometimes the outputs of multiple drivers might be routed through a single bore tube. Thus, one might read CIEM descriptions that state something like this: “Ours is a four-driver, triple-bore in-ear monitor design.”

CIEM CIEM is an increasingly popular acronym that stands for “Custom-fit In-Ear Monitor.” The key idea is that, unlike universal-fit earphones, CIEMs have custom-molded earpieces crafted to provide a fit that exactly matches the contours of the individual wearer’s ear canals and outer ears (or pinnae). In order to have a set of CIEMs made, prospective owners must first obtain, either through a qualified audiologist or through the CIEM manufacturer,

Note the multiple balanced output connectors on the front panel of iFi Audio’s fully balanced Pro iCAN headphone amplifier.

Mid range drivers

Low Frequency drivers

High Frequency

drivers

Acoustic Filters

Crossovers

This exploded view of Ultimate Ears’ UE18 Pro CIEM shows just how tiny balanced-armature drivers really are.

M4U 8WIRELESS ACTIVE NOISE

CANCELLING HD HEADPHONES

Designed to deliver the warm, natural sound of a live performance, PSB’s exclusive RoomFeel™ technology adds realism back to your favourite recordings without altering the original. Carefully developed using what is known as ‘Room Gain’— the energy and warmth that a room adds when listening to high-quality loudspeakers— RoomFeel places the music all around you, allowing you to feel every detail of a recording inside your headphones. www.PSBspeakers.com/roomfeel#M4U8

PSB’s M4U 8 is not only a great performer, but a spectacular value.”

— Robert Harley TAS/Hi-Fi+ Ultimate Headphone Guide

“



a set of ear-mold impressions, or else have the interior surfaces of their ears digitally scanned. Either way, the ear-mold impression or digital scans are used to create molds from which the CIEM’s custom earpieces are made.

CIRCUMAURAL HEADPHONESFull-sized headphones generally come in two forms: on-ear and around-the-ear designs. The word “circumaural” is the formal term for “around-the-ear” designs, where the earpads surround the wearer’s outer ears, but do not rest directly upon them.

CLAMPING FORCEThe term “clamping force” describes the amount of pressure that a given headphone exerts when squeezing or pressing the headphone’s left and right earcups against the sides of the wearer’s head. There is no industry standard for such force, and listeners’ tastes can and do vary on the matter. The key concept is to have sufficient force for the headphone to stay in place during listening (too little clamping might make the headphone prone to slipping out of position or even to falling off), but force low enough to allow comfortable long-term listening.

CLOSED-BACK HEADPHONES Generally speaking, full-sized headphone designs follow one of two possible configuration formats: open-back or closed-back designs. In closed-back designs, as the term suggests, the back sides of the earcups are completely sealed or “closed”—making each earcup much like the enclosure of an acoustic suspension-type loudspeaker, but in miniature. For obvious reasons, closed-back headphones do a better job of blocking out external noise than open-back headphones do. However, there is much debate on which design format—open-back or closed-back—makes for superior driver performance and all-around sound quality.

DIAPHRAGMRegardless of type, headphone and earphone/CIEM drivers invariably have some sort of diaphragm, which is the moving element that actually produces the sounds we hear.

Some headphone/earphone diaphragms are much like miniature versions of the circular woofers, tweeters, etc., in conventional dynamic-driver-equipped loudspeakers; these tiny diaphragms operate like miniature pistons moving inward and outward to produce soundwaves.

Other headphone and earphone diaphragms are thin planar membranes whose entire surface area vibrates to produce sound, much as in full-sized electrostatic or planar-magnetic loudspeakers. Finally, some headphone drivers use folded membranes whose pleated surfaces move somewhat like the bellows of an accordion to produce sound, as in loudspeakers fitted with ribbon or Heil air motion transformer (AMT) drivers.

DYNAMIC DRIVER (MOVING-COIL DRIVER)Dynamic drivers (also sometimes called “moving-coil” or “pistonic” drivers) are by far the most popular types of drivers for use in loudspeakers, headphones, and earphones (although many CIEMs use balanced-armature drivers). The core elements of dynamic drivers are diaphragms (the cone or dome that actually moves to produce sound), voice coils (ring-shaped coils of wire, wound on small cylindrical “voice coil formers”) that are attached to the diaphragm, and magnets (which are usually cylindrical in shape with ring-shaped grooves called “voice coil gaps” on top). As a musical signal is routed through the voice coil, which is positioned within the voice coil gap of the magnet, the electromagnetic interaction between the voice coil and the magnetic field causes the voice coil/diaphragm to move forward and backward, thus producing sound.

EARBUDS The term “earbud” is slang for the sort of loose-fitting transducers typically supplied with smartphones, digital music players, etc., and worn in the outer ear. Some people use the terms “earbud” and “earphone” interchangeably, but we see those terms as having distinctly different meanings. For us, the defining characteristics of earbuds are, first, that they are worn in the outer ear and not within the ear canal, and second, that earbuds almost always fit loosely and do not provide any sort of airtight seal with the

CIEMs like the Noble Audio Kaiser 10 offer beautifully finished, user-specific, custom-molded earpieces.

Closed-back headphones like this Audeze EL-8 have earcups completely sealed on the back side.

Dynamic headphone drivers like this one from Beyerdynamic’s T1 Tesla headphone are built much like miniaturized dynamic drivers for loudspeakers.



ear canal. Note, please, that earbuds typically are voiced so that they sound normally balanced without requiring an airtight seal.

EARCUPSIn full-sized headphones, earcups are the physical housings or “enclosures” to which the headphones’ drivers and earpads are attached. Typically, signal-wire connections to the headphone are also made through the earcups. There are many different schools of thought on earcup construction so that you will find earcups made of wood, molded thermoplastics, composites, and metal.

EARPHONESWe consider the term “earphone” to be a substitute for the longer, though more descriptive, term “universal-fit in-ear headphone.” For us, the defining characteristic of earphones is that they are meant to be worn within the ear canal, with the addition of a flexible set of eartips (offered in various sizes) to ensure a comfortable airtight seal between the earphone and the ear canal. The voicing of earphones presumes and indeed requires this airtight seal for proper tonal balance to be achieved.

Some people use the terms “earphone” and “ in-ear monitor” (plus the acronym “IEM”) interchangeably, but we again feel these terms have distinct and different meanings. “In-ear monitors” or “IEMs” are, strictly speaking, in-ear transducers worn for monitoring applications, but the practical reality is that the majority of listeners doing actual monitoring work tend to choose CIEMs for this job, owing to their superior noise isolation and more sophisticated sound quality. In our opinion, most earphone-makers who call their products “IEMs” are overreaching, probably in the hope that the “IEM” label will confer upon their earphones some of the perceived “hipness” and sophistication of true CIEMs.

EARPIECES The term “earpiece” refers to the physical housing or enclosure within which the earbud, earphone, or CIEM driver(s) and crossover networks (if any) are mounted

Earbuds such as this Urbanears Medis are meant to rest lightly in the wearer’s outer ear—not inserted into the ear canal.

Manufacturers go to great lengths to balance the demands of fit and functionality in high-performance earpiece designs.

Modern universal-fit earphones, such as this Ultimate Ears UE-900s, sometimes ship with extremely elaborate sets of eartips.

and from which the sound-outlet tube(s), if any, extend. For obvious reasons, earpieces must be large enough to accommodate the intended driver or driver arrays, yet small enough and smooth enough to fit comfortably within the wearer’s outer ears. The physical shape of the earpiece must also allow for very wide variations in ear shapes and sizes, while at the same time being easy for the wearer to grasp, insert, or remove. As is the case with headphone earcups, there are many schools of thought on earpiece construction, so that shoppers may encounter earpieces made of wood, molded thermoplastics, composites, metal, acrylic materials, or even cold-cure soft-gel silicone.

EARPADSAll types of full-sized headphones feature earpads that provide a comfortable, soft, and flexible interface between the headphones’ earcup/driver assemblies and the wearer’s head. Earpads typically are shaped either as circular, oval, or “racetrack”-like rings, open at the center to allow the sound to pass through; pads may be covered in fabric, leather, faux leather, or any combination of those materials.

EARTIPSAlmost all contemporary universal-fit earphones come with several sizes of flexible eartips designed to provide a comfortable, but airtight seal between the earphone’s sound-outlet tubes and the wearer’s ear canals (even a seemingly minor air leak can upset if not ruin the tonal balance of the earphone). The sole exception would be certain eartip designs that provide built-in vents (e.g., some of the tips used for the Cardas Ear Speakers), though vented eartip designs are comparatively rare. Eartips come in a variety of configurations with popular variations including single-, double-, and triple-flange designs, and round or “bell-shaped” housings that might include special features designed to enhance noise isolation. Eartips are typically made of soft silicone rubber, but some manufacturers have experimented with multi-layer eartips, in some cases with noise-isolation gel sandwiched between the inner and outer layers. Another popular variation involves eartips



constructed of compressible foam materials—a concept patented by the firm Comply Foam (which is a spin-off of 3M Corporation).

ELECTROSTATIC DRIVERSElectrostatic drivers feature diaphragms made of thin membranes typically constructed of polyester-like materials (e.g., polyethylene terephthalate or PET) to which an electrically conductive coating has been applied. These membranes carry a high voltage (typically greater than 500V) but very low-current charge and are suspended between two metal (or metalized), mesh-like electrode grids called stators. In operation, high-voltage (but again, typically low-current) audio signals are applied to the stators. By design, the stator pairs are configured so that at any time musical signals are present, the stators will carry opposite charges (one carrying a negative “-” charge and the other a positive “+” charge, and then vice-versa, as the audio signal reverses polarity). As the charge on the stators varies in response to musical signals, the diaphragm is simultaneously attracted to one stator and repelled from the other, so that the diaphragm moves back and forth within the air gap between the stators, producing sound.

HEADBAND/HEADBAND FRAMEIn a general sense headbands are the frames used on all full-sized headphones that reach up and over the top of the wearer’s head, while holding the left and right earcups in proper position for optimal sound and user comfort. Frames can be made of various materials including metal, molded thermoplastics, composites, or other materials.

One key aspect of any headband design will be an adjustment mechanism of some kind that allows the frame to expand or contract as needed in order to accommodate the varying sizes of users’ heads. Two other key elements of any good headband frame are the earcup yokes and the headband pad or strap.

Earcup yokes are the frame elements to which the headphones’ earcup/driver assemblies attach. Some yoke designs are minimal while others are quite elaborate. Some minimalist yoke designs hold the earcups in fixed, or

very nearly fixed, positions, and depend on the springiness of the headband frame to provide sufficient flex for a decent fit. Other yoke designs allow earcups to swivel (in horizontal and/or vertical axes) to obtain a better overall fit. Trade-offs can be involved either way. As a general rule, minimalist yoke designs tend to be more rugged—say, for headphones that might be worn while participating in action sports—while swiveling designs offer greater flexibility in fit, but are somewhat more complicated to build and more prone to break should the headphone inadvertently be dropped.

Headband pads or straps are the “suspension system” for the headphone, enabling the headphone’s weight to be spread across the top of the wearer’s head. One school of thought calls for padding the headphone frame to provide a soft, comfortable point of contact with the wearer’s head. A second school of thought, however, calls for a broad, flexible strap to be suspended, sometimes via elastic or rubber suspension rings, from the frame of the headphone (so that the weight of the headphone is borne, in part, by the suspension bands or rings).

HEADPHONES The term “headphone” refers to full-sized headphones (as opposed to earphones or CIEMs) that are worn on the head, with earcups that either fit around or alternatively rest upon the listener’s ears. We draw a distinction between headphones, which by definition are worn on and rest upon the user’s head, and earphones or CIEMs, which are worn in the user’s ears and do not rest upon the top of the head.

HEADPHONE CONNECTOR PLUGSThere are a handful of physical connector types commonly used for connections between headphones and headphone amplifiers (or tablets, smartphones, etc.). One useful distinction, however, can be drawn between connectors designed for use with single-ended amplifiers versus connectors designed for use with balanced amplifiers.

Single-ended connector plugs: Single-ended connector plugs have three conductors—a ground “GND” conductor

The frame and yoke design of the Oppo PM-1 headphone allows earcups to swivel in both horizontal and vertical axes.

The stator (or electrode) grid of the classic Stax SR-009 electrostatic headphone driver.

HiFiMAN’s Sundara headphone uses a suspension strap system, as shown, to help support the headphone’s weight for greater user comfort.



(shared by both the left and right channels), plus two “+/-” signal conductors (one each for the left and right channels).

3.5mm, three-conductor, mini-jack plug: By far the most common connector for earphones/CIEMs (but also for some headphones), the small, three-conductor 3.5mm mini-jack plug is the type of connector used to plug headphones into iPods, digital music players, iPads and other tablets, and iPhones and other smartphones. Quite recently, some manufacturers have begun using pairs of 3.5mm sockets to support balanced stereo output connections.

6.35mm phone/headphone plug: Think of this as a considerably larger-scale version of the 3.5mm plug. The 6.35mm plug is typically used to connect full-sized headphones to full-sized desktop (but also some portable) headphone amplifiers. Like the 3.5mm plug, the 6.35mm plug provides three conductors (sometimes called the tip, ring, and sleeve) and supports connections to single-ended amplifiers.

Balanced connector plugs: Balanced connector plugs will typically provide four, or in some cases, two sets of three, conductors—with separate “+” and “-” conductors for each channel, plus separate ground “GND” conductors in some configurations.

3-Pin XLR connector plug: 3-pin XLR connector plugs are designed specifically for balanced signal connections and in headphone contexts are always used in pairs (one for each channel in a stereo pair of balanced-mode connections). The three pins provide “+,” “-,” and “GND” connections for one channel; hence, the need for two plugs to provide stereo (2-channel) connections.

4-Pin XLR connector plugs: 4-pin XLR connector plugs are similar in size to 3-pin connector plugs, but internally they provide 4 pins that provide separate “+” and “-” signals for both the left and right channels.

RSA connector plugs: RSA connector plugs, named in honor of Ray Samuels Audio, are sometimes found on small, portable, balanced-output headphone amplifiers. RSA connector plugs essentially function like miniaturized 4-pin XLR connectors. Interestingly, “RSA connectors” were developed by the firm Kobiconn Connector for use in certain types of camera connections, but Ray Samuels was the first to use the Kobiconn connector as a balanced audio connector in compact, portable amplifiers.

3.5mm, four-conductor, mini-jack plugs: A handful of manufacturers have offered amplifier and headphone cables that provide balanced output connections through comparatively uncommon, four-conductor (or “four ring”) 3.5mm mini-jack plugs (where the conductors are labeled tip, ring, ring, and sleeve).

2.5mm, four-conductor, connector plugs: Yet another means of providing balanced output connections is via a comparatively new-to-the-market four-conductor (or “four ring”) 2.5mm plug.

HYBRID HEADPHONE AND EARPHONE DESIGNSHeadphone and earphone makers use the descriptor “hybrid” to indicate that the product in question uses a mixed (or “hybrid”) combination of technologies. One good

example would be the oBravo HAMT-1 MkII headphone, which employs the hybrid combination of a dynamic mid/bass driver and a Heil air motion transformer (AMT) mid/high-frequency driver. Another good example would be the PSB M4U 4 universal-fit earphone, which employs the hybrid combination of a dynamic mid/bass driver and a balanced-armature-type mid/high-frequency driver.

NOISE-CANCELING HEADPHONES AND EARPHONESThe term “noise-canceling” as applied to headphones or earphones means exactly what it says: namely, that the headphones/earphones provide active circuitry that detects external noise and then applies (to the greatest extent possible) an equal and opposite signal designed to cancel out the noise. For this reason, some designers (and marketers) prefer the term “active noise-canceling.”

NOISE-ISOLATING HEADPHONES AND EARPHONESRecognizing that active noise-canceling headphones and earphones can potentially create scenarios where the intended sonic “cure” (active noise cancellation) turns out to be worse than the sonic disease (noise), some designers have instead chosen to work on designs that use purely passive means of isolation or blocking out external noise. Generally, these passive designs are called “noise-isolating” (as opposed to “noise-canceling”) headphones or earphones.

1. 3.5mm plugs, as on this Westone signal cable, are probably the most common in all of personal audio.

2. 6.35mm plugs, like this “garden variety” adapter plug, are essentially a bigger, sturdier version of 3.5mm plugs.

3. Traditional 3-pin XLR plugs, as on this Abyss AB-1266 headphone’s right-channel signal cable, are among the most common balanced audio connectors in use today.

4. Robust 4-pin XLR plugs, as on this ALO Audio cable, allow balanced audio connections from a single, sturdy, locking plug.

5. Tiny 4-pin RSA/Kobiconn plugs support balanced audio connections for devices where space is at a premium.

1 2 3

4 5



ON-EAR HEADPHONESUnlike circumaural (around-the-ear) headphones, on-ear headphones feature comparatively small earcups with earpads designed to rest upon, rather than to surround, the wearer’s ears.

OPEN-BACK HEADPHONESOpen-back headphones feature earcups that, by design, are open both on their front (that is, ear-facing) and on their back sides, so that there is virtually nothing—apart from protective grilles—but open air to the rear of the headphone drivers. In many respects, open-back headphones are analogous to dipolar loudspeakers in that they have rigid perimeter frames, or in this case, earcup housings, with no sealed enclosures behind the drive units at all. For self-evident reasons, open-back headphones offer little if any isolation from external noise. However, as mentioned elsewhere, there is much debate on whether open-back or closed-back designs offer superior overall driver performance and sound quality.

PLANAR-MAGNETIC DRIVERSThe loudspeaker manufacturer Magnepan first pioneered planar-magnetic drivers and holds (or once held) many of the core patents on the technology. Therefore, today’s modern planar-magnetic headphones could, in a sense, be regarded as “Magnepans writ small.” In planar-magnetic drivers, the diaphragm consists of very thin but strong membranes on whose surfaces are found conductive circuit traces typically arrayed in very precisely dimensioned serpentine patterns, with the conductive traces spread over the entire radiating surface of the diaphragm. Many manufacturers use some form of Mylar-like material for their diaphragms, but at least one manufacturer (HiFiMan) is using a radically thin, low-mass “nano-material” diaphragm.

Placed in close proximity to the diaphragm is a precisely aligned grid or array of powerful magnets with open air

spaces between the magnets to allow soundwaves to pass through. Some designers favor the concept of having magnet arrays positioned on both the front and rear sides of the driver diaphragm, while others favor having an array on one side only—usually the side facing away from the listener’s ears. Either way, as musical signals are applied to the conductive traces on the diaphragm, the diaphragm is attracted to and/or repelled from the magnet array(s), thus producing sound.

RIBBON DRIVERSRibbon drivers could be considered a specialized version of planar-magnetic drivers, but with one critically important difference: In a ribbon driver, the entire diaphragm is made of conductive, thin-film, metal material, so that in a very real sense the diaphragm is—to borrow dynamic driver terminology—its own voice coil. In most cases, the ribbon driver diaphragm will be corrugated or “pleated” and then suspended in the presence of a very strong magnetic field. As musical signals are passed through the ribbon diaphragm/conductor, the diaphragm interacts with the surrounding magnetic field, moving fore and aft to produce sound.

SIGNAL CABLESAs is true in full-sized, loudspeaker-based audio systems, headphone/earphone-based systems can be and typically are very sensitive to the quality of the signal-bearing cables in use. If you have any doubts as to whether cable substitutions can influence sound quality, let us assure you that cables can impact sound in quite audible and obvious ways (and no, you don’t need to be a “golden ear” to hear their effects).

We haven’t the space to go into cable technologies here, but suffice it to say that it is worth seeking out headphones and earphones that either ship with very high-quality signal cables in the first place, or for which high-quality, third-party aftermarket cables are available. Over time, you may discover—as we have—that judicious cable changes can help unlock hidden layers of performance in your favorite transducers.

Some pundits say wire substitution can’t possibly make an audible difference, but they’re wrong. You can easily prove this point by visiting a good headphone shop, trying some cable substitutions, listening carefully, then drawing your own conclusions.

Finally, we cannot overstate the importance of choosing headphones/earphones that have removable, user-replaceable signal cables. Setting aside questions of sound quality, it is important to recognize that most headphone/earphone failures in the field are attributable to cable failures. The point is that it is simpler and cheaper to replace a set of signal cables than to have to go shopping for entirely new headphones or earphones.

SUPRA-AURAL HEADPHONESAlthough you might rarely if ever hear this phrase in common usage, the term “supra-aural headphones” is the formally correct word for “on-ear headphones.” uhg

PSB’s M4U 8 is one of the very few active noise-canceling headphones that manages to offer serious, audiophile-grade sound quality.

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In the pipeline

In the Pipeline Ultimate Headphone Guide

64 Audio Over the past year and a half, 64 Audio has developed earphones leveraging the firm’s proprietary ‘tia’ (Tubeless In-Ear Audio) technology, which feature a new type of ‘open balanced armature driver’ that does not use the enclosures or output bore tubes common to conventional balanced armature drivers. The result, says 64 Audio, are drivers that offer superior resolution and transparency while minimising unwanted vibration and resonance. The firm’s first two ‘tia’ models were the flagship tia Fourté earphone ($3599) and the U18t earphone ($2999), but there are now two new tia-family models: the tia Trió ($2299) and the U12t ($1999).

AKG Not so very long ago the Austrian firm AKG wowed listeners with its very impressive (and very expensive) K3003 universal-fit earphone and now the company has replaced its venerable flagship with a new model: the N5005 earphone that will sell for $999. Unlike the original K3003, the N5005 is a Bluetooth-capable earphone that uses the combination of four balanced armature-type drivers plus a single dynamic driver. Like the K3003, however, the N5005 comes with a downright sumptuous collection of accessories.

Chris Martens

Audeze Audeze is known for its full-size planar magnetic headphones, but lately the firm’s revolutionary iSINE-series earphones have been garnering the lion’s share of attention. One small ‘catch’, though, is that until now even the least expensive iSINE model (iSINE 10) carried an MSRP of $399. All that has changed with the advent of Audeze’s new iSINE LX planar magnetic earphone, which sells for $199. Suddenly, the entry price to access planar magnetic sound has become a lot more manageable. For cost saving reasons Audeze will not offer the iSINE LX with its optional Cipher cable with inline, self-powered amp/DAC/DSP module.

BrainWavz Audio Brainwavz is a 10-year-old company specialising in earphones, headphones, and personal audio-related accessories. The firm’s flagship earphone is the new B400 Quad Balanced Armature Earphone ($199.50 in clear, or $219.50 in colours). As advertised, the B400 features four US-made balanced armature-type drivers as well as ergonomically shaped 3D-printed earpieces that include MMCX-type cable connectors. The B400s come with extensive accessories including

a standard cable and mic/remote cables, a hard case, six pairs of silicone ear tips, a pair of Comply™ foam tips, a shirt clip, cleaning tools and a Velcro strap. Six colour options are offered.

Campfire Campfire Audio has just extended both the top and bottom ends of its high-performance earphone range with two new models: the top-tier Atlas ($1299) and the entry-level Comet ($199). Both models introduce a shared new earpiece materials technology and construction methodology: Specifically, both models feature drop-forged, CNC-machined, and hand-polished stainless-steel earpieces said to be both beautiful and extremely durable. The entry-level Comet is based on a single balanced armature driver housed in a vented enclosure using Campfire TAEC (tuned acoustic expansion chamber) technology, while the Atlas uses a single 10mm dynamic driver with a diamond diaphragm.

CTM (Clear Tune Monitors) Florida-based Clear Tune Monitors (CTM,) recently introduced two ultra high-end universal fit earphones: the DaVinci IX ($2000) and the DaVinci X

Ultimate Headphone Guide is a new bi-annual publication that represents a joint venture between The Absolute Sound magazine and its sister publication Hi-Fi+. “In the Pipeline” is a collection of intriguing new product announcements spanning four product categories: Earphones & CIEMs; Headphones; Amps, Amp/DACs & DAPs; and Personal Audio Cables & Accessories. Enjoy.

EARPHONES & CIEMS



In the pipeline

($2400), where the Roman numerals indicate the numbers of balanced armature-type drivers incorporated in the respective models. The IX features a four-way crossover, while the X features a five-way crossover. Both models use what CTM terms “Wave Integrating Sonic Element” technology. On the basis of a brief listen, I found the IX offered exceptional midrange transparency and good, natural tonal balance. These models will be a force to be reckoned with in the ultra high-end in-ear marketplace.

Dunu The Chinese firm Dunu was originally a behind-the-scenes OEM/ODM earphone manufacturer, but has recently started building product under its own name. A perfect case in point is the Dunu Falcon-C earphone ($219), which features a distinctive 9mm dynamic driver with an IEM-CNT (carbon nanotube) diaphragm. The vented Falcon-C earpieces are made of “liquid metal” said to restrain unwanted harmonic resonance while offering the physical strength of stainless steel. The earphones come with robust MMCX-equipped, silver-plated copper signal cables and a wealth of useful accessories, including a hard-shell case and multiple sizes of SpinFit ear tips.

Echobox Echobox Audio’s long awaited Nomad earphone ($249) features PEEK dynamic drivers, solid titanium earpieces, Comply thermal reactive ear tips, user selectable AFT (acoustic fine tuning) filters, MMCX cable connectors, and user replaceable MMCX signal cables. The Nomad model has gone through a number of iterations en route to production, but is now finalised and released and sounding better than ever. The firm has also released a new modestly priced Bluetooth earphone called the Ti-22 BT ($129), which looks to be a winner in today’s increasingly Bluetooth-friendly marketplace.

Empire Ears Empire has been significantly revamping its earphone and custom-fit in-ear monitor

product range of late and one of the results is a new X-series family of custom-fit in-ear monitors and universal-fit earphones. Empire says its X-series aim to “overwhelm the auditory senses through the vigorous spirit and emotion of a live performance.” Distinctive technologies include A.R.C. (anti-resonance compound) used in the interior of Empire earpieces and synX crossover networks. The top Empire models are the 5-driver, 8-way Nemesis (starting at $1599) and the 7-driver, 10-way Legend X ($2299).

Final Final has introduced two new and comparatively upscale additions to its budget-friend E-series range of earphones: the E4000 ($149) and the range-topping E5000 ($279). Both models feature user-replaceable signal cables with MMCX-type connectors, plus high performance 6.4mm dynamic drivers. Sonic descriptions of the models claim both offer “clean, clear, and accurate sound,” but with the E4000 offering a presentation reminiscent of live music, as if the performance were “unfolding right in front of you,” while the E5000 is said to deliver “an immersive listening experience.”

Inearz Inearz is the latest custom-fit in-ear monitor manufacturer to develop models featuring Stephen Ambrose’s ADEL technology, which is said to decrease unduly high pneumatic ear-canal pressures as found with most CIEMs, yet with no loss in fidelity. Most Inearz models include ADEL modules, including everything from the affordable Zen 2 earphone ($369) to the top-of-the range 8-driver Nirvana CIEM ($1099).

JBL JBL has released a brace of new headphones and earphones, most targeting the keenly contested sub-$200 market segment. Among these models were the JBL Free Wireless earphones ($149.95) with Bluetooth electronics embedded within the earpiece housings themselves, the JBL/Under Armour Sport Wireless Flex earphones with neckband-style BT

module/amplifier ($129.95), the JBL Reflect Fit wireless earphones with neckband-style BT module/amplifier and built-in heart-rate monitoring capabilities ($149.95), and JBL T450 BT children’s Bluetooth headphones ($59.95).

oBravo The Taiwanese headphone and earphone specialist oBravo recently launched a slew of new models. Among these were four variants on the firm’s exotic hybrid eamt-O (“Ra”) earphones: the Ra A ($6400), the Ra W ($6600), the Ra C ($6800), and the Ra Cu ($10000). There will also be a Ra Ti model. The Ra models share an exceedingly tiny 8mm Heil AMT-type driver (the smallest Heil driver we have ever seen) used in concert with a 16mm dynamic driver. Differences between the Ra models involve materials used in the earpiece housings themselves, with the more difficult-to-machine materials commanding higher prices.

Periodic Audio The up-and-coming earphone manufacturer Periodic Audio showed running changes to its Be (Beryllium), Ti (Titanium), and Mg (Magnesium) series earphones. Individually, the changes might seem small, but taken collectively they make a good set of products significantly better. Specifically, the earphones use etched stainless-steel earpiece enclosures, a new channel colour-coding scheme applied through electrophoretic deposition, all-new tangle-resistant signal cables, and improved packaging

Shozy The Chinese firm Shozy (or AAW-Shozy in this case) has announced a new hybrid electrostatic/dynamic earphone that will sell for about $680. The earphone features two self-energizing electrostatic drivers (serving as tweeter midrange drivers) and a single dynamic bass driver. Conceptually, these earphones remind us of a miniaturized version of the late, lamented ENIGMAcoustics hybrid electrostatic/dynamic headphone.


In the pipeline

Shure Shure has been demonstrating its previously released KSE 1500 electrostatic universal-fit earphone system ($3000), which not only includes the aforementioned electrostatic earphones but also a portable electrostatic headphone amplifier/DAC. The system sounds superb, though proper ear-tip fit is a must to appreciate its full sonic benefits. The only drawback, really, is the daunting entry price. To address this issue, Shure has indicated they have a new version of the system in the works, though one that likely will provide a portable amplifier sans DAC. The projected price for the new version is approximately $2000.

Simgot The Chinese firm Simgot offers high-quality earphones at

sensible prices. A great example of this would be the firm’s EN700 Pro ($149.95), which features a 10mm dynamic driver with a polymer composite Titanium-plated diaphragm. The EN700 Pro features user-replaceable 2-pin signal cables featuring single-crystal copper and silver-plated conductors and over-ear ear hooks. Accessories include multiple ear tips, a carry case with Velcro strap, a manual, and a cleaning brush. The even better news: Simgot has far more exotic models on the way.

Stereo Pravda The Russian firm Stereo Pravda showed the latest and least-costly new member of its essentially hand made SB-series earphone. The newest model is called the SB-5 and it features five drivers

plus a new signal cable and will sell for $2000. Having heard various Stereo Pravda SB-series earphones over time, I think the design has great sonic promise, but my one complaint is the SB ear tips, which are quite unconventional and don’t necessarily work well for all listeners. My thought is that if the ear-tip issue could be sorted out, the SB models might win much wider acceptance.

Westone Westone’s newest offering is its lovely entry-level WX1 earphone ($149), which sports a single balanced armature-type driver and an MMCX connector-equipped Bluetooth cable. The Bluetooth cable is also available as a standalone product ($99) that allows other MMCX-compatible earphone models to join the wireless Bluetooth party.

Shozy Hybrid Electrostat Campfire Atlas Simgot EN700 Pro JBL Free Wireless

Inearz Zen 2 Empire Legend X Echobox Nomad Dunu Falcon-C

Shure KSE-1500 BrainWavz B400 64 Audio U12t & tia Trio Final E4000



In the pipeline

Audeze Audeze’s latest invention is an LDAC/Bluetooth-compatible, multimedia/gaming, closed-back, planar magnetic headphone called the Mobius, priced $399. And did we mention the Mobius features a gyro/accelerometer-based head-tracking system that works really well? Apart from its many other capabilities, the Mobius can do convincing 5.1-channel and 7.1-channel decoding and is Pro Tools compatible for those seeking to use the headphone to monitor multi-channel recordings. This versatile headphone is one of Audeze’s most fun-to-use products to date, and it’s an absolute blast to use for listening to multi-channel/surround sound movie sound tracks. (Finally, you can enjoy action films without disturbing your neighbours.)

Audio-Technica The Japanese firm Audio-Technica has recently shown its most ambitious and unequivocally audiophile-orientated headphone to date: namely, the ATH-ADX5000 priced at $1999. The ATH-ADX5000 is an open-back, dynamic driver-equipped headphone whose 58mm drive unit features a distinctive Tungsten-coated diaphragm. Moreover, the ATH-ADX5000 features an all-new frame design that is considerably different from the ‘wing-support’ frames Audio-Technica has used in the past. Finally, the headphone’s signal cable features new A2DC connectors, which are gaining acceptance in the headphone marketplace.

Bang & Olufsen (B&O Play) B&O Play headphones are distributed through Lenbrook (PSB, NAD, Blusound) in the US, and accordingly the Lenbrook display featured not only headphones and earphones from PSB and NAD, but also two models from B&O Play: the H8i ($399) and the H4 ($299). The H8i is a Bluetooth-enabled and automatic noise-cancelling equipped on-ear headphone, while the H4 is a wireless Bluetooth over-the-ear headphone.

Beyerdynamic Beyerdynamic’s newest model is the Amiron Wireless Bluetooth headphone with the firm’s signature MIY (Make-It-Yours) app, priced at $799. The ingenious MIY app allows users to give themselves an app-driven hearing test through the headphones they plan to use, from which the app creates a customised, compensatory EQ curve unique to the user and headphone. Some manufacturers have tried a similar approach, but with the test/EQ system built into the headphone. The beauty of the Beyerdynamic approach, however, is that it can be used by a number of different users and across a number of Beyerdynamic headphone and earphone models.

Cleer In the “almost there” department we have Cleer’s very promising Next headphone, which will feature a dynamic driver fitted with a Magnesium diaphragm and whose projected price will be $699. This headphone has gone through an unusually long gestation period, which we hope means that most of the typical ‘bugs’ and ‘kinks’ will have been worked out before the headphone arrives on the market later this year. Based on a pre-production sample the clear-sounding and articulate Next lives up to its maker’s name: Cleer.

E-Mu E-Mu is a subsidiary of Creative Labs that offers moderately priced, high-performance headphones whose ear cups are fashioned from various hardwoods. The firm’s flagship E-Mu Teak ($499) headphone features machined teak ear cups and 50mm bio-cellulose drivers with neodymium motor magnets. In turn, the less costly E-Mu Walnut ($199) features machined walnut ear cups and a 40mm bio-cellulose driver. Somewhat confusingly, both the Teak and Walnut models are offered in woods other than Teak and Walnut, and, yes, the wood choices do have an audible impact on the sound.

Focal Pro Focal offers two separate lines of headphones in North America:

a consumer line and a pro-sound line. There is some overlap, though, as the pro-sound division gets its own version of the recently released Focal Clear headphone called the Focal Clear Pro. Internally the Clear and Clear Pro are identical, but the Pro version offers a very attractive matte red-and-black colour scheme, two sets of perforated microfibre fabric-covered ear pads, two signal cables, and a rugged hard-shell carry case. The Clear Pro is priced slightly higher than the standard Clear headphone, at $1699.

JansZen David Janszen of JansZen loudspeaker fame has now developed an impressive new hybrid dynamic/electrostatic headphone called the Lotus that can be driven by conventional headphone amplifiers. To this end the Lotus includes an on-board, rechargeable, 0.5aH battery-powered biasing circuit capable of more than two weeks of playing time per charge. The basic concept for this headphone calls for a comparatively large dynamic driver to handle the bass workload while a smaller electrostatic driver handles midrange and high frequencies. Best of all, JansZen has done a really good job with seamless driver integration. Projected pricing will be around $1200.

Klipsch Klipsch has released to production its most ambitious full-size headphone to date: the Heritage HP-3 ($1199), which is offered with the buyer’s choice of solid walnut, ebony, or oak ear cups. The HP-3 is a semi-open-back or “rear vented” design that features 52mm dynamic drivers fitted with “free-edge biodynamic” diaphragms and a magnet assembly delivering more than one tesla of magnetic flux density per ear cup. The HP-3 is very easy to drive with rated sensitivity of 98dB. The headphone features sheepskin-covered ear pads and a cowhide headband pad/cover; apparent build quality is very high.

Meze The Romanian headphone specialist Meze announced cost-no-

HEADPHONES


In the pipeline

object flagship headphone called the Empyrean (projected price: mid-$3000) that uses an unorthodox planar magnetic driver developed by Rinaro Isodynamics. The teardrop-shaped Rinaro driver features a light but rigid diaphragm with a circular concentration of voice coil traces at the teardrop apex and broader semi-circular curved voice coil traces toward the broader end of the teardrop. The circular traces act as a mid/high frequency radiator, while the broader semi-circular traces act as a bass/mid driver. The driver is said to produce less the 0.1% distortion over the entire audio spectrum.

NAD NAD is the sister brand to PSB, so with the advent of a new PSB flagship headphone—namely the M4U8 model described below—it was inevitable that there would also be a new NAD sibling model: the HP70 ($399). It’s tempting to think that NAD’s HP70 is essentially a PSB M4U8 in different livery, but that isn’t strictly the case. According to designer Paul Barton, the NAD model offers very slightly different voicing to the M4U8, with the PSB headphone offering dead neutral voicing and the NAD offering an extremely subtle hint of added top-end ‘sparkle’. One other difference is that the HP70 and M4U8 use different automatic noise

cancellation devices and schema, though both are quite effective.

oBravo The Taiwanese headphone and earphone specialist oBravo introduces a slew of new models, including new versions of its original HAMT-series headphones, starting with an updated HAMT-1 Mk II headphone ($1900) and the even higher performance HAMT-Plus ($3900). At the top of the range is a new HAMT Signature model (56 ohms, 105dB sensitivity, 40mm Heil AMT-type driver, 57mm dynamic driver, $6000).

Sennheiser The legendary German headphone manufacturer recently announced its upcoming HD820 headphone (projected price $2399), which will be Sennheiser’s entry into the ultra high-performance closed-back headphone market. As such the HD820 seeks to channel the sonic goodness of the open-back HD800 and HD800 S models. The HD820 is higher priced than either the HD800 or HD800s because it has higher build costs from a material perspective and is also more labour intensive to construct. One appealing touch is that the HD820 ear cups feature Gorilla-glass viewing windows on their back surfaces so you can see the technology within on display.

Ultrasone Top-tier models from the German firm Ultrasone traditionally have been known as Edition-series models and the newest headphone in the range is the Edition 15, ($2999). The Edition 15 is an open-back design featuring 40mm, GTC (gold-titanium compound) drivers said to offer “outstandingly transparent sound quality with an incredible degree of precision.” The Edition 15s also use Ultrasone’s latest S-LogicEX technology that claims to provide “a quality that is closer to playback on premium speakers than the typical headphone experience.” If you might be interested, act fast: there are only 999 pairs of Edition 15s for the worldwide market.

ZMF The newest design from the US-based headphone maker ZMF is the open-back, dynamic-driver-equipped Auteur (pricing starting at $1599, depending on woods used for the ear cups), which follows the company’s popular Eikon and Atticus closed-back models. The Auteur uses a 300-ohm biocellulose dynamic driver that is said to work equally well with valve and solid-state amplifiers. ZMF says the Auteur offers the “musical tilt” of the Eikon, but adds superior soundstaging, “a more neutral signature”, and “added clarity and resolve.”

Ultrasone Edition 15Beyerdynamic Amiron Wireless E-Mu Teak NAD HP70Kilpsch Heritage HP-3

Focal Clear Professional Meze Empyrean Meze-Rinaro driver Audeze Mobius Sennheiser HD820 prototype



In the pipeline

Acoustic Research (AR) Following the trend toward ever more affordable DAPs, Acoustic Research’s M200 DAP ($399) might be a ‘goldilocks’ player in light of its carefully judged combination of features, functions, and price. The M200 incorporates an aptX HD Bluetooth transmitter/receiver, provides an AKM AK4490EQ DAC device, supports PCM to 24/192 levels and DSD 64 and DSD128, offers both single-ended and balanced (4.4mm Pentaconn) outputs, features a 2.4-inch LCD screen, and provides a class A (2Vrms) headphone amplifier. In short, the M200 is a whole lot of DAP for the money.

Astell&Kern Astell&Kern’s fully balanced and very stylish Acro L1000 desktop headphone amp/DAC (the first ever from Astell&Kern) has now been released to production and will sell for a moderate $899. Visually, the L1000 is dominated by its huge, upward facing, knurled volume control knob, which feels great and falls readily to hand. Based on dual AK4490 DACs, the Acro L1000 supports PCM playback at up to 32/384 and native DSD 256. The Acro L1000, which can double as a small integrated amp, puts out 15 Wpc at 8 Ohms, and provides distinctive digital filters labelled: neutral bass-boost, and high-gain.

Auris Audio The Serbian firm Auris Audio recently showed two impressive headphone amplifiers, both of which were successfully powering HiFiMAN’s superb but very difficult to drive Susvara planar magnetic headphones. At the top of the range was Auris’ Headonia 2A3, which uses—no surprise here, 2A3-type output valves. The Headonia 2A3 puts out >3Wpc and features separate impedance selectors for each of its two output taps. The Headonia is undergoing revisions, so expect a re-release soon. Also on demonstration was Auris’ HA2 SE headphone amplifier ($2000), which sports one ECC82 and four EL95 (or PL95) valves and that is capable of 1Wpc output.

Benchmark Media Systems One of the most impressive new headphone amplifiers we have heard in a very long time is Benchmark Media Systems’ new HPA4 ($2,995), which represents the first commercial implementation of THX’s high powered, wide-bandwidth, and ultra low-distortion AAA-888 amplifier module. The HPA4 offers mind-bending specifications, with bandwidth of 0.1Hz – 500kHz -3dB, a signal-to-noise ratio > 131db unweighted, distortion < 0.00006% THD at full rated output, and output of 6 Watts @ 16 Ohms. A brief listen made us want to hear more.

Chord Electronics The British firm Chord Electronics has released its GoFigure configuration app for use with the Mojo portable amp/DAC and it companion Poly Wi-Fi streamer. The GoFigure app is the eagerly anticipated and heretofore missing piece that ties together all the capabilities of the Mojo+Poly combo, while dramatically simplifying (and in part automating) Poly set-up tasks. If you own a Mojo+Poly combo, you’ll want this app, ASAP. If you don’t own a Mojo+Poly combo, seeing the app in use might make you want to own one.

FiiO FiiO showed a new value-priced portable digital audio player (DAP) called the X5 Gen 3 ($ 350), which draws upon the design of the firm’s X7 MkII in many respects.

The X5 Gen 3 is a Bluetooth 4.0 and aptX-compatible, Android 5.1-based DAP that features dual AKM AK4490 DAC devices (one each for the left and right channels), with support for PCM/DXD files up to 32/384 and DSD files to DSD128. The X5 Gen 3 provides 1GB of RAM, 32GB of ROM storage, and—like the X7 MkII—supports two microSD cards with total capacity of up to 512GB.

HeadAmp The wheels of change turn slowly at HeadAmp, but at recent shows the firm has demonstrated its new Gilmore Lite Mk2 headphone amplifier/preamp ($499), which has

been wowing show attendees with the level of performance per dollar it offers. The Gilmore Lite Mk 2 is an update of the classic Gilmore Dynamic Amp and features discrete Class A circuitry, an outboard linear power supply, and switchable preamp outputs. This amp has veteran headphonistas buzzing over the fact that HeadAmp has succeeded in creating a truly serious high-end headphone amp/preamp that manages to slide-in just below the magic $500 price point.

iFi Audio The British firm iFi Audio recently launched its most ambitious DAC/headphone amplifier to date: the Pro iDSD ($2,499). The Pro iDSD is an exceptionally full-featured DAC that can play DSD files at levels up to a mind-bending DSD1024, can handle PCM/DXD files at rates up to 32/768, that is fully MQA compatible, and that offers both networking and wireless Bluetooth connectivity. The Pro iDSD features a fully balanced circuit from end-to-end, and incorporates a good headphone amplifier as well (although iFi naturally hopes that end-users will pair the Pro iDSD with its excellent Pro iCAN headphone amplifier/preamp).

Limetree Audio/Lindemann The German firm Lindemann has joined the movement toward compact, high-performance audio components with a new range of products from Limetree Audio. At this stage, the Limetree range includes a phono stage ($749), a USB DAC ($749), a network streamer ($999), and a headphone amplifier ($749). The Limetree headphone amp struck us as sounding beautiful, full-bodied, and rich. Expect very good things from this new line of compact components.

Massdrop Massdrop, the popular online enthusiast-oriented product-purchasing club, is showing its CTH headphone amplifier ($249), which is the brainchild of none other than Dr. Alex Cavalli (in fact, CTH stands for Cavalli Tube Hybrid). The CTH

AMPS, AMP/DACS & DAPS


In the pipeline

combines a 6922 valve section with a solid state section for an amplifier said to have the current drive needed for planar magnetic headphones and the voltage driver necessary for dynamic headphones. The CTH can be ordered with or without a built-in Grace Designs SDAC module.

Monoprice/Monolith The value minded firm Monoprice/Monolith is now producing variations on two of Dr. Alex Cavalli’s high-performance headphone amplifier designs (from the days when Cavalli Audio was still a going concern): The Liquid Spark amplifier ($99) and the Liquid Platinum amplifier ($699). The Liquid Spark is a desktop variant of the original portable Cavalli Spark and is a DC coupled, low distortion amplifier with switchable gain that produces 1300mW at 50 Ohms. The Liquid Platinum is in essence a fully balanced, hybrid valve/solid-state version of the original Cavalli Liquid Crimson amplifier that produces 3.6 Wpc @ 50 Ohms.

Mytek The Polish/American company Mytek specialises in high performance headphone amplifier/DAC/preamps. At the entry level the firm showed its MQA/DSD/PCM-capable portable Bluetooth-enabled Clef headphone amp/DAC, which sells for $300 and

looks extremely cool in a sci-fi sort of way. At the top of pyramid is the Manhattan II headphone amp/MQA-compatible DAC/preamp ($5,555), based on the ESS ES9038 DAC device and featuring a 500mA/6W headphone amplifier with optional balanced headphone adapter. The preamp section of the Manhattan II provides two single-ended and one balanced set of stereo analogue inputs and one pair each of single-ended and balanced analogue outputs.

Periodic Audio The up-and-coming earphone manufacturer Periodic Audio showed a prototype of its upcoming Nickel portable headphone amplifier (projected price $299), which provides 250mW @ 32Ohms of power output, playing time of 10-12 hours, and very quick 20-minute recharge time.

Pioneer Like a number of personal audio electronics manufacturers Pioneer is working to produce very full-featured yet highly cost-effective digital audio players, such as the firm’s new XDP-02U ($299). The XDP-02U is based on dual ESS ES9018C2M DAC devices and supports playback of MQA, native DSD 5.6MHz, DSD-IFF, FLAC, ALAC, WAV, and AIFF files up to 32/192 levels, plus AAC files. The little

player provides Wi-Fi and Bluetooth connectivity, offers both single-ended and balanced headphone outputs, includes dual high-precision clocks, and provides 16GB of internal memory plus two microSD cardslots, each with capacity to hold a 256GB microSD card.

Pro-Ject Audio Systems Continuing the trend toward high-performance compact personal audio electronics components, Pro-Ject offers its Head Box DS2 fully balanced headphone amplifier ($699). The Head Box DS2 is, roughly speaking, a half-rack-width component that is part of Pro-Ject’s Box Design product family. Internally, the DS2 is configured as balanced, dual mono amplifier that provides four user-selectable gain settings and that provides both single-ended and balanced analogue inputs and headphone outputs. Pro-Ject says the “powerstage is realized by two TPA6120A2 chips”, while volume levels are controlled by a BLUE ALPS potentiometer. Power output is 1100mW @ 33 Ohms.

Shanling The Chinese firm Shanling has created what must surely be one the most compact and inexpensive digital audio players on the market: the diminutive M0, priced at just $99.

Astell Kern Acro L1000

iFi Pro iDSD closeup

Auris HA2 SE

Massdrop – Cavalli CTH

Benchmark HPA4

Mytek Manhattan II

FiiO family of DAPs

Periodic Nickel prototype



In the pipeline

the extremely exotic looking and valve-powered Trafomatic Primavera dual-mono headphone amplifier ($15,000), which is based on Svetlana 811.10 direct heated triode valves.

Viva Audio The Latvian headphone amplifier specialist Viva recently has shown two very impressive new amplifiers: the Egoista STX and the Egoista 845. Egoista STX is a statement class electrostatic headphone amplifier that can be configured with dual 2A3 or dual 300B output valves. US pricing for the Egoista STX is expected to fall at <$10,000. The Egoista 845 is likewise a statement class dynamic headphone amplifier that provides dual single-ended 6.35mm and dual 4-pin XLR stereo headphone output jacks, plus a pair of XLR mono output jacks. The Egoista 845 uses dual 845 output valves and is priced at $12,800.

Wells Audio Wells Audio is best known for its flagship Headtrip and Headtrip Reference headphones amplifiers, but recently the firm debuted a new hot-rodded version of its entry-level Milo headphone amplifier ($1,699), called the Milo Reference ($5,000). The Milo Reference features a Khozmo attenuator with Vishay resistors, higher performance

The square-ish M0 looks almost like an oversized Apple watch, but it supports aptX Bluetooth, two-way Bluetooth 4.1, offers LDAC high quality Bluetooth, provides 32/384 PCM and DSD support, features an ESS ES9218P DAC device, offers a 1.54-inch touchscreen and can accept up to a 512GB TF memory cards. The M0 provides a 640maH lithium battery and delivers 80mW @ 32 Ohms. Can you say “maximum fun per cubic centimetre?”

Schiit Audio In recent times Schiit Audio has offered two headphone amplifiers with optional DAC modules: the valve-powered Lyr 3 ($499) and the fully balanced, solid-state Jotunheim ($399). In their original guises, these amps could be ordered with AK4490-based delta-sigma-type DAC modules at nominal extra cost, but the fact is that Schiit strongly advocates use of multibit rather than delta-sigma DACs wherever possible. Schiit has now created multibit DAC designs that fit within the space and power supply constraints of the Lyr 3 and Jotunheim, so users can at last choose the Lyr 3 Multibit ($699) or the Jotunheim Multibit ($599).

SPL The German headphone amplifier specialist SPL showed its full-featured Phonitor X balanced

headphone amp/DAC ($2,799) with special crossfeed and lateral imaging control functions. SPL comes from the pro sound world and its products have the purposeful and well-built look and feel that is so much a part of the pro audio world.

The simpler and lower priced SPL Phonitor E headphone amp is available either as a standalone amp ($1,899) or as an amp/DAC ($2,299).

Stax Stax electrostatic headphones are known for many good things, but traditionally portability has not been one of them—until now. Stax will soon begin shipping its new SRM-D10 portable, battery-powered electrostatic headphone amplifier/DAC ($899), which should open up a whole new world of listening opportunities for travellers who wish to take their electrostatic headphones with them “on the road”. The SRM-D10 provides Stax Pro bias voltages (as required my most modern Stax and other electrostatic headphones), while its DAC section is capable of playing DSD128 files.

Trafomatic Audio The Serbian firm Trafomatic recently has shown three very promising headphone amplifiers, including the Experience Head One ($1,800), the Head Two ($3,000), and

Pioneer XDP-02U

Trafomatic Primavera

Schiit Lyr 3 Multibit

Viva Egoista 845

Shanling MO

Wells Milo Reference

Stax SRM-D10

Woo 3ES


In the pipeline

Caprice Audio The new firm Caprice Audio recently showed its impressive new Mosaic Wave Stream Hybrid Technology passive noise filter ($1,499). Caprice’s demonstration featured a Questyle CM600i reference amp/DAC driving two sets of high-end headphones, with a pair of Mosaic devices waiting in the wings to be connected to the system. Caprice played sets of highly three-dimensional test tracks through the system, first with no Mosaic device in use (to establish a baseline) and then with a Mosaic connected. In each case the Mosaic device helped lower the system noise floor, with concomitant increases in low-level detail, transient acuity, and overall three-dimensionality.

Crystal Cable Crystal Cable recently introduced Duet, the first high-end portable cable in the brand’s product range, using its famous silver-gold alloy wiring. This summer a new portable Dream will come true: A brand new high-end portable cable built of 18 ultra-high purity monocrystal silver strands per conductor. It uses much of the research and technology that makes Crystal Cable’s ‘Dream’ cable series so unique. Introducing the monocrystal

technology marks a new step in Crystal Cable’s portable line!

The monocrystal wiring is insulated in a stylish red & black jacket, made of high-tech medical grade plastics to ensure that the cable is skin-friendly and extremely durable and flexible. Red & black stands for passion and power, important components in music. The cable will be available with all kinds of IEM and headphone terminations.

Dekoni The headphone/earphone accessory manufacturer Dekoni outdid itself for CanJam NYC by releasing a slew of new ear pad options for the Sennheiser HD600-family headphones, Sennheiser HD800-series headphones, as well as Elite-series ear pads offered in sizes/shapes to fit select AKG, Audio-Technica, Beyerdynamic, Fostex, and Sony headphones. Dekoni ear pads use YM80 memory foam and are available with sheepskin, fenestrated sheepskin, velour, and hybrid sheepskin/velour covers, with prices ranging from $59.99 - $109.99/pair. Dekoni pads are said to improve comfort as well as sound quality.

JH Audio JH Audio has announced an extraordinary range of Signature

Series custom finishes that can be ordered on any of the firm’s CIEMs. Finishes include Luthier ($1000), Mosaic ($600), Spotlight Red ($525), Spotlight Blue ($525), Galaxy ($525), The Founder ($525), Copper top ($525), The President ($375), Rose ($375), and Sunburst ($325). We were especially taken with the Sunburst treatment, whose appearance is highly reminiscent of vintage sunburst-colour Fender guitars.

Moon Audio Moon Audio has shown a suite of specialised personal audio cables including these three: the Bronze Dragon 2-pin IEM cable ($200/48-inches) with UP-OCC stranded copper conductors, the Silver Dragon 2-pin IEM cable V1 ($220/48-inches) with UP-OCC stranded silver conductors, and the Silver Dragon USB C-to-USB A cable ($130/4-inch) with stranded UP-OCC stranded silver conductors. There are actually two versions of the 2-pin Bronze Dragon cables: one version is for conventional CIEMs and universal-fit earphones such as models from Noble, UE, and others, while the other two-pin version is specifically for Audeze iSINE-family earphones.

PERSONAL AUDIO CABLES & ACCESSORIES

PCBs with cryo-treated signal traces, “nearly two dozen Vishay ‘naked Z foil’ resistors in the signal path, a Rike copper foil-polypropylene capacitor in the signal path between the input and output stages, and a built-in Bybee Tech ‘mini AC purifier’. The Milo Reference takes big steps forward in terms of sound quality.

Woo Audio Woo Audio’s new 3ES takes its place as the firm’s premier electrostatic headphone amplifier. The 3ES is a two chassis design, with valve circuitry in the upper chassis and a pair of electrostatic (Stax Pro specification) headphone outputs and power supply circuitry in the bottom chassis. The upper chassis

connects with the lower chassis via a proprietary coupler. The 3ES features four 300B output valves and pair of 6SN7 driver valves. The standard 3ES will sell for $8,999, but Woo will also offer a special up-specification Elite version of the amplifier that will sell for between $15,000 and $16,000.

Caprice Audio Mosaic Dekoni ear pads on Focal JH Audio Signature Series Moon Cable suiteCrystal Cable Dream Duet

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How to choose headphones

How to Choose Headphones

With so many types of headphones on the market, choosing just the right ones for your needs can seem a daunting task. But by arming yourself with a little

knowledge about the advantages and drawbacks of each headphone-type, you can quickly narrow down the field and find the perfect choice.

The broad term headphones is often used to describe any personal listening device that sits on the head. But the category encompasses four distinct subcategories: earbuds, earphones, in-ear monitors, and headphones. Let’s look at each of these in turn.

EARBUDS, EARPHONES, AND CUSTOM-FIT IN-EAR MONITORSEarbuds are the ubiquitous little plugs supplied with most portable music players. Earbuds have poor sound quality, which is one reason headphone sales have soared alongside the boom in music-playing mobile devices. Millions of listeners have discarded their earbuds and bought better-sounding devices.

As earbuds are nonstarters for high-quality audio, I’ll move on to earphones, also called in-ear monitors. There’s a single difference between earbuds and earphones: earbuds fit in the outer ear, but an earphone is inserted into the ear canal, where, ideally, it creates an airtight seal. The difference in sound quality conferred by this apparently small distinction is profound. Creating an airtight seal greatly improves sound quality, particularly in the bass. A tight seal also prevents outside noise from intruding on your music. Earphones are often supplied with a variety of

interchangeable eartips, made of soft silicone or compressible foam, which allows you to choose the ones that provide the best fit with your ears. Although earphones may be superficially similar to earbuds, very-high-quality sound is possible from good earphones, never from earbuds. Fig. 1 shows a high-end earphone.

Although good earphones can provide superb sound, how well those earphones fit your ear canals—and thus how good they sound—is somewhat hit or miss, even with a range of flexible eartips. Because earphones’ sound quality depends so much on how well they fit, some manufacturers offer custom-fit in-ear monitors—earphones that have been custom molded to your ear canals.

A little history of how in-ear monitors came about helps in understanding their raison d’être. Remember seeing, at amplified concerts, those small black speakers sitting at the front of the stage, angled up toward the musicians? Those were stage monitors, which allowed the musicians to hear themselves playing and singing. Stage monitors are problematic—they’re bulky, tend to generate feedback, must be turned up very loud to be heard above the house mix, and require that each musician stand in front of his or her individual monitor. The professional live-sound industry solved these problems with the custom-fit in-ear monitor. Giving each musician personal in-ear monitors made stage monitors a thing of the past. But for in-ear monitors to be effective, they must form a perfect seal between the transducer (the tiny speaker) and the ear canal. Any leakage is unacceptable, because the sound from the huge main speakers would swamp the sound from the in-ear monitors and confuse the musician.

The solution was to create impressions of the performer’s ear canals, then mold each earphone of a pair to provide a perfect fit with the corresponding canal. High-end audio has adapted this approach to creating very-high-quality in-ear monitors for music listening at home or on the go. The in-ear monitor not only provides high isolation from noise; the airtight fit allows the tiny transducer to perform optimally. A high-quality in-ear monitor can deliver spectacular performance, including bass of a depth and power not normally associated with tiny personal listening devices. Another benefit is comfort. Because in-ear monitors precisely match the shapes of your ear canals, you can almost forget they’re there. Moreover, the slightly larger size of in-ear monitors relative to earbuds gives designers room to include more elaborate transducers. Finally, a custom-fit in-ear monitor can provide as much attenuation of background noise as a headphone that uses active noise-canceling technology (described later).

To create the molds from which in-ear monitors will be cast, an audiologist trained in creating in-ear impressions injects a semi-liquid silicone or acrylic material into your ear. During this process, you’ll be asked to hold a plug in your opened mouth, to prevent your ear canals from moving as the material solidifies. About 15 minutes later, the audiologist removes the now-solid material, which retains a perfect impression of your ear canal. Each in-ear monitor is hand-cast from

such a mold to create a shape unique to your ear. Note that the entire in-ear monitor—not just the tip—conforms to your ear canal’s shape. To ensure an absolutely perfect fit, some in-ear monitors are made from a pliable material that softens slightly

Robert Harley

Excerpted and adapted from The Complete Guide to High-End Audio (fifth edition). Copyright © 1994–2017 by Robert Harley. hifibooks.com. To order call (800) 841-4741.

Fig. 1 Earphones offer much better sound quality than earbuds. (Courtesy Cardas Audio)



when warmed by your ear canal. Many makers of in-ear monitors bring an audiologist to consumer hi-fi shows to create your ear-canal impressions right on the spot. The finished monitors are shipped to you several weeks later.

Because the market for musicians’ in-ear monitors is relatively large and the customers are so demanding, much research has gone into designing good-sounding products. Some in-ears are extremely elaborate, and may include five drivers and two crossover points—one bass driver, two midrange drivers, and two tweeters, for example. Others rely on a single full-range driver. No matter their number, the drivers are usually miniature versions of the moving-coil cones found in freestanding loudspeakers. Another type of transducer used in in-ear monitors is called the balanced-armature driver, in which the armature is a tiny rod balanced on a pivot point, like a teeter-totter, within a magnetic field. The audio signal is applied to a coil surrounding the armature, which creates a fluctuating magnetic field that magnetizes the armature. The armature’s own magnetic field reacts with the fixed magnetic field created by the magnet, causing the armature to oscillate and, with it, transmit those vibrations to a tiny diaphragm connected to one end of the armature. An upper-end in-ear monitor may contain several balanced-armature transducers, each optimized for reproducing a different range of frequencies. Balanced-armature drivers are extremely efficient, requiring very little power to produce sound.

Custom-fit in-ear monitors require a greater commitment of time and money than off-the-shelf earphones, but their combination of comfort, noise isolation, and, most important, sound quality is unequaled among in-ear listening devices

HEADPHONESMany listeners prefer headphones to in-ear products, particularly those for whom portability isn’t important. As good as high-quality custom in-ear monitors can sound, it’s headphones that provide a state-of-the-art personal listening experience. In addition, some listeners find in-ear monitors uncomfortable and prefer the feel of headphones.

Which are the best headphones? There’s are as many right answers to this question as there are listeners and specific applications. Choosing the right headphones for you begins with defining how you will use the headphones, what combinations of sound and comfort you most value, and your budget. Let’s explore some of these criteria, keeping in mind that many of them overlap.

Location and intended use: Where will you use the headphones? If you plan to listen in public places such as airplanes, trains, or subways, you’ll want the headphones to provide isolation from outside noise as well as prevent pedestrians nearby from hearing your music. Earphones that provide a good fit—and all custom in-ear monitors—provide excellent isolation from ambient noise. (But remember that keeping outside noise from intruding on your listening experience can also prevent you from hearing sounds that warn of danger.)

Conversely, if you’re buying headphones because your home system is headphone- rather than loudspeaker-based, or to enjoy music late at night without disturbing neighbors or family members, noise isolation and portability won’t be as important. For home listening, your top priorities should be sound quality and comfort.

Supra-aural and circumaural: Headphones are classified by how they fit on your head: supra-aural and circumaural. Supra-aural (literally, “over the ear”) headphones have pads that rest on the ears (Fig. 2), which is why they’re also called “on-ear” headphones. By contrast, a circumaural

(literally, “around the ear”) headphone completely covers and encloses the entire ear (Fig. 3). Supra-aural headphones are generally lighter and smaller, and fit more easily in a travel bag. Their disadvantage is that they allow outside sounds to intrude on the listening experience, which can be distracting. (This also works in the other direction: Supra-aural headphones leak sound from the headphones to the outside world, potentially disturbing people nearby. Supra-aural headphones are thus not a good choice for subway commuters or airline passengers.) By completely enclosing the ear, circumaural headphones provide greater isolation from outside sounds, and those nearby won’t hear your music. If you plan to listen in the presence of people who may be bothered by your music, choose circumaural over supra-aural headphones.

Open-back vs. closed-back: A second major division in headphone design is open-back and closed-back headphones. In open-back ’phones (Fig. 4), the side of the diaphragm facing away from the ear is open to the outside world. Conversely, a closed-back design (Fig. 5) completely seals the driver in an enclosure. Open-back headphones provide less isolation from outside noise and allow others nearby to hear your music.

Generally speaking, open-back headphones have a more spacious soundstage and better imaging, and closed-back

Fig. 2 Supra-aural headphones rest on your ears, and are also called “on-ear” headphones. (Courtesy Bowers & Wilkins)

Fig. 3 Circumaural headphones surround the entire ear. (Courtesy Beyerdynamic)

Fig. 4 Open-back headphones often sound better than the closed-back variety, but offer less isolation from outside sounds. (Courtesy Grado Labs)



headphones have deeper, more powerful bass. Completely enclosing the driver, however, causes the sound radiated from the rear of the diaphragm to be reflected from the enclosure back into the diaphragm, introducing unwanted diaphragm motions that are heard as colorations and smearing. Generally, open-back ’phones offer better sound quality than closed-back designs. Closed-back ’phones can also make your ears feel hotter with extended use; open-back ’phones “breathe.”

Portability: The ultimate in portability is provided by earphones and in-ear monitors, which are often supplied with a small travel case that easily fits inside a briefcase, backpack, or purse. Some listeners object to inserting objects in their ears, and will opt for headphones even for traveling. If portability is important, look for headphones that fold up for storage in a travel case.

Comfort: The best-sounding headphones in the world won’t be much good if they’re uncomfortable to wear. Headphones vary immensely in how they feel on the head and against or around the ears, and any discomfort will only increase the longer they are worn. There’s some agreement about which model headphones are generally comfortable and which aren’t, but everyone’s head is different. If possible, you should wear the headphones under consideration for an extended period before committing to a purchase.

Generally, lighter headphones are more comfortable than heavier models. Supra-aural headphones that rest against the ear usually weigh less than circumaural ’phones that enclose the ear, but the pressure applied to your ears by supra-aural headphones can be irritating. Also consider the headband padding, which ranges from a vinyl cover over bare metal to a deep cushion. Because every listener’s head has a different shape and size, some brands or models of headphones will naturally fit you better than others.

Ruggedness: If your headphones will never leave your listening room, rugged build-quality

won’t be an important consideration. For those who carry their ’phones everywhere they go, choosing headphones designed to withstand the rigors of daily travel is essential to realizing a long service life. Headphones designed for professional use are usually more durable.

Sound quality: The criteria for judging the sound quality of headphones and loudspeakers are the same: You want a smooth tonal balance with no colorations, particularly through the midrange. The bass should be extended and full, but not bloated and thick. Headphones vary considerably in their treble extension and sense of openness, and a model that lacks good treble extension will sound closed-in. Transparency, resolution, and dynamic range are all important factors in how much musical satisfaction headphones deliver in the long term. Listen to familiar music through the headphones you’re considering, preferably for an extended audition.

Noise canceling: Active noise canceling is a technology that suppresses steady-state background noise, such as the din generated by airplanes, cars, and trains. Here’s how it works: A built-in microphone picks up ambient sound, amplifies that sound, inverts its polarity, and drives the headphones with the inverted signal. This inverted signal cancels, to some degree, the ambient sound leaking into your ears. Noise-canceling headphones greatly reduce fatigue on long flights. By lowering the level of background noise, this technology can also make music more intelligible and higher in resolution.

Noise-canceling headphones require a power source: either an integral rechargeable battery pack, or two or more replaceable AA or AAA batteries. They’re a little larger and more expensive than conventional headphones, but if you travel frequently, they can go a long way toward making travel more pleasant. There’s no reason why noise-canceling headphones need to compromise fidelity; I own a pair of terrific-sounding headphones (PSB M4U2) that happen to have noise-canceling technology. They greatly reduce the constant roar inside an airplane cabin; I wear them even when I’m not listening to music.

Amplifier matching: As later explained in technical detail, headphones perform best when their electrical characteristics match those of the amplifier driving them. The primary specification to look at is the headphones’ impedance. Briefly, inexpensive portable audio devices tend to work best when driving headphones of high impedance (i.e., higher than about 100 ohms). Low-impedance headphones perform better when driven by a more robust amplifier, such as those found in portable DACs and dedicated headphone amplifiers. See this article’s “Headphone Specifications” section for more detail on this subject.

Balanced and unbalanced drive: Some headphones offer the option of balanced connection between the amplifier and headphones. Balanced connection carries the audio signal on three conductors rather than two. Balanced connection requires headphones that are wired to accept balanced connectors, as well as an amplifier designed for balanced operation.

Wireless headphones: Wireless headphones free the user from being tethered to the amplifier, but that convenience comes at a price: sound quality. Wireless headphones often use Bluetooth for transmitting the signal between the base station and the headphones. Bluetooth employs a coding and decoding system to reduce the bit-rate and thus the wireless signal’s bandwidth. For that reason, wireless headphones aren’t recommended except for casual use or with the multichannel headphones described later.

Dynamic, electrostatic, and planar-magnetic headphones: An electrical signal can be converted into sound by various technologies, including

Fig. 5 Closed-back headphones are the best choice when you don’t want to disturb those around you. (Courtesy PSB Speakers)



the dynamic moving-coil driver, the electrostatic panel, and the planar-magnetic transducer. You’ll find a similar array of technologies among high-end headphones. Each of these technologies is simply a scaled-down version of the dynamic, electrostatic, and planar-magnetic drivers found in freestanding loudspeakers.

The vast majority of headphones have dynamic drivers. Dynamic headphones are rugged, small in size, and low in weight relative to electrostatic and planar-magnetic headphones. Although some dynamic headphones are expensive, they are generally less costly than electrostatic and planar-magnetic designs. The headphones shown in Figs. 2 and 3 are dynamic designs.

Electrostatic headphones are rare, but they have a cult following because of their outstanding transparency, resolution, and speed. These qualities, which they share with electrostatic freestanding loudspeakers, are conferred by the electrostatic diaphragm’s large surface area and extremely low mass. Such a lightweight diaphragm can respond very quickly to input signals, infusing the sound with a lifelike realism and a resolution of low-level detail that are generally lacking in dynamic designs. The treble of electrostatic headphones is free from distorting resonances and extends well beyond 20kHz. The downside of electrostatic headphones is the need for a high-voltage outboard power supply to charge the diaphragm, as well as an amplifier of sufficient voltage output to drive the ’phones. Because this power supply and amplifier must be plugged into an AC wall outlet, electrostatic headphones can’t be used for portable listening.

The classic electrostatic headphones—the model that popularized the technology—are the Stax SR Lambdas. Released in 1979 at the then whopping price of $340, the SR Lambdas brought unprecedented sound quality to headphones, and were a favorite model among audiophiles and location recording engineers. Fig. 6 shows a set of contemporary electrostatic headphones.

The third primary headphone technology is the planar-magnetic driver: a very thin, lightweight diaphragm to which a conductor is bonded. The diaphragm is suspended in a magnetic field created by permanent magnets on both sides of the diaphragm. The audio signal passes through the conductor bonded to the diaphragm, creating a varying magnetic field. The variations in this magnetic field constitute an analog of the audio signal and interact with the permanent magnetic field, pushing and pulling the diaphragm to vibrate the air and thus create sound. The drivers in planar-magnetic headphones have much lower moving mass than dynamic drivers, a larger surface area, faster transient response, lower distortion, and greater frequency extension. Planar-magnetics can deliver exceptional sound quality, with resolution, dynamics, and tonal fidelity that rival those of state-of-the-art loudspeakers. Fig. 7 shows a pair of high-end planar-magnetic headphones.

HEADPHONE ENHANCEMENT TECHNOLOGIESAs great as today’s state-of-the-art headphones have become—and they have become spectacularly great—they are nonetheless limited in their ability to create a three-dimensional sound stage. Rather than project instrumental and vocal images in front of the listener within an apparent acoustic space, headphones tend to produce “inside-the-head” imaging. To understand why, consider that when listening to speakers or live sounds, the left ear hears some right-channel information and vice versa,

in a phenomenon called inter-aural crosstalk. The left-channel sound reaching the right ear also arrives slightly later at the right ear than it does at the left ear. But when listening to headphones, the right ear hears only right-channel information, and the left ear hears only left-channel information. Without inter-aural crosstalk, the brain is unable to construct a convincing illusion of sounds existing in space in front of us, as with loudspeakers.

Let’s look at several techniques and technologies that attempt to make the headphone listening experience more like that of hearing live music:

Crossfeed circuits: A simple solution to the problem of “ inside-the-head” imaging is the crossfeed circuit, which has been around since the 1950s. A crossfeed circuit electronically re-creates the inter-aural crosstalk that occurs when listening to two stereo loudspeakers. The circuit mixes into the left channel some right-channel information that has been greatly attenuated and slightly delayed and vice versa.

Crossfeed circuits are built into some headphone amplifiers. A switch allows you to turn off the effect if you find the sound unnatural. Many listeners find crossfeed circuits a mixed blessing; they reduce “inside-the-head” imaging, but sometimes at the expense of blurring imaging, softening the treble, reducing resolution, and muting dynamic contrasts. There’s no definitive answer as to whether crossfeed circuits are a benefit; some listeners like the effect, some don’t.

Smyth Virtual Surround (SVS): The most innovative approach to overcoming the inside-the-head imaging of headphones is undoubtedly Smyth Virtual Surround (SVS). Developed by Stephen Smyth, who invented the codecs that later became the basis for the DTS multichannel surround-sound formats. SVS is a technology that produces a listening

experience through headphones that is indistinguishable from listening

to a stereo or multichannel loudspeaker

Fig. 6 Electrostatic headphones are prized for their lifelike realism and resolution. (Courtesy Stax)

Fig. 7 Planar-magnetic headphones can deliver state-of-the-art sound quality. (Courtesy Audeze)



system in a room. SVS is implemented in a commercially available hardware platform called the Smyth Realiser A8.

Here’s how it works. You insert in your ear canal earplugs in which are embedded tiny microphones. After connecting the mikes to the Realiser A8 audio processor (a component about the half the width of the average preamplifier), you play a test signal through your home audio system’s speakers while you sit in the listening position. You then put on a pair of headphones and play a second test signal, which is again picked up by the mikes inside your ears. The whole process takes about five minutes. After that, whenever you listen to music through headphones connected to the Realiser, you hear a startlingly realistic rendering of your speakers in your listening room. The imaging is moved outside the headphones into an immersive three-dimensional space that is indistinguishable from the sound of the speakers in the room.

If you measured different speakers in a different room, the headphone sound will mimic those speakers in that room. As its name suggests, Smyth Virtual Surround works not only for stereo systems, but also for full surround-sound loudspeaker arrays. The impression of hearing surround information located far behind you through stereo headphones is uncanny.

There’s a reason the room/speaker system and headphone measurements were made with tiny microphones inside your ear canal. To understand that reason, you need to know that the outer ear, called the pinna, plays a vital role in locating sounds. The pinna’s pattern of folds and bumps (the medical terms are folds and bumps) create a complex series of sound reflections that result in a series of minute delays in the sounds reaching your eardrum. When the direct sounds striking your eardrum are combined with the sounds delayed by the reflections introduced by the pinna, the result is comb filtering: a series of notches in the frequency response. The patterns of the frequency-response notches change with the sound’s direction, and the brain analyzes these comb-filter patterns, and the changes in them, to instantly pinpoint the sound’s direction. The head and torso are also sources of reflected sound and play roles in this mechanism. This modification of a sound by the head and ear is called the head-related transfer function (HRTF).

During its measurement process, the Smyth Realiser A8 captures your particular HRTF (everyone’s is different). On playback, the Realiser uses digital signal processing (DSP) to impose on the audio signal your HRTF, fooling

your brain into perceiving the sound as existing in three-dimensional space, complete with the tonal balance and spatial cues present in the room where the measurement was taken. Note that the Realiser also measures and then re-creates the “transfer function” of your loudspeakers and room—the way the speakers and acoustics modify the test signal, and thus the musical signal, on playback.

This technology opens up startling possibilities. You could measure a world-class audio system in a state-of-the-art listening room, then replicate that listening experience through headphones in your own home. Professionals use the Realiser to replicate, on location or in another studio, a known optimal monitoring environment.

Binaural listening: Smyth Virtual Surround simulates, via digital signal processing, the head-related transfer function that can immerse us in a three-dimensional soundfield when listening to stereo headphones. But there’s another way of creating that effect: to record music with an HRTF impressed on the recorded signal. The technique, called binaural recording, involves recording with microphones inside the sculpted ears of a dummy head, or Kunstkopf (Fig. 8). When played back through stereo headphones, a binaural recording can re-create the impression of sounds emanating from any location around you. (I heard a binaural demonstration of a dummy head getting a “haircut”—in reality, a recording of someone opening and closing a pair of scissors while moving in 360° around the dummy head. The spatial presentation was so realistic that it was unnerving.) Note that, to hear the intended spatial effect of binaural recordings, you must listen to them through stereo headphones.

Binaural recordings can be made without a dummy head: with a pair of microphones placed about 7” apart and facing away from each other, replicating the distance between a human head’s ears. These quasi-binaural recordings can provide greater spatial realism through headphones, but don’t approach the full spatial realism that binaural recordings made with a dummy head are capable of.

The ultimate binaural recording would be made using your HRTF. The dummy head is just a generic average of all human heads in size and shape, and thus doesn’t perfectly deliver precise spatial cues. Everyone’s HRTF is different, particularly the comb filtering created by the pinna’s folds and bumps. I’ve read of experiments in which recording microphones were placed inside the ear canals of a human sitting in a concert hall while an orchestra played; the recording was later played back to the same person through in-ear monitors. Although playback occurred in a tiny room, the effect was a near-perfect simulation of the spatial experience of sitting in a vast concert hall. As part of this experiment, the recording was played back to listeners other than the one whose HRTF was used to create the recording—and to those listeners, the sound was horribly distorted. This was because the unique HRTFs of the listeners not involved in the recording had been replaced by the

HRTF of the single listener who was involved. Each person’s brain is adapted to his or her own HRTF; the combination turns what is, objectively, a gross distortion produced by comb filtering into a coherent and natural perception of sound. The uniqueness of one’s own adaptation is starkly exposed when one listens to another person’s head-related transfer function.

Fig. 8 Binaural recordings are made with microphones inserted in the “ear canals” of a dummy head. (Courtesy Georg Neumann)



Software for headphone listening: Finally, outside-the-head imaging can be created in software running on a personal computer. The software simulates the head-related transfer function of speakers in a room by applying DSP filters to the music signal on playback. The software offers the simulation of a wide range of well-known high-end speakers in various rooms, allowing you to choose the one that sounds best to you. The HRTF data was created by actually measuring those speakers in different rooms, producing a remarkable facsimile of the loudspeaker experience through headphones. The software package Out of Your Head from Darin Fong Audio allows you to audition the various speaker/room combinations before you choose which to buy and download.

Multichannel headphones: Multichannel playback through stereo headphones can be achieved with less sophisticated technology than Smyth Virtual Surround, though not nearly as convincingly. Often called “Dolby headphones,” this product category uses DSP to mimic the HRTF, enabling the headphones to position sounds anywhere around the listener. Dolby headphones typically include a Dolby Digital decoder that takes a Dolby Digital bitstream from a TV, DVD Blu-ray Disc player, or other source, and outputs a signal to the headphones that creates a facsimile of hearing surround sound through stereo ’phones. With Dolby headphones, you hear dialogue from the center, music and effects at the left and right, and surround information from all around you. Dolby headphones, which are often wireless, are good for watching movies late at night and/or if you don’t want to disturb others. They can also be useful for those who are hard of hearing; the greater clarity provided compared to listening to the tiny speakers built into a television can open up a new world. This is particularly true of dialogue, which often gets lost when reproduced by television speakers but is much more intelligible when reproduced through headphones, largely because it’s spatially separated from the soundtrack’s music and effects.

HEADPHONE SPECIFICATIONSAs with loudspeakers, reading a headphone’s specification sheet won’t tell you how the headphones sound or how comfortable they are. But, as with speakers, some headphone specs are useful in selecting the right model for your application.

The most common specification is frequency response, with which we’re all familiar. A headphone model’s frequency-response spec may read “20Hz–18kHz,” but this is misleading. Headphones don’t have flat measured response; instead, they’re designed to sound flat to listeners wearing them. It’s not unusual for headphones to have multiple amplitude peaks of as much as 10dB in the upper-midrange to mid-treble region (roughly 3–8kHz). Such peaks in a loudspeaker would make it unlistenable, but in headphones the peaks produce a more natural tonal balance. What’s more, frequency-response measurements of headphones are inconsistent compared with speaker measurements; moving the headphone measurement microphone only 1⁄16” results in a radically different measured response. The measurement protocols for testing freestanding speakers are much more standardized and reliable. Finally, there’s no correlation between good speaker frequency response and “good” measured headphone frequency response, because there’s no consensus about which headphone frequency response produces the most natural tonal balance. This is why you can’t tell much about how a pair of headphones will sound based on looking at their frequency-response spec, or even their frequency-response curve.

A more useful spec is of headphones’ impedance. Impedance is resistance to current flow (this is a simplified definition). The impedances of headphones span a far wider range of values than do those of

freestanding speakers. A loudspeaker’s nominal impedance is typically between 4 and 8 ohms, but headphone impedances range from about 15 to 600 ohms.

The lower a speaker’s impedance, the more robust the amplifier driving it needs to be. A low-impedance speaker forces the power amplifier to deliver more current to the drivers. That’s why a low-impedance speaker is best driven with a powerful amplifier.

Similarly, low-impedance headphones sound best when powered by a high-quality amplifier. The inexpensive amplifiers built into smartphones, tablets, low-end portable music players, and even some A/V receivers can’t deliver much output current to headphones, and are therefore not well suited to driving low-impedance models. The sound will be weak and anemic, and the bass mushy. The best amplifiers for low-impedance headphones are dedicated outboard headphone amplifiers, or the headphone amplifiers built into high-quality DACs. High-impedance headphones are a better choice with inexpensive mass-market electronics that include an integral headphone amplifier.

Knowing the headphones’ impedance is crucial to matching them with the amplifier that will drive them, specifically the amplifier’s output impedance. The rule of thumb is that the headphones’ impedance should be at least ten times the amplifier’s output impedance. If the amplifier’s output impedance is greater than one-tenth the headphones’ impedance, the headphones’ frequency response (tonal balance) will be affected. This is one reason the same headphones sound different when driven by different amplifiers. In addition, an amplifier with a high output impedance will have a low damping factor; that is, its ability to control the motion of the drivers’ diaphragms will be limited. Low damping factor is associated with lack of tautness, weight, and precision in the bass. Headphones driven by a headphone amplifier follow the same electrical laws as speakers driven by a home stereo amplifier.

If the headphone amplifier’s output impedance is less than 2 ohms, that amplifier should have no problem driving any headphones. But many headphone amplifiers have higher output impedances, especially those found in inexpensive portable devices. The designers of those budget devices add a 30-ohm resistor to the amplifier’s output to protect the op-amp driving the headphones. Although this technique makes the amplifier more reliable and stable, it virtually ensures that the device won’t sound good with most of



the headphones on the market. Many high-end headphone amplifiers have output impedances of a fraction of an ohm, and will drive any headphones with ease. Some high-quality headphones have a very low impedance; their designers assume that they will be driven by low-output-impedance amplifiers.

The last specification you should know about is sensitivity: a measure of how much sound the headphone produces for a given amount of input power. Specifically, the sensitivity spec expresses the sound-pressure level (SPL) the headphone outputs when driven by 1 milliwatt (1mW) of power. The sensitivity of headphones ranges from a low of about 70dB/mW to as high as 125dB/mW. The lower the sensitivity, the more amplifier power needed to achieve a given SPL.

HEADPHONE AMPLIFIERSEvery pair of headphones needs to be driven by an amplifier, whether that amplifier is an integral component in a portable music player or computer, an outboard digital-to-analog converter, the headphone output built into a home-audio component, or a dedicated

headphone amplifier. The amplifier’s quality plays a large role in how the headphones will sound.

The headphone amplifiers built into most portable devices are inexpensive operational amplifiers (op-amps) that can’t generate the voltage and deliver the current required by most headphones. To make matters worse, the high output impedance of op-amps introduces many problems, including an erratic frequency response that changes depending on the headphone model, a limited ability to deliver current to the headphones, and a low damping factor, all of which contribute to poor bass performance and limited dynamic range.

Higher-quality headphone amplifiers (Fig. 9) have very low output impedance (as low as 0.01 ohm) and thus a high damping factor, lower distortion, an ability to generate sufficiently high voltage and current to the headphones. The low output impedance also ensures that the amplifier won’t interact with the headphones’ impedance curve to introduce frequency-response errors. Virtually all stand-alone dedicated headphone amplifiers have these advantages. A few esoteric tubed designs, however, forgo low output impedance in favor of other qualities the designer believes are more important. One example is negative feedback in the amplifier: More negative feedback lowers an amplifier’s output impedance, but at the expense of sound quality, in the view of some designers. Such high-output-impedance amplifiers are best used with very-high-impedance (600 ohms) headphones. As always, before purchase, it’s best to audition a headphone amplifier with the headphones you plan to use with it.

If you choose in-ear monitors, it’s important to buy an amplifier with a high signal-to-noise ratio. The in-ear monitor’s high sensitivity converts more of the input signal to sound than do other types of personal listening devices, and that includes any noise generated by the amplifier.

Good amplifier performance isn’t strictly the province of dedicated headphone amplifiers; many portable DACs include a high-quality headphone amp. (Sometimes, such products are called “DAC/headphone amplifiers.”) Headphone jacks are appearing on an increasing number of products, such as integrated amplifiers and DACs designed for home use. However, the quality of the amplifiers driving those headphone jacks varies greatly with the product. In some components, the headphone jack is merely an afterthought, provided for convenience or to make the product more commercially appealing. In others, the headphone amplifier has received serious design attention and is built to a very high standard.

If headphone listening is important to you, search out those products that include a well-designed headphone amplifier.

BALANCED AND UNBALANCED DRIVEMost headphone jacks accept the familiar ¼” phone plug or the smaller 3.5 or 2.5mm stereo plugs. Each of these plugs has three sections—tip, ring, and sleeve—which is why they’re also called TRS plugs. The ring and tip respectively carry the right- and left-channel audio signals, and the sleeve is the common ground for both channels. This type of connection, called unbalanced, is shown schematically in Fig. 10. The right-channel signal, carried by the ring, is connected to one side of the right-channel headphone driver’s voice coil. The left-channel signal, carried by the tip, is connected to one side of the left-channel headphone driver’s voice coil. The sleeve is connected to the other side of both the left and right drivers’ voice coils.

Some high-end headphones and headphone amplifiers offer balanced connection, sometimes carried via dual three-pin XLR connectors. For portable applications, balanced output is sometimes available on a four-pin XLR connector, or a 3.5 or 2.5mm tip-ring-ring-sleeve (TRRS) jack. In balanced connection, shown schematically in Fig. 11, the amplifier powers

Fig. 10 Unbalanced headphone drive (Courtesy headphone.com)

Fig. 9 A high-quality dedicated headphone amplifier. (Courtesy Pass Labs).

Fig. 11 Balanced headphone drive (Courtesy headphone.com)



the voice coil in each headphone driver with two audio signals of opposite polarity; the amp is connected to both sides of the voice coil.

Balanced connection requires that the headphones be wired for balanced drive, and that the amplifier offer a balanced output. The advantages include better control over the diaphragm’s movement by the amplifier. This is because a balanced amplifier can swing twice the voltage of an unbalanced amplifier (all else being equal), and swing that voltage in half the time (a faster slew rate). Distortion is reduced, and crosstalk (i.e., unwanted signal leakage between channels) is eliminated because the left and right channels don’t share a ground, as in unbalanced connection.

DIGITAL AUDIO PLAYERSA digital audio player and a pair of headphones is nothing less than a music server and stereo playback system that can fit in your hand. Together, this combination lets you enjoy your favorite music with true high-end sound quality, anywhere and anytime. In my view, that’s a compelling reason to invest in a high-quality mobile audio system. This is particularly true with today’s portable devices that are compatible with high-resolution audio, that allow you to stream music from lossless subscription services such as Tidal, and that will seamlessly connect with your home music server. A portable audio system can be as simple as a smartphone and a pair of earphones, or as complex as a dedicated player, miniature DAC, outboard headphone amplifier, and high-quality circumaural headphones.

See the companion article on how to choose a digital audio player.

DESKTOP AUDIOThe computer-audio revolution has provided a simple path for anyone to enjoy music on a desktop while working. You likely already use a computer running iTunes that is connected to the Internet’s streaming music services, so why not add a small amplifier and a pair of desktop speakers? In fact, I’m listening to my desktop-audio system as I write this.

The simplest way to get desktop audio is by adding a pair of small speakers with integral DACs and amplifiers. Connect the speakers to your computer via a USB cable, optical connection (TosLink), or SPDIF coaxial (on an RCA jack), and you’re ready to listen. (Note that powered “computer speakers” don’t contain an integral DAC; they’re fed from the computer’s analog output. As you’ll never get good sound from the computer’s analog output, computer speakers can be greatly improved by adding an external DAC.)

The next step up in quality is realized with passive desktop loudspeakers, an outboard DAC, and amplifier. The portable DAC/headphone amplifiers described above will also work in a desktop system. But rather than driving headphones, the DAC’s analog output connects to a small amplifier that will drive desktop speakers. Because nearly all desktop amplifiers have RCA input jacks, you’ll need a 3.5mm-to-RCA breakout cable (Fig. 12).

DACs designed specifically for desktop audio have RCA outputs, obviating the need for the breakout cable. They also differ from their portable brethren in that they’re powered from an AC wall outlet (often through a “wall-wart” transformer) rather than from the computer via the USB bus. Powering a DAC from an AC wall outlet is a big sonic advantage because the power to the DAC circuitry can be cleaner and more stable. Desktop DACs may also include a volume-control knob.

High-quality DACs can also be built into integrated amplifiers, replacing two components on your desktop with one (Fig. 13). Although the integrated amplifiers with built-in DACs designed for driving floorstanding speakers in a living room will work on a desktop, they tend to be large and expensive, and are often overkill for desktop audio. A number of companies offer

small, affordable, unobtrusive integrated amps with high-quality DACs and power outputs that range from about 20 to 100Wpc. A few provide an output jack for connecting a powered subwoofer. Many are built around Class D output stages, which offer small size, low cost, light weight, and cool operation.

Desktop speakers are typically small two-ways specifically designed for nearfield listening (Fig. 14). Smaller bookshelf speakers will also work on a desktop. Some desktop-specific speakers are angled so that the tweeters are aimed up toward your ears. Like any other speaker, passive desktop speakers need to be matched to the amplifier driving them. Small speakers tend to have low sensitivity, which requires more amplifier power. But because you’ll usually sit just a few feet away from the speakers, they don’t need to play very loudly.

If you want more bass than what’s possible from a speaker that fits on a desktop, you may choose to add a subwoofer. The guidelines for selecting and setting up a subwoofer for your living room also apply to subwoofers that augment the bass output of desktop speakers. It’s crucial that the signal driving the desktop speakers has been high-pass-filtered by a crossover, either in the integrated amplifier driving them or in the subwoofer itself.

Between your home system, portable audio player and headphones, and desktop-audio package, you’ll have great-sounding music whenever and wherever you want. uhg

Fig. 14 Some desktop loudspeakers can offer outstanding performance. (Courtesy Audience)

Fig. 12 A breakout cable with a 3.5mm stereo plug at one end and dual RCA jacks at the other end is often needed between a DAC and desktop amplifier. (Courtesy AudioQuest)

Fig. 13 A combination DAC/amplifier designed for desktop audio (Courtesy Chord Electronics)

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Earphones & CIEMs

The goal of the Chinese firm 1MORE is to build sonically and technically advanced earphones that just about everyone can afford. Thus, its E1001 model sells for only £99/$99, although it sports the kind of hybrid array of drivers (a dynamic woofer and a pair of balanced-armature tweeter/earphones) that you

might expect to find in typical £300/$300-plus earphones. Despite its disarmingly low price, the E1001 arrives in sophisticated,

upscale packaging and comes with an unexpectedly broad array of useful accessories. The package includes five sets of silicone eartips—six sets if you include the tips that come fitted on the earphones (in sizes 10, 11, 12, 13, and 14.5mm), three sets of compressible-foam eartips (in sizes 11, 13, and 14.5mm), a metal garment clip, an airline adapter, a magnetic closure carry case, and a tiny carton-within-a-carton that contains the 1MORE user guide and warranty card. The E1001 also comes with fabric-jacketed signal cables fitted with metal mini-plug and Y-yoke assemblies, plus an in-line remote control/mic module compatible with both Apple iOS and Android phones.

Naturally, the real test comes when you plug the 1MOREs into your smartphone or digital audio player and give them a careful listen, and I’m pleased to say that in our listening tests this affordable earphone did not disappoint.

The E1001 delivers a big, full-bodied sound with very smooth and clear mids and highs, but with an unmistakable touch of bass lift that, I think, represents an effort to make the earphones mimic the sound of loudspeakers, whose low-end output has been augmented by room gain.

While I would hesitate to say that the E1001 sounds overtly bass-heavy, it consistently offers a reassuring touch of midbass weight and warmth that serves as a foundation for the music. I found this voicing characteristic enabled the E1001 model to deliver solid low-frequency performance even with smartphones, which have been known to exhibit serious bass “anemia” from time to time. Similarly, the low-end lift also helps the earphone sound more balanced when it is used in noisy environments.

Also capable of meaningful delicacy and finesse, the E1001 was especially good on tracks with subtle vocal and instrumental details. For example, I listened to a lossless file of Stuart McCallum’s “Dr Doctor” from Distilled through the E1001 as powered by my Samsung Galaxy

smartphone, and was struck by the natural, organic warmth and relaxed clarity and detail the 1MOREs brought to the party. In particular, the E1001 did a fine job of highlighting the juxtaposition between the deep, free-flowing groove established by the ensemble’s powerful bass and kickdrum set against the sharper, airier, and more angular lines floated high up above by McCallum’s electric guitar. The E1001s not only made the track sound “atmospheric,” but, thanks to the earphone’s inherent gravitas, also revealed its rich and almost anthemic qualities—qualities not many affordable earphones are able to reveal.

Over and again, the E1001s gave the impression that they could do many (though perhaps not all) of the things more costly earphones do, but for a fraction of the price. Chris Martens

SPECS & PRICINGType: Triple-driver universal-fit earphoneDriver complement: One dynamic woofer, two balanced-armature tweeter/midranges per earpieceFrequency response: 20Hz–40kHzImpedance: 32 ohms @ 1kHzSensitivity: 99dB SPL @ 1mWWeight: 18gAccessories: Five pairs of silicone eartips, three pairs of compressible foam eartips (11, 13, and 14.5mm), carry case, garment clip, airline adapter plug, warranty card, and user guidePrice: $99/£99

1MORE E1001 Triple-Driver$199 AND BELOW


Earphones & CIEMs

FiiO F9 Pro

FiiO is a Chinese manufacturer of high-performance personal audio products that was founded in 2007 and whose roots can be traced back to the late, lamented firm Oppo. As with Oppo, FiiO is all about offering products that provide up-to-

the-minute technologies and almost astonishingly high levels of performance, but at modest, down-to-earth prices. There is perhaps no better example of this than the FiiO F9 Pro earphones reviewed here.

The F9 Pro features a hybrid driver array consisting of a single dynamic bass driver and a pair of Knowles-made balanced armature-type midrange/high frequency drivers. Many high-end earphone manufacturers tout the fact that their upper-tier models use Knowles-built drivers, but it is unusual to find Knowles drivers in earphones selling for just $140/pair (once again, evidence of FiiO’s value-minded approach).

The F9 Pro offers curvaceous and ergonomic earpieces that incorporate MMCX signal cable connectors that make cable replacement easy. Taking advantage of this feature, FiiO supplies the F9 Pro with two different signal cables, both with MMCX connectors: a braided, balanced cable with a 2.5mm balanced amplifier plug, and a smoothly-jacketed single-ended cable with an inline mic/remote module and a 3.5mm single-ended amplifier plug. The balanced cable is intended for purist listening sessions (provided you have a balanced-output amp/DAC/DAP), while the single-ended cable is the item of choice when using the F9 Pros with tablets or—especially—smartphones.

Completing the picture are a handful of additional, useful accessories, including a watertight hard-shell carry case, a fabric covered neoprene carry case, nine pairs of silicone ear tips, and three pairs of compressible foam ear tips. These accessories would do justice to earphones several times the F9 Pro’s price, so they seem downright sumptuous by the standards of this price class.

From the beginning, the sheer quality of the F9 Pro’s drive units shone through in a powerful way. Many earphones in the sub-$200 range tend to sound at least somewhat congested, lacking in resolution, or dynamically constrained, but the F9 Pro proves the exception to the rule.

Starting from the bottom of the audio spectrum and working our way up, the bass of the F9 Pro is powerful (albeit slightly over-emphasized), but it also offers excellent low-frequency grip, transient attack, and pitch definition. The mids are smooth and suave, with good amounts of detail and an uncanny ability to capture subtle sonic textures and spatial cues in the music. Finally, the highs are delicate, extended, and well delineated, but never rough-edged, brittle, or raw sounding. Candidly, then, the biggest “problem” with the F9 Pro is that you may find you instinctively want to compare it to models several times its

price (this is hardly fair, of course, but it’s a real testimony to the excellence on offer in the F9 Pro).

A track that neatly reveals many of the F9 Pro’s strengths is “Nublado” from Será Una Noche’s eponymous album [MA Recordings, 16/44.1]. “Nublado” is a deep, mysterious Candombe (a dance form similar to a tango) that features guitar, cello, clarinet, bandoneon, and percussion—all captured in the richly reverberant confines of a small church interior. The F9 Pro does a beautiful job of delineating the voices of the individual instruments—especially the haunting and plaintive sound of the bandoneon, the round and evocative voice of the clarinet, and the delicate shimmer of high percussion. If you listen closely, the low percussion elements of the track sound very clear but are just slightly over-powerful, although that presentation actually complements the overall feel of the track quite well.

FiiO’s F9 Pro is an excellent $140 earphone that invites comparisons with models selling for many multiples of its price. Though perhaps not the last word in strict neutrality (owning to its touch of bass lift), the F9 Pro is nevertheless

$199 AND BELOW


Earphones & CIEMs

an unfailingly engaging, energetic, and musically evocative performer. What’s more, its value for the money is off the charts. Chris Martens

TECHNICAL SPECIFICATIONSType: Hybrid dynamics/dual balanced-armature-type universal-fit earphone.Driver complement: One dynamic bass driver, two balanced-armature-type midrange/treble drivers sourced from KnowlesFrequency response: 15Hz–40kHzSensitivity: 106dB SPL/mWImpedance: 28 ohmsAccessories: One molded plastic water resistant carry case with snap closure; one fabric carry case with zipper closure; one 1.2m balanced signal cable with MMCX earphone connectors and a 2.5mm balanced amplifier plug; one 1.2m single-ended signal cable with inline mic/remote module, MMCX earphone connectors, and a 3.5mm amplifier plug, nine pairs of silicone ear tips (various sizes); three pairs of compressible foam ear tips (various sizes); warranty card; and user guide. Weight: 21gPrice: $140 US, £139.99

MANUFACTURER INFORMATIONFiiO Electronics Technology Co., Ltd. GuangZhou, China Postcode 510430URL: www.fiio.net

SummaryVoicing: Fundamentally neutral with a noticeable degree of mid-to-low bass emphasis.

Bass Upper bass Lower mids Mids Upper mids Presence Treble

(All ratings relative to comparably priced models.)

Resolution/Focus:nnnnnnnnnnDynamics/Expression:nnnnnnnnnn

Soundstaging/Imaging:nnnnnnnnnnValue:nnnnnnnnnn

Prosll Notably high quality drivers make an obvious and

welcome audible difference.ll Mids and highs are delicate and articulate, conveying

spatial information beautifully.ll Bass is somewhat emphasized, but offers great

extension, transient attack, and pitch definition.ll Single-ended and balanced cables are a welcome

high-end touch at a not-so-high-end price.

Consll The F9 Pro’s bass emphasis can make some tracks sound

darker, more bottom heavy than they should.

iBasso IT01

iBasso’s IT01 earphones retail for $99 and are the yin to the iBasso DX200 digital audio player’s yang. The DX200 DAP is reviewed elsewhere in this edition of Ultimate Headphone Guide and when combined with the IT01 makes an impressive combination. However, as groovy

as the DX200/ItoT01 combo is, the IT01 earphones deserve consideration in their own right. Whether or not you might be stretching out to own the upper-end $869 DX200 DAP, iBasso intends the IT01 to make its own splash in the crowded world of $100 earphones.

The IT01 features a 10mm dynamic driver system developed in-house by the iBasso team that pulls together three key technologies. The first of these involves the IT01’s Multi-layer driver diaphragm, which iBasso forms from ultra thin 5μm sheets of carbon graphene material that, at a microscopic level, are significantly stronger than steel. The extreme thinness and strength of the diaphragm frees the IT01 driver from the need to be mechanically damped. Relying instead on air-damping alone, the iBasso dynamic driver produces extremely low distortion. The second key technology involves the driver motor’s extremely strong customized magnets that are said to approach 1 Tesla of magnetic flux—an impressive figure of merit in any headphone, but especially so in such a compact driver assembly. The third key driver technology involves dual Helmholtz resonators into which the drivers are loaded. These unique dual resonator units operate as a series of cylindrical neck and cavity connections and were designed to prohibit unwanted standing sound waves and thus produce a clearer and more full-bodied sound.

The IT01s can be purchased in two color options: one with a blue (left) and red (right) combo or a second option in all black. They come complete with a wide array of flexible ear tips giving you several options to find a comfortable and air-tight seal in your ear canals. A rather visually striking

$199 AND BELOW


Earphones & CIEMs

iBasso IT01

feature of the IT01s is a handmade braided 4-wire OFC cable, complete with MMCX earphone connectors. This handsome cable looks and feels like a high-quality speaker cable and has the added benefit of being designed to reduce any annoying microphonic transmittal of sound. I found that the IT01s were initially a bit tricky to learn how to set in my ears so as to develop the proper seal, but once I got the hang of it, they proved to be a very comfortable earphone that quickly let me forget about their physical presence.

During listening tests the IT01s continually surprised by opening up space in the music. The treble and bass were well proportioned in relation to a spacious and detailed—albeit slightly forward—midrange. Regardless of what was playing the IT01s seemed to continually flout the convention that a sub $200 earphone has to settle for a pent up and congested sound. Apollo Sunshine’s crown jewel “Phyliss” from their eponymous debut album [spinART] is a sonic tour de force that shows what the IT01 can do. The IT01s helped convey the artist’s intentions by accurately allowing the track’s tempo to tell a story, starting with a painfully slow bass line and then building to a runaway freight train of fuzz guitar that concludes the piece like a bomb exploding. Apollo Sunshine’s crescendo of chaos can absolutely bury a weak earphone that can not precisely organize sound, but the IT01 was able to keep the complex wall of sound breathing and open in a manner on a par with earphones in far higher price classes.

For $99, the looks and build quality of the IT01 already separate it from its competition, but when you take a listen you might agree these iBasso earphones are so good that they will lead you to ask, “Why spend more?” Pair the IT01 with the DX200 for best results, but if you can’t swing the entry fee, feel confident that you are getting an excellent value for your money no matter what playback device you choose. Buzz Hughes

TECHNICAL SPECIFICATIONSType: Dynamic driver universal-fit earphoneDriver complement: 10mm dynamic drivers with 5μm-thick multi-layer grapheme diaphragms, loaded into dual Helmholtz enclosuresFrequency response: 10Hz–42kHzSensitivity: 108dBImpedance: 16 ohmsAccessories: Round tin carrying case, 10 pairs of silicone rubber and 2 pairs of compressible foam ear tips (sizes XS, S, M, L), 1.2m 4-wire braided signal cables with MMCX earphone connectors and OFC conductors.Price: $99 US, £89.99

MANUFACTURER INFORMATIONiBasso AudioURL: www.iBasso.com

UK DISTRIBUTOR INFORMATIONDAD Ltd.Musselburgh, EH21 6SY UKTel: +44 0131 665 8439

US DISTRIBUTOR INFORMATIONExtreme Audio USATel: +1 (800) 978-2671

SummaryVoicing: Neutral bass and treble with mildly elevated mids.



Resolution/Focus:nnnnnnnnnnDynamics/Expression:

nnnnnnnnnnSoundstaging/Imaging:nnnnnnnnnn

Prosll Classy looks.ll Open sound.ll Detailed and dynamic sonic presentation.

Consll Can be tricky to adjust for a proper in-ear fit. ll Some might consider the IT01’s slightly midrange-

forward presentation a bit bright.

$199 AND BELOW

During listening test the IT01s continually surprised by opening up space in the music.


Earphones & CIEMs

For little more than just about any mainstream audio manufacturer’s basement-priced earbud model, Final produced perhaps the best-value earphones under £100 with its new E3000 model. Final’s philosophy has been grounded in honouring quality materials through their product development since the

company’s inception in Japan in 1974. The pursuit of quality comes directly from the passion of Final’s CEO Mitsuru Hosoo. Under his direction, Final set up an in-house factory to control and implement direct feedback from their design and development team. Final believes it is this interplay between design and implementation that provides their staff with the autonomy to continually reset the bar for high-quality audio.

Mr. Hosoo has also guided Final to lower financial barriers to their latest line of high-fidelity earphones. Retailing for the eyebrow-raising price of £49, it is no surprise that every precious Yen of the E3000 price tag must be accounted for. With so little fat to trim off that price point, Final chose wisely to forego unnecessary or pretentious packaging for the E3000. Opening the box, your eye is drawn to the shining E3000 stainless steel mirror-finished housing, which presents quite a visual statement right out of the gate. The stainless-steel finish is a bold choice on a low-cost earphone where most of us would expect the value to be focused inside the housing. This point is key to Final’s philosophy that even its ‘budget’ products should be pleasant to look at and touch. As commanding as the housing finish is, the rest of the earphone assembly is designed to fall into the background. The E3000’s signal cable is a no frills black rubber 1.2m cord with a 3.5mm adapter. If anything, the plainness of the cord further enhances the ‘wow’ factor of the stainless steel.

Final’s clear intention to provide a comfortable fit is also worth a mention. Most ear tips I have tried are simple silicone ‘bulbs’ that slip onto the sound outlet tubes of the earphones. With the E3000, Final has come up with a specially-shaped sound outlet tube with matching E-type ear tips that together provide what the company calls a ‘swing-fit earpiece mechanism’. I found the E3000’s fit was the most comfortable I have experienced in the sub-£200 category. I was moving from album to album without needing to take a break.

I did not have lofty sonic expectations for the Final E3000 going into my review. However, about 15 minutes into my first listening session, the Mariachi horn finale of Father John Misty’s ‘Chateau lobby #4’ from I love You, Honeybear [Subpop] was beyond expectations. The E3000’s 6.4mm dynamic driver showed its ability to convey layers of detail without losing the finesse of the music.

I also auditioned Real Estate’s 2012 album Days [Domino]. Real Estate has made their reputation on crafting a dreamy avalanche of sound that hypnotizes and buries the listener alive, a perfect test for sonic resolution. The E3000s knifed right through this anaesthetising wash of sound and separated out the players with such authority that I felt compelled to go check the liner notes to re-associate players names with the instruments I was now hearing so clearly. Such detail enabled me to engage with the music on a level I was unaccustomed to at this price point.

Unfortunately, the E3000s lack a hard-driving bass element—a sonic characteristic some might find hard to overlook. However, I was able to enhance usable bass response by pairing the E3000 earphones with my iFi iDAC2 headphone amp. The E3000s produced a tremendously detailed

listening experience that was in no way harsh or fatiguing. The E3000s have a sensitivity of 100db, so even if the E3000’s are riding solo with only your mobile device, they are so easy to drive that they can deliver you a high fidelity fix anywhere. The E3000’s quality and attention to detail will help redefine the performance standard for low-cost earphones. Buzz Hughes

TECHNICAL SPECIFICATIONSType: Single dynamic driver equipped universal-fit earphoneDrivers: 6.4mm dynamic Impedance: 16 ohmsSensitivity: 100dB/mw Accessories: Soft carry pouch, five pairs of Final ear tips (sizes XXS, XS, S, M, and L), 1 pair of earhooks, manual and warranty card.Weight: 14gPrice: £49/$54 US

MANUFACTURER INFORMATIONFinal/S’Next Co, Ltd.URL: snext-final.com

US DISTRIBUTORRSM CommunicationsTel: +1 800 506 0628email: [email protected]

UK DISTRIBUTORKS DistributionTel: +44 (0) 1903 768 919URL: ksdistribution.co.uk

Final E3000$199 AND BELOW


Earphones & CIEMs

$199 AND BELOW

PeriodicAudio Ti

In 2016 a group of audio veterans founded Periodic Audio with the aim of building products that offer “Portable Audio Excellence.” Periodic’s Dan Wiggins has created three earphone models: the Mg (Magnesium, $100), the Ti (Titanium, $199), and the Be (Beryllium, $300). The models share the same enclosure design and most

internal parts but differ in the color of their back caps and the driver materials used. We will focus on the Ti.

The Mg and Be share similar, “natural” frequency-response curves, while the Ti has more of a “happy face” curve with boosted midbass and upper midrange frequencies. Given this the Ti has received less audiophile press than the others, since it is not designed as a “neutral” transducer but rather delivers an attention-getting musical experience. Unlike many “bass-centric” earphones, however, the Ti offers a full-frequency rendition that could put the fun back into much of your music.

The Ti has a single full-range dynamic driver with a Titanium foil diaphragm. The driver is housed in a special dual-ported enclosure designed to achieve a more extended bandwidth while reducing excess diaphragm motion. Not only do the ports extend frequency response, but they also relieve the pressure that can build up from bass generated in a completely occluded fit. No matter how loud bass transients may be they will not box your ears. The Ti also employs a large motor magnet assembly that, while not powerful enough to demagnetize your hotel room keys, does generate enough force that the earpieces sometimes exhibit attraction for each other.

The Ti earphones arrive in an unadorned white box that holds a small gold-tone screw-top metal container. Inside you’ll find the Ti’s along with three sizes of silicon, double flange, and foam ear tips along with a 3.5mm-to-6.35mm adapter and an airplane adapter.

The Ti’s signal cables are not removable and do not provide smartphone controls. Even so, the cabling is long and light enough that you can wear the Ti either as a straight drop from your ears or looped around your ears sports-style. Left/right channel markings leave much to be desired as they take the form of muted red and black sound outlet tube covers that are visible only when peering down inside the sound outlet holes in the ear tips.

Periodic says that “the sonic signature of the Ti IEM is very aggressive, with enhanced bass and treble response. It tends to be preferred by those who listen to electronica, dance, and bass-heavy music. Not our most objectively accurate IEM, it is a lot of fun to listen to.” And, who am I to disagree? If your musical tastes lean toward genres that can use some bass and upper midrange emphasis, these earphones could be exactly what you want. Card-carrying audiophiles might reject products that stray from neutrality, but sonically these are exactly what they claim to be—fun, not flat.

The Ti’ produce larger images than some earphones in their class, but they do not offer as much image specificity or depth reproduction as top competitors. They also give a somewhat less three-dimensional presentation. One area where the Ti’s excelled, however, was in dynamic verve and transient speed. Even though their response curve indicates mega midbass, on most of my preferred music (which is not EDM or electronica) the Ti’s did not sound slow or thick, merely “dramatic.”

If you like everything about the Ti’s except their sonic signature consider Periodic’s Mg or top-of-the-line Be. Both have far more neutral response curves.

But wouldn’t the world be boring if all earphone manufacturers offered the exact same characteristic response curves? The Ti purposely departs from a neutral voicing curve in favor of one more geared to highlight frequency extremes in the name of enhanced musical drama and excitement. So, if you seek earphones that follow the beat of a different bass player, Periodic’s Ti earphones might hit your personal sweet spot. Steven Stone

TECHNICAL SPECIFICATIONSPeriodic Ti earphone Type: Universal-fit earphoneDriver Complement: Dynamic driver with Titanium foil diaphragm Frequency Response: 16Hz–30kHzImpedance: 32 ohms nominalSensitivity: 96dB SPL at 1mW in earTHD: Less than 1.5% THD at 1mWPrice: $199 US

MANUFACTURER INFORMATIONPeriodic Audio, Inc.Oxnard, CA 93035Tel: +1 (307) 683-4151URL: http://periodicaudio.com


Earphones & CIEMs

$200–$499

This is one of those reviews that writes itself in seconds. Cardas’ excellent A8 earphone (reviewed in Hi-Fi+ Issue 134) has now morphed into the Cardas A8 30th Anniversary earphone. Basically, all of the sonic glories that applied to the A8 apply to the A8 30th Anniversary edition, but there are changes.

What hasn’t changed at all is the driver. It retains the single, 10.85mm full range Ultra Linear, Contour Field, Dual Magnet driver and as before uses those two magnets to reduce eddy currents. It also retains the same brass enclosure of the original A8. But where the previous model was coated in blue rubberised ABS, this new model is all shiny black chrome, with the Cardas nautilus shell outline in white relief. It looks great in the flesh, even if it is a pig to photograph!

The biggest change is in the cables. Although these are still helical wound, fabric-wrapped copper cables that remain strong, flexible, and practically immune from conduction noise, there are two main differences. The trivial one is the move from bright blue to a subtler grey/black palette. The more significant change is the cable no longer terminates in a 3.5mm socket, allowing for a range of different connectors as optional extras. You can no longer ‘hot swap’ between 3.5mm TRS jacks and balanced connectors for PonoPlayers and the like. In no small part, this change is driven by demand rather than necessity; had PonoPlayer been a success, this might have been a more popular option, but instead it just left an extra break in the cable between ear and player. You can still get A8 30th Anniversary versions in balanced operation, but as a special order from the factory.

The removal of one break in the cable has made the A8 30th Anniversary fractionally better sounding than its A8 predecessor. In fairness, to hear this you need to have run-in versions of both earphones side by side to compare and contrast. If you do, you’ll hear fractionally more detail and mid-band clarity from the newer version. But this is a ‘blink and you’ll miss it’ difference and if you already have a pair of A8s, the 30th Anniversary edition is not a ‘must have’ upgrade.

What has changed and changed for the better is the packaging. Not just in the presentation pack with individual cards written about the operation, functionality, and running in of the earphones (written in large print to allow us with mature eyeballs a touch of vanity), but in the inclusion of a pair of Comply foam tips.

Cardas made a great earphone in the A8. It sounded tonally pure, with some surprisingly meaty deep bass, a transparent midrange, and a treble that soars. The A8 30th Anniversary edition does the same with just a smidgeon better performance (a smidgeon being equivalent to 0.5 metric tads). It was good then, and it’s just as good now. Highly recommended! Alan Sircom

TECHNICAL SPECIFICATIONSType: Universal-fit earphone with dynamic driversDrive Complement: One 10.85mm dynamic driver per earpieceFrequency Response: Not specifiedImpedance: 32 OhmsSensitivity: 110dBWeight: 31.2 g including cablePrice: £349 UK, $349 US

MANUFACTURER INFORMATIONCardas AudioURL: www.cardasaudio.com

UK DISTRIBUTORAudiofreaksTel: +44(0) 208 948 4253URL: audiofreaks.co.uk

Cardas A8 30th Anniversary Edition


Earphones & CIEMs

Final F7200

The Japanese firm Final built its reputation for excellence with its full-size Sonorous-series headphones, Heaven-series earphones, and its exotic Piano-series high-end “ear buds.” Each product family has merits, but sadly top-tier

offerings from each range tend to be quite expensive. As Final has evolved under the leadership of President Mitsuru Hosoo, it has sought to create new ranges of products that will preserve the company’s reputation for exemplary build quality and sonic purity, but that are more accessibly priced. A good example would be Final’s F-series earphones comprising the F3100 ($189), the F4100 ($279), and the flagship F7200 ($479) reviewed here.

Upon first seeing the F7200, many enthusiasts are tempted to ask, “Where’s the rest of it?” The question arises because the gem-like F7200 is one of the smallest and lightest earphones presently available. In fact, its cylindrical earpieces measure just 5.5mm in diameter by 16mm in length and weigh just 2g each—and that’s all there is to them. At the business end of the earpieces are sets of tiny sound outlet holes while at the other end there are sockets where cable connectors attach. The earpieces are so slim that Final provides slip-on “stopper” sleeves whose purpose is to help make sure the F7200 ear tips

don’t accidentally slide all the way down the length of the earpiece housings.

The F7200 earpieces are made of mirror-polished stainless steel with Final logos and model numbers engraved on their sides. The concept behind the design is to position the F7200’s single full-range balanced armature drivers as close as possible to the wearer’s eardrums. The provided signal cables have gold-plated, swivelling, right-angle MMCX plugs at the headphone ends, a gold-plated right-angle 3.5mm plug at the amplifier end, and wiring featuring OFC silver-plated conductors. Accessories include five sets of silicone and three sets of compressible foam ear tips, two soft silicone slip-on ear hooks, the aforementioned “stopper” sleeves, and a clever silicone carry case that provides separate storage areas for the earphones, cable plug, and cables.

In practice, the F7200s proved incredibly light, easy to position, and extremely comfortable to wear. Despite the earphones’ diminutive size, their sound is surprisingly large in scale, expressive, and rich in nuance. Indeed, a common reaction is for first-time users to listen for a while and then to take the earpieces out for a closer look while asking, “How do they get so much sound out of those little things?”

Overall, the F7200’s sound is transparent, well-detailed, and reasonably well balanced, but it does exhibit a trace of midrange forwardness—not enough to register as a coloration, but enough to give a heightened sense of articulation and definition. This element of midrange forwardness is mitigated somewhat, however, as playing time accumulates. High frequencies are pleasingly extended and well delineated, while bass is deceptively taut, punchy, and precisely modulated (though some might wish for just a scosh more bass weight). Finally, soundstages are usually broad, deep, and spacious while reverberant spatial cues are rendered with deft clarity and delicacy that is rare in this price class.

A track that nicely showcases these qualities is Boris and Malia Blank’s “Celestial Echoes” from Convergence [Verve, 16/44.1]. From its opening bars the track shows deep-plunging synth-bass lines that the F7200 captures with unexpected grunt and grip. The atmospheric high and low percussion-instruments appearing throughout the song sound, through the Finals, appropriately airy, haunting, and mysterious—qualities emphasized by broad, expansive reverb tails that the F7200s handle beautifully. But it’s the intimate, breathy sound of Malia’s voice and of Boris’ lovely harmonies that carry the day, thanks in large part to the F7200’s articulate, expressive sound.

In sum, Final’s F7200 is an awful lot of earphone in a very small package. Its sound is competitive with the better models in this price class, but its low weight, compact size, and all-day comfort are in a class of their own. Chris Martens

$200–$499


Earphones & CIEMs

SummaryVoicing: Fundamentally neutral with a hint of midrange forwardness.





Prosll One of the smallest, lightest, most comfortable

earphones on the market.ll Near neutral tonal balance with a trace of midrange

forwardness. ll Very good clarity, articulation, and nuance.ll Fine build quality, fit, and finish.

Consll No L/R channel markings on the earpieces.ll Needs a good amount of run-in time to sound its best.

TECHNICAL SPECIFICATIONSType: Single balanced armature-type driver equipped universal-fit earphone.Driver complement: One full-range balanced armature-type driver. Frequency response: 20Hz–40kHzSensitivity: 106dB SPL/mWImpedance: 42 ohmsAccessories: Molded silicone clamshell-type carry care with an internal cable spooling bobbin, a shock-protected inner chamber for the earphones, and a separate lower chamber for the amplifier plug; slip-on “stoppers” to help properly position ear tips on the earpieces; slip-on flexible ear hooks, five pairs of Final silicone ear tips (sizes XS, S, M, L, and XL) and three pairs of compressible foam tips (sizes S, M, and L), user replaceable MMCX connector-equipped signal cables with OFC silver-coated conductors.Weight: 23gPrice: $479 US

MANUFACTURER INFORMATIONFinal/S’Next Co., Ltd. Kawasaki-shi, Kanagawa 212-0057 JapanTel: +81 44 789 5795URL: www.s-next-final.com

$200–$499

Sennheiser Ambeo Smart

Sennheiser’s Ambeo Smart Headset is an Apple Lightning powered, App-augmented earphone with microphones at the ears for noise cancellation or binaural recordings without the need for a dummy head. The former is relatively commonplace, but

the latter is unique, and truly outstanding.The earphone is a single driver design, though driver size

is not specified. Sonically, it’s on a par with Sennheiser’s sub-$100 earphones, which means good mid-band and high- frequency clarity and detail, but with a light touch to the bass. Three sets of ear tips are supplied and a good seal makes a big difference to bass performance. The Ambeo Smarts are fitted with permanently attached ear hooks that are bendy enough to be comfortable and ensure a consistent fit, but not rigid enough for sport use. The right-hand signal cable comes with a small in-line mono microphone for phone use.

However, behind those little silver grilles on the outside of the Ambeo Smarts is where the fun begins; the grilles hide a pair of omnidirectional microphones. These can be used to enable an extremely potent noise cancellation system. This uses what Sennheiser calls ‘Situational Awareness’, meaning you can switch between ‘Active Noise Cancellation’ (which is very good at swallowing up the world around you) and ‘Transparent Hearing’ (which amplifies the world around you without needing to remove the earphones). Transparent Hearing is not simply a mute button; it boosts the midrange to accent articulation of voices. This is useful in an area of high ambient noise, such as trying to hear a flight attendant over a jet engine. Its level is controlled by Sennheiser’s recommended SmartHeadset app, and ranges from almost no augmentation to a marked amplification—great for spies, travel, and the hard of hearing.

But it’s the binaural recording part where the Ambeo Smart Headset lives up to that ‘smart’ part of its name. Working with recording experts Apogee, Sennheiser included built-in A/D and D/A conversion, ‘Soft Limit’ gain control, and microphone preamps in the stick-of-gum sized inline control pod that connects the headset to your iDevice. There are two level settings, the automatic gain control is free from obvious ‘pumping’ effects, and the microphone preamps are effectively noise free. Note, however, that because of the processing power this recording circuit draws, you don’t get to monitor the sounds you make as you record them.

Using the Ambeo Smart Headset in a video context using the standard iOS camera app requires learning to always point your head in the same direction as the smartphone. Similarly for audio-only field recordings (on Apogee’s MetaRecorder app), remember that it’s best that you remain still and quiet; although the Ambeo Smart is


Earphones & CIEMs

extremely well isolated, there’s only so much noise it can avoid—a loud sneeze mid-way through a recording can seem like the world is exploding!

It’s worth persevering though because the fascination with binaural sound played through headphones is beguiling; soon, you’ll feel a burning desire to get up early and catch the ‘Dawn Chorus’ or take a walk through a vibrantly noisy environment like a bazaar or a bustling street, only to play it back later that day, enthralled. Expect lots of binaural recordings of cats!

Better microphones, no abrupt movements, and the fact that no living, breathing human being is totally quiet, all

SummaryVoicing: Clear treble/lacking low-end impact.





Prosll Binaural recording without tears!ll Outstanding noise cancellation system.ll Detailed treble and accurate midrange.ll Excellent microphones and preamps.

Consll Provided cables are non-detachable.ll Currently Apple Lightning only.ll Bass could be more forthright.

mean that a dummy head recording system can confidently outperform the Ambeo Smart Headset. However, it’s also worth considering that a dummy head on a stand with cables running to a field recorder is ‘somewhat’ conspicuous and can cost as much as 25x more than the Ambeo Smart Headset.

The democratisation of binaural recording is what makes the Ambeo Smart so great, and it will be even greater later on when it can be used with the more 3D-chummy Android system. It may be on the ‘specialist’ side, but the Sennheiser Ambeo Smart Headset is in a class of its own. Alan Sircom

$200–$499

TECHNICAL SPECIFICATIONSType: Single-driver in-ear earphone with noise cancellation and binaural recordingDriver Complement: Single-driver earphones, single-capsule omnidirectional microphones.Frequency Response: 15Hz–22kHzImpedance: Not Stated Recommended Power: Not StatedWeight: 34 gramsIncluded Cables: With in-line microphone and Ambeo Smart Headset controller. Apple Lightning connection (Android version to follow), 1.16m.Accessories: S/M/L ear-tips, drawstring bag, Quick Start guidePrice: $299.99 US, £259.99 UK

MANUFACTURER INFORMATIONSennheiser Wedemark, GermanyTel: +49 (0) 5130 600 0Tel: +1 (877) 736 6434 URL: sennheiser.com


Earphones & CIEMs

Recognizing that a growing number of music lovers are choosing earphone- and headphone-based personal-audio rigs as their hi-fi systems of choice, the California firm NuForce decided the time was right to release a new, premium-priced, ultra-high-performance, universal-fit earphone called the Primo 8. From

the outset, NuForce envisioned the Primo 8 as a groundbreaking design that, it hoped, would redefine the state of the earphone-making art.

The Primo 8 is a three-way, universal-fit earphone based on a driver array comprising a quartet of balanced-armature drivers (one high-frequency, one midrange, and a pair of bass). While quad-driver-equipped earphones are relatively uncommon, at least a few competitors offer similar designs. What sets the Primo 8 apart and makes it truly unique is its claim to be the world’s first—and thus far only—earphone to use a proprietary linear-phase crossover network, said to give the earphone perfectly phase-coherent response from the bottom to the top of its operating range.

User comfort was also a very high priority at NuForce, so the Primo 8 features relatively compact, oblong earpieces and an elaborate array of eartips. A dedicated (but detachable) high-end signal cable is also part of the package.

Obviously, the Primo 8 appears to be “dressed for success,” but how does it sound? To my ears, it offers three defining sonic characteristics: neutral tonal balance, focus, and coherency. Indeed, the performance of the Primo 8 is so compelling that these earphones not only fare well

in comparison with other universal-fit models, but also invite comparisons with expensive full-sized headphones and even high-end loudspeakers. In other words, the Primo 8 in many respects transcends the perceived limits of its own product category, meaning this is no ordinary earphone.

When I say that the Primo 8 offers neutral tonal balance, I mean that it offers smooth, even frequency response with excellent extension at both the high and low extremes. This is, first and foremost, an accurate transducer whose primary emphasis is on showing you exactly how your favorite recordings sound, with as few colorations as possible.

Next, while today’s better high-end universal-fit earphones are very good in focus, top-tier full-sized headphones are better still. The Primo 8, however, proves a dramatic exception to this rule in that its powers of resolution and imaging quite seriously invite comparisons to extremely expensive headphones.

Finally, we come to what may well be the Primo 8’s signature characteristic: its overarching coherency. Coherency involves knitting together various elements of sound to form a believable whole, and the Primo 8s are the most coherent-sounding universal-fit earphones I’ve heard thus far.

Put simply, the Primo 8 is a world-class universal-fit earphone that equals or surpasses the performance of models costing considerably more. It consistently draws us closer to the music we love best, which is all one can ask of any fine audio component. Chris Martens

NuForce Primo 8SPECS & PRICINGType: Three-way, quad-driver, phase-coherent earphoneDriver complement: Two balanced-armature bass, one balanced-armature midrange, and one balanced-armature tweeter, connected via a linear-phase, first-order, Butterworth-type crossoverFrequency response: 18Hz–22kHz Sensitivity: 118dBImpedance: 38 ohmsWeight: 19.3gPrice: $499/£299

We come to what may well be the Primo 8’s signature characteristic: its overarching coherency

$200–$499

$200–$499


Earphones & CIEMs

$200–$499

Image needed

Etymotic Research ER4SR & ER4XR

For many years I used a pair of Etymotic’s original flagship ER4 earphones as reference monitors in my primary kit for location recording work. At the 2016 AXPONA show, however, Etymotic introduced two replacements for the venerable ER4: the ER4SR and the ER4XR. These new designs look identical except for the SR

and XR markings on their barrels; SR stands for Studio Reference and XR for Extended Response. As the latter’s name suggests, the only difference between the two lies in their frequency-response curves. The SR comes close to matching the original ER4’s response curve while the XR has a subtle and intentional lift in bass response. Both are priced at $349.

The ER4SR and ER4XR come with detachable five-foot cables, five pairs of ear tips (two foam and three triple-flange), filters and a filter removal tool, a 6.35mm stereo adapter, a cable clip, and a hard-shell zippered case. The new ER4 models also come with a complete set of test results for each individual ER4 capsule (each capsule has its own unique serial number).

The ER4SR and XR both use a single full-range balanced-armature driver. It can be challenging to make such drivers with even response across their entire range, but Etymotic addresses the problem by creating a tuned enclosure with a specific volume, shape, and composition to minimize peaks and bumps in the frequency curve. Even the replaceable ACCU-Filters at the front of the ER4’s barrels do double duty, protecting the ER4’s innards from moisture and debris, while serving as a high-frequency smoothing filter.

The ER4SR’s characteristic response curve was developed through in-house proprietary testing done in the late 1970s and further refined in 1987. The ER4SR and XR are designed for a deep-insertion fit, which necessitates an intentional boost at 2.7kHz and 5kHz (this recreates the boost that the mouth of the ear canal would normally supply).

The test sheets accompanying the Etymotic earphones revealed that the ER4SR had the best channel balance, but the ER4XR had the least amount of total harmonic distortion, with one driver producing an astonishingly low .15% while one of the SR drivers had the highest THD at .81%.

One fundamental earphone truth is that if you can’t get the right fit, you won’t get the right sound. The ER4SR and XR’s “deep-insertion fit” is what sets them apart from the majority of other reference-level earphones. Some audiophiles embrace the deep-insertion fit, while others find it uncomfortable no matter what size or shape of ear tip they employ. Recognizing this, Etymotic offers compressible-foam tips for the ER4, which typically increase both comfort and noise isolation. Even so, the foam tips work better for some listeners than others (owing to variations in ear shape and size). When fitted with triple-flange tips the ER4SR and XR offered probably the best noise isolation of any earphones, including custom-fit in-ear monitors, that I’ve experienced.

According to Etymotic the ER4SR and ER4XR have identical response above about 200Hz. Below 200Hz the ER4SRs are flat until about 80Hz, with a 1–2dB roll-off by 20Hz. The ER4XRs are flat until about 150Hz, with a 3–4dB rise in their bass response at 25Hz. Whichever seems more correct will depend on your personal preferences and musical choices. My own tastes pointed me more toward the ER4XR.

In practice, the ER4SR’s tonal balance is similar to that of the original ER4, whereas the ER4XR delivers some additional bass energy, though

not in a loose or overblown way. Both new models deliver larger and more precise sound stages and sharper imaging than the original. The SR and XRs provide a between-the-ears sound stage that places each instrument with precision.

How listeners react to the ER4SR and XR has everything to do with fit. Those comfortable with the ER4’s deep-insertion fit will be rewarded with balanced frequency response (with or without some bass lift), precise imaging, and excellent depth recreation, plus category-leading isolation levels. Steven Stone

TECHNICAL SPECIFICATIONSType: Universal-fit earphoneDriver Complement: Single balanced armature-type driverFrequency Response: 20Hz–16kHz “with 92% response accuracy”Impedance: 45 ohmsSensitivity: 98dB with 100 mV drive, 104dB with 200 mV driveWeight: Not specifiedPrice: $349 US, £359

MANUFACTURER INFORMATIONEtymotic Research, Inc.Elk Grove Village, IL 60007 USATel: +1 (888) 389-6684URL: www.etymotic.com Etymotic Direct UKLondon CR4 3TD United KingdomURL: www.etymoticdirect.co.uk


Earphones & CIEMs

$500–$999

Audeze built its reputation with high-performance, full-sized, planar-magnetic headphones. What no one saw coming was a family of compact, full-range, planar-magnetic, universal-fit earphones: the firm’s all-new iSINE Series. There are four iSINE models: the entry-level iSINE ILX, the virtual-reality-oriented

iSINE VR, the iSINE10, and the top-of-the-range iSINE20 reviewed here.Relative to traditional universal-fit earphones, the iSINE20 looks

unconventional and is worn in a somewhat unorthodox way. The iSINE20 earpiece enclosures are fairly large, comparatively thin, and shaped like skewed hexagons whose outer surfaces are lightly dished and covered with outward-facing, mesh-covered vents. The iSINE20 does not fit within the wearer’s outer ears, but rather is worn alongside the ears, with mesh vents facing outwards, and with rear-mounted, tapered sound outlet tubes facing inwards and extending into the wearer’s ear canals. The earpieces are very light (about 11g per side, without cables) and are designed to be held in position either by sets of plastic ear hooks or by in-ear “earlocks.” From the wearer’s perspective, the sensation is that the iSINEs are “floating” in close proximity to one’s ears, but with light-fitting and comfortable sound outlet tubes directing music into the ear canals.

The iSINE20’s 30mm planar-magnetic drivers use three technologies drawn from Audeze’s full-sized models: Fluxor magnet arrays, Uniforce voice coils, and Fazor-type waveform control elements. Fluxor magnets use high-grade neodymium materials to create powerful, tightly focused magnetic flux fields within the driver. Uniforce voice coils use variable trace widths to equalize drive forces across the working surface of the planar diaphragms. Fazor elements act as waveguides for extended high-frequency response. Finally, the iSINE20 features light, responsive “nano-scale diaphragms” made of a film-type aerospace material thinner than a human hair.

The iSINE20 ships with an extensive set of accessories including six pairs of silicone eartips, three pairs of ear hooks, and two pairs of “earlocks.” Also included are two detachable 1.5m signal cables: a standard cable fitted with a 3.5mm mini-plug, and an iPod/iPhone/iPad-compatible Cipher cable terminated with a Lightning-type plug. (The Cipher cable is a significant component in its own right: It incorporates an iDevice-compatible, three-button remote/mic module plus a built-in Lightning–powered 24-bit/48kHz DAC and headphone amp complete with an integrated DSP engine. Importantly, the DSP engine applies Audeze-developed correction curves that help give the iSINE20 a subtly more full-bodied, weighty, and well-rounded voice.)

Unlike other in-ears, the iSINE20 has much the same wide-open, spacious, airy, and transparent presentation of a top-shelf, full-sized, open-back planar-magnetic headphone. In short, it sounds a lot like Audeze’s upper-tier models, but in a smaller, lighter, more comfortable, and far more affordable package.

If you run the iSINE20 earphones as passive devices powered by a high-quality amp/DAC, you’ll find the earphones offer excellent resolution and definition, lightning-fast transient speed, and a somewhat midrange-forward sound. Top-end extension is very good, while bass extension and pitch definition are also very fine. The catch, however, is that the bass is perhaps a little too lightly weighted relative to the more prominent mids, while the upper midrange and highs show just a hint of sonic “dryness.”

Ah, but run the iSINE20 earphones from an iDevice with the Cipher cable in play, and the earphone’s voicing changes—in subtle but pervasive ways—for the better. The net effect is of hearing the iSINE20 perfected, with voicing that is more than a little reminiscent of Audeze’s well-loved LCD-3 headphones.

Audeze’s iSINE20 is a great mid-priced earphone, and one that’s capable of redefining our expectations for what products of this type and price can do. Chris Martens

Audeze iSINE20

SPECS & PRICINGType: Semi-open-back, planar-magnetic universal-fit earphoneDriver complement: 30mm planar-magnetic drivers with Fluxor magnets, Uniforce voice coil, and Fazor waveguide control elementsFrequency response: 10Hz–50kHzImpedance: 26 ohmsSensitivity: Not specified, but maximum SPL is rated at >120 dB while maximum power handling is rated at 3 wattsWeight: 11g per sideDimensions: 31mm × 35mmPrice: $599/£549


Earphones & CIEMs

$500–$999

Noble Audio Sage

If we turned back the personal audio calendar a few years and surveyed offerings from the notable CIEM/earphone specialist Noble Audio, we would see that the firm’s two leading models at the time were the famous ten-driver Kaiser 10 and the two-driver Savant

earphones. Over time, the Kaiser 10 evolved to become the modern day Kaiser Encore (and the closely related Katana model), but the Savant sadly went away—until now. Over the past year the Savant, which was a favourite among many enthusiasts, has been reborn as the Sage universal-fit earphone, which sells for $599.

What’s changed? One major change is that Noble has, for its top models, switched from using off-the-shelf balanced armature-type drivers to using bespoke, proprietary Noble Audio-specification drivers sourced from the famous driver specialist Knowles. Noble adds that “reconfiguration of a vented port on the bass driver delivers increased low-end extension with more texture with a slight lift in overall bass response.” As a rule, Noble’s new bespoke drivers often receive praise for their superior clarity, definition, transient agility, and resolution of low-level sonic details.

Another change involves the way that Noble earpieces are made. Initially Noble’s universal-fit earphones used simple all-acrylic housings, but now only the inner sections of the Sage earpieces are made of acrylic; the outer earpiece caps are CNC-machined from aluminum (complete with Noble’s inset crown symbol carved into their faces). In keeping with recent practice, the Sage earpiece caps—as on all Noble universal fit earphones—are treated to their own model-specific anodized color, in this case a tasteful shade of light green.

Finally, in a break with past tradition, the Sage is offered only as a universal-fit model, whereas the Savant

could be ordered either as a universal-fit earphone or, at significantly higher prices, as a custom-fit in-ear monitor. This change partly reflects the popularity of Noble’s universal-fit models, but it also reflects the firm’s desire to offer extremely high-quality earphones at more accessible prices.

Like all Noble Classic-series earphones, the Sage comes with a good mix of accessories including a watertight Pelican micro case, a velvet carry bag, a cleaning tool, an owner’s registration card, and 11 pairs of ear tips of various sizes, shapes, and materials.

Much like the Savant, the Sage is voiced to provide neutral tonal balance and a very revealing sonic character over most of the audio spectrum, but is also given a touch of the low-frequency warmth and sheer bass authority for which Noble’s flagship Kaiser Encore and Katana models are known. In a sense, then, this means the Sage employs a ‘best of two worlds’ voicing strategy that neatly splits the difference between strict neutrality and the desirable and engaging qualities of low-end warmth, weight, and impact. Note, though, that the Sage’s element of bass lift is relatively subtle and judiciously applied—never overblown or exaggerated.

The Hoff Ensemble’s “Blågutten” from Quiet Winter Night [2L, DXD 24/352.8] reveals much about the Sage’s character. The track opens with a piano chord underscored by dark-sounding low percussion and bass notes, plus the shimmer of a soft cymbal roll. As the almost meditative and gently melancholic theme of the track unfolds, a trumpet, piano, and then electric jazz guitar take turns stating and embellishing the melody, while bass and percussion create an underlying propulsive force. The Sage clearly reveals the distinctive voices of each instrument, showing the defining timbres, textures, harmonic structures, and dynamic envelopes of each in turn. In short, the Sage makes you want to pay close attention as you listen, so that you won’t miss out on any of the musical riches that the earphones place within your grasp.

Noble Audio’s Sage is a worthy successor to and sonic improvement upon the firm’s well-respected Savant, yet without any price increase vis-à-vis its predecessor. At $599, the Sage gives listeners a significant taste of what serious high-end earphones are all about. Chris Martens

The Sage neatly splits the difference between strict neutrality and the desirable and engaging qualities of low-end warmth, weight, and impact.


Earphones & CIEMs

$500–$999

SummaryVoicing: Fundamentally neutral with a slight degree of bass emphasis.





Prosll Very high-quality Noble/Knowles drivers offer superb

resolution of textural and transient detail.ll Uncommonly engaging sonic presentation.ll Sounds more expensive than it is.ll Slight hint of bass lift complements many types of music.

Consll Uses old-school two-pin signal cable connectors where

newer MMCX connectors would be preferable.ll Signal cables feature pre-formed, curved, over-the-ear

strain reliefs that are slightly too stiff and that tend to dislodge the earpieces over time.

Sennheiser IE800 S

Back when the original Sennheiser IE800 was launched in 2013, the idea of a $1000 earphone was almost unheard of. Today, its IE800 S younger sibling seems reasonably priced compared to some of the Unobtanium in the universal-fit

earphone world. The good news for Sennheiser is that some have started to turn against CIEMs and where a top-end universal-fit earphone was often dismissed unless it was hand-made for your ears, now there is greater acceptance of such designs… if they live up to the hype!

The IE800 S seemingly shares several things in common with its older brother, which is still listed at $800. Both use a single 7mm XWB (‘eXtremely Wide Bandwidth’) dynamic driver, both sit in an attenuated, dual chamber absorber (D2CA) inside the ceramic ear piece, and both use a custom silicone ear tip with an additional mesh alongside the one

TECHNICAL SPECIFICATIONSType: Dual balanced armature-type driver equipped universal-fit earphoneDriver complement: One Knowles balanced armature-type bass driver and one Knowles balanced armature-type midrange high frequency driver, both drivers built to proprietary Noble Audio specifications. Noble says, “A vented port on the bass driver delivers increased low-end extension with more texture with a slight lift in overall bass response.” Frequency response: Not specifiedSensitivity: “Sensitive enough for use with smartphones as well as portable amps and DAPsImpedance: Not specifiedAccessories: Pelican 1010 watertight micro case, three pairs of dual-flange ear tips (S, M, L), six pairs of silicone ear tips (2xS, 2xM, 2xL), two pairs of compressible foam ear tips (M, L), braided signal cables with two-pin earphone connectors and a 3.5mm amplifier plug, cleaning tool, velvet carry pouch, carabiner clip, metal ear tip carry tray, and owners card. Weight: Not specifiedPrice: $599 US, £549

MANUFACTURER INFORMATIONNoble AudioWhitehouse, TX 78791 USATel: +1 (805) 886-5255URL: www.nobleaudio.com


Earphones & CIEMs

$500–$999

in the driver cone itself. According to Sennheiser, the main change between IE800 and IE800 S is a reworking of that 7mm driver, and aside from cosmetics (the ear piece is now matte black instead of high gloss), the main changes involve the included accessories. The IE800 S comes with with three pairs each of silicone and Comply custom ear tips, plus three different sets of cables: one each with 4.4mm Pentaconn and 2.5mm balanced connectors, plus one with the standard 3.5mm jack. That’s it!

The change in cable design means the IE800 S has a short set of cables running from each ear piece to a Y-connector with a male 3.5mm jack, while the three cables each run to almost a metre and have a simple female 2.5mm socket at one end and whichever jack plug connector you select at the other. There’s also a little clip, the kind used to hold lavaliere microphones in place. The cable is a flexible low-tangle design in a rubberised sleeve and strain relief. This arrangement is somewhat microphonic, especially at the upper end (from the Y connector to the ear pieces).

Nevertheless, the additional connector in the cable pathway doesn’t materially add to the weight of the IE800 S, which remains one of the lightest high-end transducers around. This makes it extremely easy to wear for long periods—although it’s best used with a meatier output than simply that of the amps in a smartphone, it’s more than efficient enough to be used in practically any context. When not stored in its neat grey fibre box, the IE800 S travels in a classy wallet-sized dark grey pleather case. You can’t hold different cable options here, but it’s a convenient Every Day Carry option.

The IE800 S is the product of a company that has nothing to prove. That could spell disaster, making a mediocre product that is more an exercise in box-ticking than anything substantive in performance terms. Instead, the IE800 S has a rare and very sophisticated top-end refinement and grace, with midrange and treble that are at once highly revealing, yet also smooth and enjoyable. The surprising part is that the IE800 S manages to make many similarly detailed models sound ‘etched’ and brash in the treble, yet it wants for nothing at the top end. This makes for an extraordinarily wide and out-of-the-head soundstage, too.

How the lower midrange and the bass work depends entirely on how well you select your ear tips. Get the process wrong and you hear good, but almost tuneless and listless bass with limited dynamic range. Get the

SummaryVoicing: Exceptionally natural treble with effortless deep bass





Prosll Class-leading natural sounding treble.ll Extremely detailed in treble and midrange.ll Very light for long-term listening.ll Good range of cable options.

Consll Cables can conduct noise.ll Custom ear tips.ll Good bass requires careful ear tip selection.

right fit and instead you have a powerful, foot-tappingly precise bass with a dynamism that extends up into the upper registers but leaves a midrange that is as attractive as it is insightful.

Too many high-end IEMs go for brightness in order to prove their worth. In the IE800 S, Sennheiser shows how it’s supposed to be done, by making the performance more attractive rather than aggressive, and those with grown-up tastes will love it! Alan Sircom

TECHNICAL SPECIFICATIONSType: Dynamic, closed universal fit in-ear monitor with cable optionsDriver Complement: 7mm dynamic linear-phase driver with extremely wide bandwidth (XWB)Frequency Response: 5Hz–46.5kHzImpedance: 16Ω Recommended Power: Not StatedWeight: approx. 8g (without cable)Included Cables: Three 2.5m female to jack connector cables: one terminating in 2.5mm balanced, one 3.5mm stereo, one 4.4mm Pentaconn, all 1mAccessories: 2x S/M/L ear-tips (silicone, and Comply), pleather case, clip, cleaning cloth, manualPrice: $999.95 US, £869.99 UK

MANUFACTURER INFORMATIONSennheiser Wedemark, GermanyTel: +49 (0) 5130 6000Tel: +1 (877) 736 6434 URL: sennheiser.com

The IE800 S delivers a powerful, foot-tappingly precise bass with a dynamism that extends up into the upper registers but leaves a midrange as attractive as it is insightful.


Earphones & CIEMs

$500–$999

Since 2011 one pair of custom in-ear monitors has been in my on-location recording rig, the Ultimate Ears Pro Reference Monitors (UERM). They have survived harsh outdoor recording conditions and have proven during long hours of recording to be comfortable, reliable, and musically accurate. Nothing,

even the supercalafragalistic Jerry Harvey Laylas ($2725), has been able to dislodge the UERMs. Then I found out that Ultimate Ears Pro had designed a replacement for the UERM called the Ultimate Ears Pro Reference Remastered (UERR) at the same price as the originals, $999.

The Ultimate Ears Pro Reference Remastered are Ultimate Ear Pro’s second in-ear monitor design-collaboration with Capitol Studios. The first was the UERM. Given that many users, including myself, found the UERM so harmonically spot-on, comfortable, and reliable, I wondered how Ultimate Ears Pro could improve the design? According to the company, the new Ultimate Ears Pro Reference Remastered offers “extended highs and lows” as well as the ability to “hear harmonic structure and overtones that are usually missing from most headphones.”

The Ultimate Ears Pro Reference Remastered custom in-ear monitors use three balanced-armature drivers in each capsule with two crossovers between the three drivers. Instead of relying on off-the-shelf balanced-armature assemblies, UE Pro “True Tone” drivers are made to Ultimate Ears Pro’s specifications by Knowles, a leader in the manufacture of balanced armatures. According to Ultimate Ears Pro these custom drivers not only extend the frequency range, but also deliver flat frequency response up to 18kHz. When fitted properly, the UERRs are capable of -26dB of isolation.

Custom-fitted in-ear monitors have the potential to provide more comfort than universal-fit models. But achieving that superior fit requires ear impressions. These impressions were made using Ultimate Ears Pro’s new 3-D laser-mapping process in lieu of the more standard silicone mold methodology. The silicone molding process, which I was familiar with, injects silicone into your ear where it hardens into a mold used to make a second mold, which is then used to make the actual earpieces. With the laser-scanned process the laser data is loaded directly into a software app that can generate the second mold directly.

When I compared the specifications between the old UERMs and the new UERRs the biggest difference was sensitivity: 112dB at 1mW for the UERM versus 100dB for the UERRs. This means that the UERRs are noticeably less sensitive than the UERMs. And while this looks as if the UERRs might be a more difficult earphone to drive to satisfying volume levels, I had no issues with any of the portable players and field recorders that I use regularly.

After living with and making recordings using the Ultimate Ears Pro Reference Monitors for the last four years I have a good idea of how they sound. The new Ultimate Ears Pro Reference Remastered in-ears have a strikingly similar sonic signature. Simply stated, the new RRs are as accurate in the midrange as the original UERMs. The UERR’s bass is more extended with a flatter response that doesn’t add as much warmth in the midbass. Treble sounds almost identical through the two.

Both the UERRs and the UERMs handled midrange micro-dynamics in the same manner, but when there was additional low bass or sub-bass, the UERRs captured the low-frequency push of air and additional dynamic activity with greater acuity. The Ultimate Ears Pro Reference Remastered also image beautifully with three-dimensionality and finesse.

Are the UERRs a worthwhile upgrade over the original UERMs? I would say that if you listen to or make music where low bass clarity is important you will find the UERRs well worth the additional outlay. Even if you aren’t a basshead, if you’ve been using your UERMs as your primary in-ears and love their sound, you will find the new Ultimate Ears Pro Reference Remastered retains all the UERM’s attributes while making good on Ultimate Ears Pro’s promises of delivering even higher fidelity. Steven Stone

SPECS & PRICINGInput sensitivity: 100dB at 1kHz, 1mWFrequency response: 5Hz to 25kHzNoise isolation: -26dBImpedance: 35 ohms at 1kHzWarranty: 1 yearPrice: $999/from £870

Ultimate Ears Pro Reference Remastered


Earphones & CIEMs

EXOTICA ($1000 AND UP)

Even before I’d gotten a brief demo “taste” of the mini but mighty LCDi4 in-ears at the 2017 High End Munich show (where they were introduced), I figured I’d like them, mainly because I’ve been both a fan and reviewer of other planar-magnetic headphones. But I didn’t think I’d find the LCDi4s so utterly addictive. With the LCDi4

in-ears, Audeze has found amazing ways to achieve the sonic advantages of planar ’phones within the smaller form factor and greater portability of in-ears, which is a tall order. Indeed, I’ve taken the LCDi4s with me plenty of places: There was the breathy delivery of Melody Gardot at the grocery, making the errand feel like less of a chore. They passed the workout test, too, staying put—and comfortable—during a treadmill run to a funky groove. With their semi-open design, the LCDi4s trade some isolation for a more open and spacious sound, but they don’t intrude on other folks’ privacy. (Only at higher SPLs will anyone within a couple of feet of you catch an aural glimpse into what you’re listening to.)

Although Audeze is an illustrious industry leader in the planar-magnetic headphone category and has already created some basic in-ears (iSINE), the LCDi4 concept involved dramatically reducing the overall size and scale of planar-magnetic technology while further enhancing sound quality—goals that presented special challenges. Designed in collaboration with DesignWorks USA and engineered and handcrafted to order in Audeze’s California factory, the LCDi4 boasts an even more efficient and lighter-weight version of the company’s new, patented Fluxor magnets (first used in the LCD4 ’phones) said to be nearly twice as strong and efficient as the highest-grade neodymium magnets. Audeze’s proprietary film also needed to be made even thinner and more flexible. The diaphragm is created by a slow (week-long) process of gradually building up the ultra-thin (0.5 microns) metal layer. The 30mm planar-magnetic drivers are built by hand, matched, and tested to +/-0.5dB. Finally, there’s a patented Faozor waveguide that sits between the diaphragm and the eartip to channel the sound and reduce distortion.

How Audeze crammed this much innovation into such a small package is quite a remarkable feat in itself. The LCDi4s are designed to be in-ears for those who don’t like in-ears; they rest just inside the ear canal (not deeply), with a small over-ear “hook” clipped onto each in-ear helping to keep them in place. The LCDi4 uses a unique (and vaguely Star Trek-like) honeycomb-inspired housing made of magnesium to reduce both weight and resonance; the little pods weigh just 12 grams a side! Naturally, brilliant design doesn’t come cheap. Priced at $2495, the LCDi4s might be the most you can spend on such a lightweight yet heavy-hitting in-ear.

But oh, the sound! With this much true-to-life timbre, finely filigreed detail, transient speed, and astounding soundstaging, I was hard pressed to find music that didn’t sound convincing and compelling. Given the in-ears’ portability most of my listening was to native hi-res tracks or Tidal streaming (HiFi mode) via either the Astell&Kern AK380 portable player or my iPhone 6. (Naturally, a powerful headphone amplifier will deliver even more robust sonic results.) I can’t recall much that didn’t sound gorgeous. Again and again, from jazz, to classical, to energetic rock the quick, crisp, nuanced impact and realism of percussion, particularly piano, blew me away—a nod to the LCDi4s’ outstanding rendering of transient attacks, sustains, and decays. Bass reproduction was also impressive, reportedly flat to 10Hz. The LCDi4s certainly plumbed the bass-guitar depths with solid definition on El Vy’s cheeky “I’m the Man

to Be,” as well as the low-octave organ rumbles on The White Stripes’ “In the Cold, Cold Night.” Complex layers within a mix seemed crystal clear, balanced, and “all there,” including the reveal of accents and flourishes I’d seldom noticed before. I didn’t expect planars could deliver so much of the swagger and impact of Jack White’s searing guitar solos and Meg White’s signature drumming on the heavy-blues-rockin’ “Ball and Biscuit,” but the LCDi4s did, right down to the studio echo.

The LCDi4s deliver audiophile-grade sound you can take anywhere, and with a friendly 105dB sensitivity can be driven (to reasonable levels) by anything from a lowly smartphone to a top-tier headphone amp. In short, it’s hard to imagine a more satisfying and habit-forming in-ear experience. Julie Mullins

Audeze LCDi4

SPECS & PRICINGType: In-ear, universal fitTransducer type: Planar-magnetic (30mm), semi-openSensitivity: 105dB/1mWFrequency response: 5Hz–50kHzTHD: <0.2%, full spectrum @ 100dBImpedance: 35 ohms +/-10%Maximum power handling: 3WAccessories included: 1.2m OCC silver-plated, premium braided cable, Audeze Groovy and smooth ear-tips in three sizes, ear hooks (two sizes), leather caseWeight: 12g per sidePrice: $2495/£TBA


Earphones & CIEMs


Campfire Audio Andromeda

Campfire Audio arrived on the scene in 2015 with the release of its Jupiter, Orion, and Lyra universal-fit earphones, followed in 2016 by the flagship Andromeda plus other members of Campfire’s “Liquid Metal” range: the Lyra II, Dorado, and

Vega. Finally, 2017 saw the launch of the mid-priced Polaris. Campfire is a start-up company with a pedigree, in that it is a spin-off from ALO Audio, an Oregon-based firm famous for its specialized personal audio cables, headphone amplifiers, and amp/DACs. Industry veteran Ken Ball serves as the president of both companies. At Ball’s suggestion, this review focuses on the Andromeda.

The Andromeda features angularly shaped, matte-finished earpieces CNC-machined from aluminum, with matching metal faceplates attached with recessed, miniature cap screws. The earpieces are fitted with very high quality Campfire beryllium-copper MMCX-type signal cable connectors. One small caveat: because Campfire’s earpieces are somewhat angular, it would be good to do a test fit to make sure they are comfortable for you (they are for me). Campfire models each have distinctive colors and the Andromeda’s arrive in a beautiful Kelly green anodised finish with accents in the form of polished solid stainless steel sound outlet ports.

The three-way Andromeda uses five balanced armature-type drivers per earpiece, grouped as two high-frequency drivers, one midrange driver, and two low frequency drivers. Outputs from the mid and low-frequency drivers are directed outward via traditional bore tubes, but the high-frequency drivers are treated differently. Instead of a “traditional ‘tube & damper’ tuning system,” says Campfire, the Andromeda’s dual high-frequency drivers are loaded into a 3D-printed Tuned Acoustic Expansion Chamber™ (T.A.E.C.) that is said to provide the requisite “acoustic

tuning without compression,” thus yielding uncommonly extended and open-sounding treble response.

Andromeda is an earphone created by and for audio purists. It is a well-balanced all-rounder that offers nearly ideal neutral tonal balance, with a substantial amount of resolution—especially when it comes to capturing spatial cues in the music. The Andromeda might exhibit a very subtle degree of bass emphasis, but this mostly serves to give a sense of more solid grounding whenever foundational bass elements are present. Like many fundamentally neutral transducers, the Andromeda sounds so disarmingly natural that it can at first seem self-effacing, though it is simply standing aside to let the music tell its own story.

In practice, the Andromeda proves highly transparent to its sources. When the music is well recorded and rich in emotional content, the Andromeda sounds accomplished, highly expressive, and nuanced. But, on recordings that sound flat, compressed, or lacking in focus, the Andromeda will honestly reveal those shortcomings. What this means is that the better the recordings you play and the better your ancillary equipment is, the more you will be impressed by what the Andromeda can do. I found the Andromeda competitive with top-tier models from firms such as JH Audio and Westone (many of which carry higher price tags than the Andromeda), which is to Campfire’s credit.

A track that highlights the Andromeda’s strengths is Dead Can Dance’s “Anabasis” from In Concert [PIAS America, 16/44.1]—a well-made live recording of the famous electro-acoustic ensemble led by Lisa Gerard and Brendan Perry. This intensely atmospheric track combines both powerful yet nuanced high- and low-percussion instruments, a wide variety of other acoustic and electronically synthesized instruments, plus haunting, Middle Eastern-influenced vocals. Through the Andromedas, the variegated textures


Earphones & CIEMs


and tonal colours of “Anabasis” are brilliantly revealed, so that the track sounds by turns dark, brooding, shimmering, soaring, and majestic. But just as importantly, the Andromeda’s superb resolution of low-level details gives the earphones an uncanny ability to capture the distinctive three-dimensional spatial qualities and almost electric atmosphere and “feel” of a live concert event.

The Andromeda is a serious purist’s earphone that does all things well and that offers particularly good top-to-bottom balance and coherency, plus very effective rendition of spatial cues in the music. Chris Martens

TECHNICAL SPECIFICATIONSType: Five-driver, three-way universal-fit earphone.Driver complement: Five balanced armature-type drivers grouped as two high-frequency drivers in a Tuned Acoustic Expansion Chamber enclosure, one midrange driver, and two low-frequency drivers. Frequency response: 10Hz–28kHzSensitivity: 115dB SPL/mWImpedance: 12.8 ohmsAccessories: Leather hard-shell case, MMCX signal cables with silver-plated pure copper conductors, SPINFIT ear tips (sizes XS, S, M, L), Campfire ear tips (sizes S, M, L), Silicone ear tips (sizes S, M, L), cleaning tool, Campfire lapel pin.Price: $1099 US

MANUFACTURER INFORMATIONCampfire Audio Portland, OR 97214 USATel: +1 (503) 853-8606, +1 (855) 204-1492URL: www.campfireaudio.com

SummaryVoicing: Fundamentally neutral (perhaps with a barely discernible touch of bass lift).





Prosll Build quality.ll Nearly ideal neutral voicing.ll Very good expressiveness.ll Plenty of resolution and nuance, especially for

spatial cues.

Consll Somewhat angular earpiece shape might not suit all

listeners.

EarSonics EM10

The EarSonics EM10 is EarSonics’ new flagship in-ear model. Unlike the EM9, which I have also reviewed, the EM10 is a custom-fit in-ear monitor instead of a universal-fit earphone. It shares many similarities with the EM9, but has two major differences. First,

as just mentioned, the EM10 is a custom-fit product, which expands not only its potential for a perfect fit, but also the amount of time you will need to devote to acquiring that fit. Also, the EM10’s resale value will be less (if by chance you ever do resell) since it will need to be re-shelled for a new owner. The second major difference between the EM10 and the EM9 is that the EM10 has one additional woofer. Instead of the EM-9’s single bass, four midrange, and four high frequency drivers, the EM10 has two bass drivers, four midrange, and four high-frequency drivers. Given that I found the EM9’s bass extension and control exemplary, inquiring minds might wonder if the additional woofer would prove to be a good thing.

EarSonics contracts Knowles to make custom balanced armatures used exclusively by EarSonics. No one else has them. The EM10 is a triple bore design, with three separate tubes in its shell that carry the sound from the throats of the balanced armature drivers to the EM10 tips.

Speaking of tips, this is a good place to explain that the EM10 sample sent to me for review was a universal-fit version. And while this made for a more even playing field when compared to the EM9, it means that the fit was not as individualized as I would have gotten from an actual, fitted by an audiologist, pair. I used the same type of tips on the EM10 as I had been using with a pair of reference EM9, which were the Comply Foam Ts-200 medium, which are more rounded and shorter than the T-200 tips. One detail that was critical—I needed to push back the Comply Foam tips, so they were behind the lip of the front of the


Earphones & CIEMs


earphones to insure the EM10 and EM9 bore tubes were unimpeded by any tip material.

Sonically, the EM10’s were a pleasure. Overall frequency response was smooth with no noticeable peakiness even in the critical upper/midrange (2–3kHz) region. I quickly discovered that the EM10 shares many of the same sonic traits as the EM9. Like the EM9 the EM10 has excellent midrange clarity and decipherability. Dense mixes are easy to listen into and each instrument has a well-defined location in the soundstage. While not quite as large overall

SummaryVoicing: Fundamentally neutral.



Resolution/Focus:nnnnnnnnnnDynamics/Expression:

nnnnnnnnnnSoundstaging/Imaging:nnnnnnnnnn

Prosll Custom fit.ll Tight three-dimensional imaging.ll Extended but controlled bass response.ll Proprietary in-house manufactured balanced

armature drivers.

Consll Requires custom molds done by an audiologist.ll Turn-around time after ear molds will be at least

two weeks.ll Custom fit means a re-shell will be needed if they

are sold.

as the soundstage created by some CIEMs, such as the Empire Ears Zeus, the three-dimensionality and image-solidity of the EM10 was state-of-the-art.

When I reviewed the EM9s I noticed the bass improved greatly after some run-in time. With the EM10s (which were a demo pair that I assume had been used extensively) the bass was impressive from the first moment sound reached my ears. And while the bass extension, resolution, and lack of coloration from the bass region up into the midrange were obvious, the most noticeable presentation of the EM9 and the EM10 was that the EM10 produced slightly more low bass impact and seemed even easier to “listen into” and hear the low bass’s texture and weight. Of course, this begs the question, “Was there too much bass?” My answer is no, since the bass doesn’t pollute or color the midrange or upper frequencies, which is the problem with “bass monster” IEMs.

If you have tried the EM9 universal-fit earphones and loved their sound but wanted a custom in-ear-monitor fit, the EarSonics EM10 will be exactly what you want. They have a neutral harmonic balance with amazing bass extension that still sounds natural. Let me put it to you this way: once you put the EM10s into your ears, you won’t want to take them out. Steven Stone

TECHNICAL SPECIFICATIONSType: Balanced armature, custom In Ear monitorDrivers: 10 balanced armature-type drivers, HQ 3-way passive crossover with impedance correctorFrequency Response: 10Hz–20kHzImpedance: 26.6 ohmsSensitivity: 119dB/1mWWeight: Not listed, but similar to EM9Price: €1990

MANUFACTURER INFORMATIONEarSonics SAS34160 Castries, FranceTel: +33 (0) 467 72 22 12URL: www.earsonics.com

US DISTRIBUTOR INFORMATIONAudioplus ServicesTel: +1 (800) 663-9352URL: www.audioplusservices.com

The EM10’s overall frequency response was smooth with no noticeable peakiness.”


Earphones & CIEMs


Long-term Hi-Fi+ readers will know that Westone Laboratories, a Colorado Springs, Colorado, firm, is a quiet giant in the world of hearing and music-related in-ear devices and technologies. With good reason, the company’s slogan is, “Westone: The In-Ear Experts.” Unlike the many small “boutique” firms common in the

high-end audio industry, Westone is a large company with five distinct divisions focusing on custom ear-mold products; audiology supply products; digital, industrial, and personal hearing protection products; military earpieces; and—last but certainly not least—professional and personal music earphones.

Many Westone products (musical and otherwise) draw upon the wealth of experience brought to the table by twin brothers Kris and Karl Cartwright, who together have helped develop more world-class earphones and CIEMs than any other team in the industry. The general pattern is that Karl takes the lead role in designing new earphones and monitors, while Kris figures out how to build them. Then, working together with members of an ad hoc expert listening panel, the brothers verify the sonic capabilities of each new design before releasing it for production.

The latest product to go through this process is Westone’s new flagship universal-fit earphone: the Signature Series W80, which sells for $1499 in the U.S or £1199 in the UK. The Signature Series W80 is the first Westone model so labeled, and for this reason principal designer Karl Cartwright’s signature is embossed on the outside of the box. Westone doesn’t launch new flagship products very often, so the W80 is a special model, indeed.

When I reviewed the Westone ES60 I praised its admirably neutral, monitoring-oriented voicing, but offered the minor criticism that the ES60 did not provide “quite as much upper midrange/treble ‘air’ and transient information as some other accuracy-minded CIEMs I have heard.” Apparently Karl Cartwright had similar observations so that in tackling the W80 design he sought to preserve the neutrality of the W60 while deftly dialing in just a touch more upper midrange/treble “air,” extension, definition, and speed.

The W80 uses eight balanced-armature-type drivers configured as a three-way array (dual bass, dual mid, and quad high-frequency), housed

within a compact, lozenge-shaped, molded thermoplastic earpiece. The W80 ships with two sets of signal cables: a Westone MFi cable fitted with an inline three-button mic/remote module, plus a more audiophile-oriented ALO Audio Reference 8 IEM cable. The W80 package also includes extensive sets of eartips.

From the outset, the W80s impressed me with their deep and solid bass, their wide-open midrange, and their profoundly extended and almost ethereally delicate highs. Typical high-end in-ear transducers can do many things right, but they have some difficulty achieving the highest levels of midrange and treble openness and transparency. The W80 is different; from the first track to the last, it consistently reproduces spatial cues so effectively that the listener experiences a greatly heightened sense of three-dimensionality. On a conscious level, you realize you’re listening to an in-ear device, but the W80’s sonic presentation convincingly pulls your attention out of a purely “ in-head” experience and into a much broader and more expansive listening environment. This is what the W80 does better than any other Westone model to date and better than most other high-end earphones on the market.

I’m tempted to say that with the W80 Westone’s talented Cartwright brothers may well have painted their sonic masterpiece. I encourage listeners to audition the W80, simply to hear how powerful, expressive, and refined one of today’s finest top-tier earphones can truly be. Chris Martens

SPECS & PRICINGType: Multi-driver, universal-fit earphoneDriver complement: Eight balanced-armatureFrequency response: 5Hz–22kHzImpedance: 5 ohms @ 1kHzSensitivity: 111dB SPL @ 1mWAccessories: Exchangeable color faceplates; five sizes each of patented STAR silicone eartips and premium True-Fit comfort foam eartips, MFi three button cable, ALO Audio Reference 8 Westone Edition signal cable, carrying cases, cleaning tool, and cleaning clothWarranty: Two yearsWeight: Not specified Price: $1499/£1199

Westone W80


Headphones

Best known for high-performance audio cables, AudioQuest has recently diversified its range significantly, to include headphones. The company first introduced the NightHawk, followed by the NightHawk Carbon. The NightOwl, its newest offering, is a sealed

version of the open-backed NightHawk. The name is apt because NightOwl doesn’t leak sound into the environment.

The NightOwl’s ear cups are made of ‘Liquid Wood’, an eco-friendly sustainable material that combines real tree with reclaimed plant fibre. The NightOwl ear cup housings are shaped like human ears, making for a comfortable fit. Inside, the earcup sports a series of radial ribs, the result of Finite Element Analysis to find their optimum size, number, and placement.

There are two sets of ear cups—Protein Leather for the best isolation and Ultra Suede for longer listening—these are supplied in the textured pleather case.

Earcups aside, the headphones are extremely similar in design and execution. The minimal, but effective, single bar headphone with a stretchy pleather headband makes the headphone light and comfortable; these attach to the ear-cups through a microphone shock-mount. Both the supplied cables and the inside of the earpads are clearly marked for left and right channels. The Y-shaped cable has a simple in-line phone/DAP controller at the point of contact and is solid enough to be no-tangle. The connector at the source end is gently curved, too, making it equally suitable for devices that prefer straight or 90° insertion.

AudioQuest fits the NightOwl with a 50mm, high-excursion dynamic driver equipped with a biocellulose diaphragm and a compliant rubber surround. This provides a combination of rigidity and self-damping said to offer a more “accurate and musically pleasing” sound than that of today’s more common Mylar (or metal) diaphragms.

AudioQuest first recommended listeners give the NightHawk a 50+ hours break-in, but that has been revised up to 150 hours before critical listening commences.

The NightOwl is dark sounding. Its treble is the opposite of ‘exposed’ and no matter how easy and satisfying it is to listen to, if that brooding midrange and top are discomforting to the listener, no amount of run-in will overcome that. But, the more you listen, the more you listen into the music.

I stuck on ‘Take the Night Off’ by Laura Marling from Once I Was an Eagle [Virgin] because it seems so appropriate and was rewarded with an outstanding rendition of female voice and guitar. Her Martin D28 can sometimes almost sound like a dulcimer thanks to the recording, but here it had all the richness of tone and resonance you should expect from the guitar. Yes, it was still dark: her voice was open and extended but not screechy, not suddenly baritone.

What’s strange about the comparison between ‘Hawk and ‘Owl is there is little to compare. The two headphones have almost the same voice and degree of openness. The closed ‘Owls never sound ‘shut in’ or oppressive, even if they don’t have quite the same ‘ illuminated’ quality

of the Hawks. But otherwise, the two have so much in common, you can tell they are siblings. They both have that same powerful bass underpinning, and the same tonal darkness.

Finally, the NightOwl is incredibly easy to drive. This is not the kind of product that demands a home rig or a powerful amp on the back of a DAP. Run the NightOwls from a phone and the headphones are driven effortlessly. There is another bonus to this: that dark sound limits the ill-effects of the compressed signals commonly streamed to

smartphones. NightOwl’s top-to-bottom detail is extremely clean and clear, but that tonal darkness acts to counter the sound of data and signal compression.

Like the NightHawk before it, the NightOwl is technically innovative, beautifully made, and engaging to listen through. Its ergonomic design offers excellent long-term comfort,

meaning listeners can wear the headphones for hours on end without

a hint of fatigue. Highly Recommended. Alan Sircom

TECHNICAL SPECIFICATIONSType: Circumaural, dynamic driver-equipped headphone.Driver complement: 50mm dynamic driver with biocellulose diaphragm and split-gap motor assemblyFrequency response: Not specifiedImpedance: 25 ohmsSensitivity: 100dB/mWAccessories: one 8-foot audiophile signal cable with solid Perfect Surface Copper+ conductors in a Symmetric Star-Quad configuration, foamed polyethylene dielectric, AQ noise dissipations system and direct-silver plated red copper adapter plugs; one highly flexible rugged-use signal cable with gold-plated adapter plugs; one heavily padded leatherette-covered carry case; manual.Weight: 346gPrice: £349, $399 US

MANUFACTURER INFORMATIONAudioQuestTel: +31 165 541404URL: www.audioquest.com

AudioQuest NightOwl$499 AND BELOW


Headphones

$499 AND BELOW

1MORE Triple Driver Over-Ear

1MORE is a Chinese-based company that burst onto the headphone scene with a series of excellent in-ear monitors. The Triple Driver is 1MORE’s first attempt at a multi-driver over-ear headphone. Everyone should be as successful on their first

try. Priced at $249/£259, the Triple Driver’s worst characteristic is its name, which is almost the same as 1MORE’s Triple-Driver earphone. If you search for information on the 1MORE Triple Driver, most of the links will be to the earphone rather than the new headphone. But, fear not; we have all the vital info for you right here.

The officially “High-Res Certified” Triple Driver Over-Ear has three drivers, but it is not an active three-way design. It has two drivers, a 40mm composite metal diaphragm that has a graphene coating and a separate ceramic tweeter. The third “driver” is a resonance-tuned passive radiator unit that relies on the active drivers for energy.

The paucity of plastic parts points to the build quality of the Triple Driver. Its aluminum alloy enclosure features milled and polished surfaces complemented by a well-padded leather headband. The sound chamber utilizes a clear polymer outer rim to protect the bass radiator. The rim also attenuates the output levels generated by the headphone into the outside world. Like the AudioQuest Nighthawk headphone, the Triple Driver provides an “open” enclosure that has some built-in muzzling.

According to 1MORE’s product literature, the Triple Driver’s sound was “tuned” by Luca Bignardi, 1MORE’s “lead sound engineer.” He “perfected the final tuning of the Triple Driver Over-Ears to bring a fully balanced and precise soundstage.” For some audiophiles the concept that a headphone’s frequency response was specified based on the subjective decisions of one engineer might seem too arbitrary, but some highly-regarded headphones and loudspeakers have gone through similar design processes.

The Triple Driver headphones are an on-ear rather than an over-ear design, so the earpads will rest on, not around, your ears. But as with an over-ear design, the Triple Drivers still need to make a good seal on your ears for proper frequency response, which they did. The pivot points on the headband and enclosure of Triple Drivers are well designed to provide a comfortable fit for any head shape. Side-pressure was sufficient to feel secure without creating a vise-grip around your head. I ended up using the Triple drivers with their headband extensions retracted, but for those individuals with big heads or lots of hair the headband has almost two inches of extension built

in. The cable is removable and uses the same connection hardware as the Sennheiser HD-700.

The overall harmonic balance of the 1MORE Triple Driver is v-shaped—there is noticeable boost of not only the mid and low bass, but also a point in the upper midrange and lower treble that is emphasized. When I listened to pop music featuring a female vocalist, such as Dua Lipa’s “New Rules” [Dua Lipa Deluxe, Warner Bros.], the Triple Drivers tended to “lighten” vocal timbres, making voices sound thinner and lighter. On the other end of the spectrum, the Triple Driver’s bass boost makes all low-frequency information more prominent. Listen to any video program


Headphones

$499 AND BELOW

that has low-frequency engine sounds, like Star Trek, for instance, and those sounds will be a lot louder than with a more harmonically neutral pair of headphones, such as the AKG K-701.

Unlike many headphones, even efficient ones, the 1MORE Triple Drivers do not require separate or even moderately powerful amplifiers to power them adequately. The 1MORE’s built-in bass punch means even an iPhone playing Tidal can sound dynamic. While an iPhone doesn’t generate as large a soundstage as a high-quality standalone headphone amplifier/DAC like Mytek’s Manhattan II, it does deliver acceptable sonics for portable use.

If you are looking for a well-made, cleverly designed, lively sounding on-ear headphone for use on the road or at home, the 1MORE Triple Driver might just be ideal. Steven Stone

TECHNICAL SPECIFICATIONSType: Three driver, hybrid dynamic/ceramic driver-equipped on-ear headphone with passive bass radiator.Driver complement: Ceramic tweeter, graphene mid/bass driver, passive bass reflector.Frequency Response: 20Hz–40kHzImpedance: 32 ohmsSensitivity: 104dBConnector: 3.5mm gold platedWeight: 293 gramsPrice: $249 US, £259 UK

MANUFACTURER INFORMATION1MORE UK 1MORE USATel: +44 (0) 203 637 9650 Tel: +1 855-551-6673URL: 1moreuk.com URL: usa.1more.com

SummaryVoicing: Elevated bass and highs with neutral mids.


(All ratings relative to comparably priced headphones.)



Prosll Sturdy, well made and well designed.ll Compact—folds for travel.ll Efficient and sensitive.

Consll On-ear fit can be uncomfortable for some wearers.ll Can sound harsh on poorly recorded music.ll Spectacular rather than neutral sound.

Beats Studio3

Beats has a rather dubious reputation for harmonic neutrality (or lack thereof ) among long-time audiophiles due primarily to the products produced during the first couple of years when it was a Monster-owned entity. That was then. If you

are in the market for a wireless Bluetooth headphone with noise canceling, enjoy a harmonically natural but energetic sound signature, and use Apple-based products, you would be doing yourself a grave disservice to pass over the Beats Studio3 Wireless just because the early Beats were not any audiophile’s cup of tea.

The Studio3 Wireless, even with active noise cancelling (ANC) activated, delivers a balanced and far from boring musical experience. The Studio3 offers 22 hours of battery life when used wirelessly with ANC employed, plus the ability to “fast fuel” so that a 10-minute charge returns three hours of playing time to an exhausted battery. The Beats battery life specifications mean the Studio3 should serve well as a road-warrior’s go-to headphones. For extremely long sojourns away from power you can tether the Studio3 to your player or smartphone via the supplied analog cable and get 40 hours of ANC-enabled playing time, which should be long enough to get you wherever you may be going. Other ergonomic niceties include the ability, once paired to an iPhone, to take calls, control music, and activate Siri. With my iPhone 6SE, the Studio3’s paired the first time I tried. Other functions performed as advertised when I went shopping and forgot what I was supposed to bring home.

Comfort-wise the Studio3 gets high points. They are light, flexible, and have just the right amount of side-pressure to hold them securely in place. Even with my glasses on the Studio3’s thick earpads insured a complete seal around my ears. They are definitely a closed rather than open design and offer, even without the ANC turned on, substantial attenuation of outside noise thanks to their closed-back design. With the ANC turned on you will be in your own little sonic world. And, yes, like every ANC circuit I’ve heard recently, there is a slight continuous hiss when there was nothing playing.

For me the biggest surprise was the Studio3’s sound. Unlike Beats of yore the harmonic balance was far more neutral, still a bit warm, but in a friendly way that complements all music rather than favoring bass-heavy stuff. The sound stage isn’t huge, but it is large enough so that on well-recorded material the image placement remains uncongested. And the bass is there when the music demands it—on Arcade Fire’s “Everything Now” via Tidal the bass was bouncy, clean, and fast.

For best performance I recommend using the Studio3 via its wired connection. The Bluetooth 4.1 interface isn’t the last word in transparency. And while the Apple W1 chip is a wonder of efficiency, the addition of a better Bluetooth codex such as AptX or AptX HD would have upped the


Headphones

$499 AND BELOW

headphone’s sonic game. When wired the Studio3’s had more precise imaging and faster, cleaner, bass. Hooking the Studio3 to a serious portable player, such as the Astell&Kern KANN, upped the Studio 3’s sonics even more. Between their comfort-level, natural isolation capabilities, and sound, the Studio3 could easily serve as an all-rounder for audiophiles who want one headphone to use with both their smart phone (wirelessly) and their premium portable player (wired).

I’ll admit that I did not have great expectations for the Beats Studio3 Wireless, but it proved to be an ergonomically elegant (if perhaps Apple-centric), legitimate headphone that gets right the vast majority of physical, sonic, and ergonomic details that make for a good headphone. Even if urban pop has never been your thing, the Beats

SummaryVoicing: Fundamentally neutral




Soundstaging/Imaging:nnnnnnnnnn

Prosll Natural/neutral tonal balance.ll Extremely comfortable.ll 22 hours of active battery life with Apple devices.ll Clever folding design.

Consll Noise cancelling circuitry has noticeable hiss

when active.ll No specifications for frequency response, sensitivity,

impedance, or driver type.ll Black Plastic used throughout outer shells.ll Apple-centric design.

Studio3 Wireless should not be struck off your list if you need a headphone that can handle almost every sonic contingency that might arise, even while you are out and about, visiting grandma. Steven Stone

TECHNICAL SPECIFICATIONSType: Dynamic, closed-back headphoneDriver Complement: Not specifiedFrequency Response: Not specifiedImpedance: Not specifiedSensitivity: Not specifiedConnector: Bluetooth 4.1, stereo mini plugWeight: 9.17 oz./260gPrice: $349.95 US, £299.95

MANUFACTURER INFORMATIONBeats by DreURL: www.beatsbydre.com

Seven awards in twelve months. Isn’t it time you gave it a listen?

The Multi-Award-Winning Sonoma™ Model One

AUDITION THE SONOMA™ MODEL ONE ELECTROSTATIC HEADPHONE SYSTEM TODAY.

TO FIND AN AUTHORISED DISTRIBUTOR / DEALER NEAR YOU, VISIT WWW.SONOMAACOUSTICS.COM

Sonoma™ and its logo are trademarks of Super Audio Center, LLC, Colorado, USA and are used under license.

www.sonomaacoustics.com

TAS Summer Guide Final.v3.indd 1 29/05/2018 15:28


Headphones

$499 AND BELOW

During the last few years the number of earphones available for purchase has exploded, whether it’s $100 in-ears or $1000 full-sized headphones. This leads to the question of whether earphones that are more than a couple of years old are obsolete. Have the latest technological advancements left older

designs in the dust? These were the things I pondered as I prepared to review what are probably one of the oldest pair of headphones in my personal collection, the Beyerdynamic DT-990 Edition 600-ohm impedance version ($299). The earliest DT-990 reviews online were from 2004, and Beyer’s site mentions 20 years of continuous manufacturing. In other words, the Beyerdynamic DT-990 design is old enough to drive to a Justin Bieber and Katy Perry show, but not to vote.

According to Beyerdynamic “The DT-990 is an open dynamic headphone of exceptional quality and suitable for all music styles…The reduced weight of the diaphragm and moving coil result in a similar pulse characteristic as electrostatic headphones, and in combination with a carefully tailored frequency response provide a natural and balanced sound.”

The DT-990 uses an open enclosure with a vented cover, which while “open” is not as open to the outer world as many planar-driver open designs. Because the DT-990 is semi-open there is a certain amount of leakage (too much for a library or quiet acoustic recording session) but not at as much as the planar Monoprice M1060 or HiFiMAN HE1000 V2. I’ve used the DT-990 while recording with electric guitars, but for acoustic guitars I would want a closed headphone with more isolation.

There are two versions of the DT-990 available, the “Pro” studio headset and the “Edition” for “home use.” The differences in the two versions are that the pro headset is designed for a slightly tighter fit and uses a coiled cord, while the “Edition” version has a somewhat “softer” headband. Each version of the DT-990 is available in three different impedances, 600 ohms, 250 ohms, and 32 ohms. I chose the 600-ohm model because I wanted a hard-to-drive headphone to use for my headphone amplifier reviews. The 250- and 32-ohm versions would be better options if you want to use the DT-990 with less powerful portable headphone amplifiers.

The DT-990 are a circumaural design that should completely surround your ears. The earpads are soft, breathable velour that handles hot sweaty humans more comfortably than leather or pleather. For me the

pads are deep enough that my ears never came in contact with the cloth driver covers. The metal, leather-covered-and-padded headband is easily adjustable. Maybe too easily adjustable in that it will not retain its settings and must be re-adjusted every time the headphones are put on your head.

The cable, which like all traditional pro headphones is connected on the left side, is three meters long. It is not removable, but has excellent strain relief that has prevented any deterioration, even though I have subjected it to abuse over the years.

Side pressure from the headband on the DT-990 is less than that of many full-sized headphones. This light pressure combined with DT-990’s overall light weight makes it easy to wear them for long periods of time. The downside is that a vigorous headshake can dislodge them.

Although not completely harmonically neutral, the DT-990s offer an extremely high level of decipherability. Their balance has a slight midbass emphasis combined with a bit of a rise in the upper midrange and treble, but unlike a “fun curve” the center of the midrange is not recessed. The DT-990’s midbass thickness gives kickdrums more apparent punch, while the upper midrange delivers some extra surface detail. Often described as “very revealing” by reviewers, the DT-990 makes it easy to lock into one particular part, even within a thick mix. Imaging through the DT-990 lacks the specificity that I’m used to hearing from my reference headphones.

So, are 20-year-old headphone designs obsolete? Not if they are the Beyerdynamic DT-990s. Although they may not image as precisely as some modern designs, the DT-990 has an excellent level of detail retrieval and dynamic verve with a punchy bass that keeps the music lively. If you are hard on your headphones, the DT-990s would be an excellent choice as a long-term companion. Steven Stone

SPECS & PRICINGType: Open-back dynamicImpedance: 600 ohms (reviewed); 250 ohms and 32 ohms also availableSensitivity: 96dB at 1mWWeight: 290gPrice: $299/£120, Pro/250 ohms Pro

Beyerdynamic DT-990


Headphones

$499 AND BELOW

Bose QuietComfort 35 II

The Bose QuietComfort 35 II is the second incarnation of Bose’s over-ear, closed cup, wireless, noise-cancelling, headphones. Although I have over 70 headphones in my reference collection, this was my first experience with a Bose headphone.

While I would not rate it as a reference-level listening experience, the QuietComfort has a set of features and sonic capabilities that will appeal to road-warriors and others who spend most of their waking hours out in that noisy world of ours.

The QuietComfort 35 II web pages don’t list some of the basic specifications that audiophiles look at when they consider a new headphone, such as frequency response, sensitivity, and impedance, but do have the headphone’s copious features listed in detail. This is an active headphone with two different levels of user-adjustable ambient noise reduction, a wireless Bluetooth connection as well as a wired one, 20 hours of powered battery life, and 40 hours of battery life when used in wired mode with noise reduction active, and built-in “Volume optimized” EQ. The headphones have their own dedicated Bose Connect App, and the ability to connect with Google Assistant. If you get the impression the QuietComfort 35 II was made with a smartphone in mind, you would be correct. Sure, you can use it with a portable playback device, such as the Astell&Kern KANN, but you will need to set it up using a smartphone and the Bose App; otherwise, it will not function.

Setting up the Quiet Comfort 35 II using my iPhone 6SE was easy. I downloaded the app, turned on the headphones, activated the app and followed the simple directions. Less

than a minute later the headphones were set up. The primary material used for the QuietComfort’s enclosure is a “glass-filled nylon” that is extremely lightweight but does look and feel like black plastic. The over-ear earpads were large enough to fit comfortably around my ears and make a good seal. Due to their low weight and gentle side-pressure the QuietComfort 35 II’s are extremely comfortable. I could (and did) wear them for extended periods of time with no physical fatigue whatsoever.

Since I do not have an Android phone I did not check out the Google assist functions, but I did send and receive phone calls through the QuietComfort 35 II. The decipherability varied depending on the ambient noise levels but was always better than using the iPhone’s built-in microphone and speaker.

The first thing you will notice when you turn on the active noise cancelling is that you will hear some background hiss. At the higher setting the hiss will also be louder. According to the specifications the QuietComfort 35 II offers 20dB of noise attenuation, which it does, but at some cost—because of the way noise cancellation works, it does not block sound, but instead by reversing the phase it cancels the external noise’s perceptibility. The alternative method to reduce ambient levels in noisy environments is with a noise-isolating in-ear monitor, such as the Etymotic ER-4 SX, which offers 30dB of attenuation. For those who find in-ears uncomfortable, a noise-cancelling headphone is a helpful, but not necessarily superior, option.

Sonically, I would describe the QuietComfort 35 II as smooth, easy to listen to, and polite, almost to a fault. Bass


Headphones

$499 AND BELOW

extension was decent, with some sub-bass present, but the overall definition in terms of texture and pitch were not as decisive as many headphones, such as the AKG K7XX. The midrange was easy to listen to, but less easy to listen into, especially when connected via Bluetooth with active noise cancellation switched on. The noise-cancelling function did alter the headphone’s frequency response. When it was activated there was less lower midrange energy and the sound was slightly harmonically thinner, especially when the wired connection was used. In Bluetooth mode this harmonic shift was almost unnoticeable.

All headphones are tools: Some are designed for use in studios while others are for connecting to a smartphone. The Bose QuietComfort 35 II is successfully designed to be one of the latter. Steven Stone

TECHNICAL SPECIFICATIONSType: Dynamic, closed-back, noise canceling, Bluetooth headphoneDrivers: Not specifiedFrequency Response: Not specifiedImpedance: Not specifiedSensitivity: Not specifiedConnector: Bluetooth and wired stereo mini plugWeight: 8.3 ozPrice: $349.95, £329.95

MANUFACTURER INFORMATIONBose CorporationFramingham, MA USATel: +1 (800) 999-2673URL: www.bose.com






Prosll Two-levels of noise reduction.ll Wired and wireless capabilities.ll Lightweight.ll Good phone integration.

Consll Can’t change the settings for noise cancelling when

using wired connection.ll Plastic finish.ll Polite sonic character.ll Noticeable hiss when noise reduction is in use.

Who doesn’t love a good synergy story—a story of two renowned audio manufacturers combining forces to make something greater than the sum of its parts? The Blue headphone marks headphone accessories

specialist Dekoni’s debut into the headphone market and the firm astutely enlisted the help of Fostex behind the scenes to add expertise. The Dekoni Blue is happy to present itself as a down-to-basics planar magnetic headphone that is sensibly priced at $299 and is going to pack a lunch and work hard every day to earn your respect sonically.

Until now, Dekoni has been best known for its aftermarket ear tips and ear pads that offer what many consider to be best-in-class quality, comfort, and sound isolation. Accordingly, Dekoni developed a new hybrid ear pad for the Blue headphone that features a sound isolating sheepskin outer ring, an ultra soft velour face, and fenestrated sheepskin interior. As for the rest of the headphone, the Dekoni Blue is a planar magnetic, semi-closed back headphone that borrows much from Fostex’s T50RP MKIII starting with its retro shape and using Fostex’s proprietary 38mm orthodynamic driver units.

The Fostex drivers incorporate “regular phase” technology and are said to achieve the comparatively sharp, precise audio reproduction so prized in the pro audio market where Fostex made its reputation. The RP drivers use copper foil etched polyamide film diaphragms driven by powerful neodymium magnets. Combined with newly designed inner baffles, detachable 2m signal cables fitted with a 6.35mm plug, a padded headband, and distinctive blue ear cups, the traditional T50RP MKIII now emerges as the Dekoni Blue. The Dekoni Blue is also built like the proverbial brick house. The hard plastic ear cups, the no frills headband, and the locking cable attachment inspire confidence and give the impression they can stand up to occasional accidental drops or inadvertent rough handling.

The Dekoni Blue has a unique sonic signature that takes a moment or two to get adjusted to and a new listener will be well served to allow multiple hours of break-in time before drawing any conclusions. I found the Dekoni Blue’s really didn’t even start to get their sea legs under them until they were given a more than 48-hour-long run-in session. However, once they were ready it was quite eye (and ear) opening to hear how much the Dekoni Blue’s sound blossomed as compared to their initially closed-in sound straight out of the box. After run-in, an initially clunky bottom end mellowed out nicely, the sound stage widened considerably, and detail resolution improved to a remarkable degree.

After satisfying myself the Blues were ready for a proper audition, I tried out Anna Burch’s new 2018 album Quit the Curse [Polyvinyl] which has been on heavy rotation lately

Dekoni Blue


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around my house. “Asking 4 a Friend” chugs along like a steam engine throwing in some perfect ’90s throwback pedal effects at every bend. It presents sumptuous midrange textures and details, which the Dekoni Blue knocked out of the park. The Blue’s did an excellent job with the deceptively simple layering of the track and presented a deep and detailed sound stage. The Blue’s gave the music a weighty presentation that felt solid and substantial.

On subsequent forays into some classical favorites, however, I found that the treble response of the Dekoni Blue was notably subdued (bordering on drab), while the bass response, though very powerful, lacked the finesse and articulation that higher-priced headphones often can deliver.

Given the Dekoni Blue’s moderate price, though, we should not be unrealistically critical. The Blue is an enjoyable all around performer whose easy-to-like sound never caused ear fatigue. Just be aware that the Blue’s

sonic signature offers elevated bass, neutral mids, and somewhat downturned highs. Even so, there is no doubt in my mind that the Dekoni Blue offers excellent value for money for those wishing to keep their headphone investment under $300. Buzz Hughes

SummaryVoicing: Downward tilt: Elevated bass, neutral mids, recessed or downturned highs.





Prosll Build quality.ll Spacious midrange.ll Extremely comfortable; no fussy adjustments needed.ll Priced fairly.

Consll Loose bass might detract from listening experience

for some.ll Treble gets lost in presentation.ll Buyer cannot choose colors; styling might not be for

everyone.

Dekoni Blue

TECHNICAL SPECIFICATIONSType: Planar MagneticFrequency response: 15Hz–35kHzSensitivity: 92dB/mWImpedance: 50 ohmsAccessories: No Additional Accessories SuppliedPrice: $299

MANUFACTURER INFORMATIONDekoni AudioTel: +1 (201) 870-1654 URL: www.dekoniaudio.com


Headphones

$499 AND BELOW

Final is a well-regarded Japanese manufacturer of high-performance headphones and earphones; the company started out in 1974 as Final Audio Design under the leadership of the legendary audio designer Kanemori Takai. Sadly, Takai-san passed away in June of 2014, but his passionate and emphatically “music

first” legacy lives on in the firm’s new President and chief of product design, Mitsuru Hosoo. Under Hosoo-san’s leadership the company became simply “Final” in 2015, while at the same time announcing its two most ambitious headphones to date: the flagship Sonorous X (£3699) and its sibling, the Sonorous VIII (£2299).

As anyone who has heard these top Final models can attest, they offer a rich, sumptuous, beautifully detailed, and supremely engaging sound that causes audio journalists to wax poetic on the subject of “musicality.”

Recognizing that many music lovers are understandably price sensitive, we have chosen to focus our attention on one of the most affordable models in Finals’ Sonorous series lineup: the Sonorous III.

Given the dramatic price disparity between the Sonorous X and the Sonorous III, you might think that very little of the flagship model’s design know-how and sonic character would have trickled down, but you would be mistaken. In point of fact, there are a lot of structural and design similarities between the Sonorous X and its accessibly priced little brother.

If you placed the Sonorous X and Sonorous III on a table side by side, you would immediately see that the two share the same general frame, headband, and earcup designs, although the Sonorous X is produced using far more exotic materials. On the inside, the III uses the same diaphragm employed in the Sonorous X, although with a front plate molded from a “resin that is comprised of hard polycarbonate.”

The Sonorous III arrives, as do all Sonorous models, with a set of very-high-quality, user-replaceable signal cables fitted with beautifully made polished-metal termination plugs.

In standard form the Sonorous III exhibited five noteworthy sonic characteristics. First, it offered deeply extended and powerful (albeit somewhat elevated) bass, with plenty of pitch definition and transient impact. Second, the headphone’s midrange was positively luminous, possessed of a downright soulful quality—a quality the Sonorous X also has in an even more dramatic and refined form. Third, the III provided extended, but never overly bright, treble response with an uncanny ability to resolve finely filigreed high-frequency details. Fourth, the headphone demonstrated effortless transient speed. Finally—and this is a really important point—the Sonorous III offered a satisfying quality of coherence or cut-from-whole-cloth sonic integrity.

If you’ve ever yearned for the multi-faceted excellence of top-tier headphones such as Final’s Sonorous X, the very good news is that the Sonorous III can take you a surprisingly substantial way toward the sonic mountaintop at an accessible Everyman price. The miracle, quite frankly, is hearing how much of the flavor of Final’s top model carries through. Chris Martens

SPECS & PRICINGType: Dynamic-driver-equipped, closed-back, circumaural headphoneDriver complement: 50mm dynamic full-range with titanium diaphragmMaximum SPL: 105dBImpedance: 16 ohmsWeight: 410gPrice: $399/£299

Final Sonorous III

If you’ve yearned for top-tier headphones, the Sonorus III can take you a substantial way there at an accessible price.


Headphones

$499 AND BELOW

Grado SR60e

The Grado SR60e is one of the great headphones currently on the market. It costs $79. It may not be the right headphone for everyone, but if you’re on a budget (who isn’t?) and you want something special, this is a headphone you need

to know about. To understand the SR60e, an analogy may be helpful.

Think of the automobile market. Nice cars in the middle of the market like the Infiniti QX50 SUV and the BMW 3 Series sedan blend practicality and luxury. These kinds of cars meet many of the varied requirements drivers have. Now imagine that Ferrari made a car in this same price range. It would be a sports car and it wouldn’t have the passenger or towing capacity of the QX50 or the ride quality of the 3 series. For $40k, it might not even be that fast. But, being a Ferrari, it would be thrilling to drive, something we can’t really say about these other cars. Lotus and Alfa Romeo have built cars like this (the Elise and the 4C). Judging by sales, almost no one wants the Alfa or the Lotus. And yet, you might be that rare person who does. If you’re that person, you might also like the Grado SR60e.

The Grado SR60e certainly isn’t sexy in appearance. But the sound it delivers is a very nice slice of what you get in high-end headphones (e.g., the Sennheiser HD 800, Stax SR-009, or Focal Utopia) for about 1/50th the price. That somewhat magical “thing” that high-end headphones deliver is something called resolution, particularly midrange resolution.

Resolution allows you to hear details of the musical performance that, if done right, are surprisingly important to getting into the feeling of the music. Some discussions of resolution sound like audiophile nerdism run amok, where listeners focus on hearing details rather than music. That’s not what we mean. Rather, the SR60e simply allows the important parts of many types of music to be heard clearly and authentically. The dynamics and emotion of tracks shine through. Listening to the Grados is like listening to the difference between live and recorded music, where you might not say the sound is better live, but the performance is more engaging.

This increased engagement doesn’t come because the SR60e is particularly accurate. The upper midrange is certainly lifted in level, so vocals can be slightly sibilant, and overall we’d say the headphones sound a little bright. At the same time, bass is clear but not very strong or deep. So, if your litmus test is bass/midrange/treble balance or bass power, the Grado headphones will not be for you (as we said, limited passenger capacity and imperfect ride quality). We directly compared the SR60e to the well-known Audio-Technica ATH-M50x and the latter


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clearly had smoother and more extended treble as well as a little more bass warmth. And, yet, we got into the music more with the SR60e.

In practical terms, the Grado has some limitations. First off, it is an open-back headphone, so if you need to avoid annoying the person in the next cube or you like to listen while on the train, the SR60e is probably not the right choice. In addition, the SR60e is a supra-aural design that sits on your ears, rather than wrapping the pads around your outer ears. Some people like this set up, while others find it less comfortable. Finally, while the Grados are not very hard to drive (a phone can generate medium-high volume), you may want a better DAC/amp than your phone offers to hear what they can do.

But if the practical limitations are not an issue, and if you’re the kind of music-lover who just likes to enjoy the music rather than thinking about the details of the sound, the Grado SR60e might well be the best headphones on earth, cost accounted for. Tom Martin

TECHNICAL SPECIFICATIONSType: Dynamic, on-ear headphoneDriver complement: single dynamic driver per earcupFrequency response: 20Hz–20kHzImpedance: 32 ohmsSensitivity: 99.8 db@1mWConnector: gold 3.5mm and phone plug adapterWeight: Not specifiedPrice: $79 US, £89.95 UK

MANUFACTURER INFORMATIONGrado LabsTel: +1 718-435-5340URL: www.gradolabs.com

SummaryVoicing: Neutral bass and treble with elevated mids.





Prosll Brings essence of music to life.ll Low price.

Consll Treble lacks smoothness.ll Limited bass depth.ll Not ideal for eyeglass wearers.

HiFiMAN Sundara

Many enthusiasts associate the name HiFiMAN with ultra high-end headphones such as the electrostatic Shangri-La or the planar magnetic Susvara, both of which are superb, but also expensive. However, the fact is that

a good part of the firm’s reputation was built on models offering unexpectedly high levels of performance at down-to-earth prices, including the HE400, HE400i, and HE400S. In keeping with this tradition, HiFiMAN has now created the latest in its long line of affordable overachievers: the new Sundara planar magnetic headphone priced at $499. (HiFiMAN says Sundara is a Sanskrit word meaning “beautiful”.)

To this end, HiFiMAN has given the Sundara all-new frame, ear cup, and driver designs. The frame is a streamlined variation on the Carol Catalano Design frame used on most modern HiFiMAN headphones, but with significant changes. Specifically, the new frame features a fixed-position strap and allows height adjustments via adjustable ear cup yokes that slide up and down within the arms of frame. As a result, the new frame allows a greater range of vertical travel than any previous HiFiMAN model in our memory. Another change is that the ear cup yokes deliberately forego horizontal swivelling hinges; instead, the yokes and frame assembly have just enough side-to-side flex to accommodate left/right tilt requirements.

The large, circular ear cups/driver frames are made of satin black finished aluminum, with sturdy 3.5mm signal cable jacks on each ear cup. The open-back cups are fitted with metal mesh protective grilles and underlying black fabric dust covers. Overall, the new cups seem more robustly and precisely crafted than the plain or veneer-wrapped plastic cups HiFiMAN used in its earlier designs. The ear cups are fitted with thick bevelled ear pads featuring pleather outer surfaces, fabric touch surfaces, and perforated pleather inner rims.

The biggest change involves the Sundara driver diaphragm, which is said to be fully 80% thinner than the diaphragms used in the HE400 series headphones. HiFiMAN says the low-mass diaphragms deliver “much wider frequency response, faster response time, and a more lush and detailed sonic signature.” Sensitivity is a modest 94dB, meaning owners will want to use either desktop or portable headphone amplifiers or DAPs to hear the headphones at their best.

Here’s an important tip for prospective buyers: the Sundara’s require a lot of run-in time for their sonic character to develop fully. Straight out of the box, they can sound overly muted or tightly constrained, but somewhere between 150–200 hours in, the headphone arrives at its


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happy place. Post run-in, the Sundara exhibits nearly ideal, neutral tonal balance with just a hint of desirable bass lift. The most striking thing, though, is that the Sundara doesn’t really sound like a $499 headphone at all; instead, its resolution, transient speed, and dynamic agility (especially down low) provide sonic qualities you might expect from headphones in the high three-figure to mid-four-figure price range, which is remarkable.

A track that drove home this point is ‘Stank’ from Jamey Haddad, Lenny White, and Mark Sherman’s Explorations in Space and Time [Chesky, 24/96]. On Stank the trio of master percussionists serve up an intensely funky, syncopated performance played on a diverse array of drums, gongs, cymbals, and other instruments. The Sundaras do a great job of capturing the sheer energy and attack of the bigger (lower-pitched) drums, while also nailing the resonant ring of tubular bells and the delicate sheen of high percussion. Through the HiFiMAN headphones, the dynamics are simply explosive. But around the 3:40 mark, the bigger fireworks subside to be replaced by more intricate and subtle lower-level percussion statements, which the Sundaras reproduced with wonderful articulacy. Best of all, the Sundaras created a broad, expansive sense of the resonant recording space.

Sundara embodies the best qualities of its forebears while pushing the limits for sound quality and value at its price point. It sounds like a roughly $1000 headphone, but one you can buy for $499. Chris Martens






Prosll An unusually accomplished and well-rounded performer

in its price class.ll Sound is quite revealing, but not oppressively so. ll Superb, high-definition bass (once run-in is complete,

that is).ll Ergonomic design updates work really well.

Consll Needs a substantial amount of run-in time (150 hours

plus) to sound its best.ll Sundara should ideally come with a protective travel

case or bag. ll The name Sundara is easily confused with that of the

flagship Susvara.

TECHNICAL SPECIFICATIONSType: Full-size, open-back planar magnetic headphoneDriver complement: One full-range planar magnetic driver with ultra-thin diaphragm Frequency response: 6Hz–75kHzSensitivity: 94dBImpedance: 37 ohmsAccessories: One 1.5m single-ended headphone signal cable with 3.5mm headphone plug, and “crystalline copper” conductors, bevelled headphone pads (installed on headphones), and Owner’s Guide. Weight: 372gPrice: $499 US, £449

MANUFACTURER INFORMATIONHiFiMANTel: +1 (201) 443-4626URL: www.hifiman.com

Its resolution, transient speed, and dynamic agility provide sonic qualities you might expect from mid-four-figure headphones


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Just looking at the complete Meze 99 Classics walnut gold package gives one a perfect idea of how competitive the headphone world has become. In the traditional hi-fi market, a package of this elegance and completeness simply wouldn’t happen for $309, or even $3090.

Part of a range comprising two earphones and these over-ear, closed-back designs, the Meze headphones from Romania (named after designer Antonio Meze, and not a selection of Levantine appetizers) arrive in a nicely finished box, with a hard-shell case, with the headphones and a little free-floating pouch of detachable headphone cables, jacks, etc., inside. There are two sets of Kevlar-wrapped OFC cables—one with and one without an in-line microphone/media controller. The cables slot into neat little gold or silver insets in the walnut or maple earcup. These cables are prone to rustle a little against clothing, however.

Inside the earcup is a 40mm full-range Mylar transducer with a neodymium magnet system. The earcups themselves are solid blocks of walnut, CNC-milled and then hand-finished and polished in an artisanal matte finish.

The headphone is joined to its V-shaped metal band at the center point of the earcup, and the size adjustment is a single, flexible inner band with a pleather pad, which fixes to the outer band. This is an extremely comfortable way of producing an adjustable headband without having the means of adjustment resting upon one’s head. The C-word is perhaps the most vital component of the Meze 99’s physical properties: It’s comfortable to wear, comfortable to listen to, and plays at comfortable levels with consummate ease.

What the Meze 99 does exceptionally well is play at a broad range of volumes. This is not as easy as it sounds, especially when partnered with reasonably prosaic headphone outputs. We tend to assume the typical headphone listener is armed with the best-quality source material, high-performance DAPs, DACs, and headphone amps, but the reality is often very different. For every well-manicured feed, there are dozens of other models being played out of the headphone socket of a smartphone or a computer. And it’s here where the Meze 99 shines. Well-fed it’s an excellent performer, but it’s also capable of delivering something very similar at the end of reasonably humble equipment. The Meze 99 has a strong, powerful bass, but one that does not predominate. This is coupled to an extremely clear midrange, and the kind of easy, unforced treble you can spend hours with.

The Meze 99 is an unexpected joy. It has sensational musical performance, even when played with very humble audio equipment, and is comfortable enough in wear and sound to allow the listener to spend many hours at a stretch in its company without a care. Very highly recommended. Alan Sircom

SPECS & PRICINGType: Closed-back headphoneTransducer size: 40mmFrequency response: 15Hz–25kHzSensitivity: 103dB at 1KHz, 1mWImpedance: 32 ohmsRated input power: 30mWMaximum input power: 50mWDetachable Kevlar OFC cable plug: 3.5mm gold-platedWeight: 260g (9.2 oz.) without cablePrice: $309/£309

Meze 99 Classics

It is comfortable to wear, comfortable to listen to, and plays at comfortable levels with ease.

Hi-Fi+ is the leading magazine for all music lovers. We strive to present you with reviews of the best equipment to enhance your listening experience. Each month the magazine brings you reviews of new equipment by some of the audiophile world’s leading writers. If you are looking to buy some new speakers, or build a system from scratch, Hi-Fi+ is the place to go. Visit our website and subscribe to receive each copy direct to your door.

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Headphones

$499 AND BELOW

You might say it’s time for Oppo’s round three. The esteemed Silicon Valley-based manufacturer first offered the PM-1 headphones ($1099), soon followed by the PM-2 ($699). Now Oppo has added the PM-3 headphones to its lineup, priced at a modest $399. Using technology trickled-down from its more

expensive models, the PM-3 promises to deliver the Oppo sound in a smaller, more portable, closed-enclosure headphone.

The PM-3 uses the same basic technology as the PM-1 and PM-2 with its sound emanating from a seven-layer planar diaphragm of double-sided spiraling coils made from flat aluminum conductors. Thanks to the double-sided diaphragm, the magnetic field is populated with twice as many conductors as a single-sided diaphragm. This, in turn, dramatically increases the headphone’s sensitivity and ability to withstand higher drive forces. Combined with Oppo’s FEM-optimized magnet system, which employs high-energy neodymium magnets, the Oppo PM-3 achieves a 102dB sensitivity figure. With such high sensitivity, even a smartphone will easily be able to drive it to satisfying volume levels.

The physical design of the PM-3 is reminiscent in many respects of Oppo’s other models. It has a similar padded headband, except the PM-1 employs genuine leather while the PM-3 uses an artificial leather substitute. The PM-3’s earpads are also man-made rather than genuine cowhide. Pivoting yokes on all Oppo headphones have the same elegant design, but are constructed out of slightly different materials. I could see that the PM-3 yoke and pivot had fewer parts than the PM-1, but in overall fit and potential longevity both headphones were equal.

There are two big differences between the PM-3 and Oppo’s other headphones. The first is size. The PM-3 has a slightly smaller circumference than the PM-1 and PM-2, which means for some prospective users the PM-3 headphones will be an on-ear rather than an over-ear fit. The other major difference between the PM-3 and Oppo’s other headphones is that the PM-3 is a closed- rather than an open-back design. This means that the PM-3 should provide more isolation from outside sounds. The disadvantage is that the PM-3 has to attenuate the sound reflected off its closed back, so that the reflected sound does not interfere with the direct sound coming from the headphones. This is a challenge. It is far easier to design and manufacture an open-enclosure headphone because there’s no “back wall” to reflect sound, out of phase and out of time, back into the mix.

While it might seem presumptuous to assume that a manufacturer with just three products in one category can already have a “house sound,” the PM-3 does sound more similar to the PM-1 than different. I hesitate to call the PM-3 a “PM-1 lite,” but it does have much the same sonic character as its big brother, albeit in slightly lesser quantities.

The overall harmonic balance of the PM-3 is what I would call natural as opposed to razor-flat neutral, tipped-up, or bass-centric. The harmonic balance is relaxed without being dark or murky. The PM-3s are more forgiving of recordings with excess energy in the 2kHz to 4kHz regions than the PM-1s, but that also translates into slightly less sparkle and dynamic energy. I found the PM-3s were also less revealing than the PM-1s because they have less energy in the presence range.

Although I wouldn’t call the PM-3 a bass monster, it did an excellent job of keeping the low end clean yet warm. In comparison the PM-1 had greater bass extension, but the PM-3 was its equal in the midbass.

Upper-midrange and treble energy through the PM-3 was a bit truncated when compared to the PM-1.

If you’re looking for a pair of headphones for situations in which you still need to hear some outside sounds but don’t want to bother others with your music, the PM-3 would be a savvy option. It’s comfortable, extremely well made, and cleverly designed. Couple it with one of the new generation of portable players, and you have a portable rig that will keep you enthralled for as long as the batteries last. Steven Stone

SPECS & PRICINGType: Closed-back, planar-magnetic, over-the-ear headphoneImpedance: 26 ohmsFrequency response: 10Hz–50kHzSensitivity: 102dB/1mWMax input power: 500mWPulse max input power: 2WCables: 3m detachable cable (3.5mm with 6.35 mm adapter); 1.2m detachable cable (3.5mm)Output: 3.5mm stereo jack, 3.5mm stereo jackInput: 6.35mm stereo jack, 3.5mm stereo jackWeight: 320g (without cable)Price: $399/£349

Oppo PM-3


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PSB M4U 8

Famed loudspeaker designer Paul Barton’s first headphone was the $399 PSB Speakers M4U 2 launched in 2012—an auspicious debut model widely acknowledged as a huge critical and commercial success. I

bought a pair at their introduction and have spent many hundreds of hours with them in many different listening environments.

The M4U 2 is a tough act to follow, but PSB has done it again with the new M4U 8, a significant rethinking of the original design. Like the M4U 2, the M4U 8 is a dynamic closed-back headphone with active noise-cancelling technology. But the new model adds Bluetooth and NFC connectivity, integral rechargeable batteries, and convenience features such as call-answer controls and two built-in microphones for improved call clarity. The new model is slimmer, sleeker, and has a more refined and sophisticated look and feel, and much of the headband and parts of the ear cups are made from a rich, soft-feeling material. The M4U 8 is slightly more comfortable as well, with smaller earcups.

In a nice touch, cable jacks are provided on both the left and right ear cups for convenience. The whole package folds nicely into a hard travel case. Despite the addition of Bluetooth and NFC connectivity, phone controls, and integral rechargeable batteries, the price remains at $399.

The M4U 8 includes an integral amplifier that can, if desired, be bypassed so that the M4U 8 functions as a conventional passive headphone. In fact, the headphone offers three operating modes: active noise canceling, active amplification without noise canceling, and passive mode. The active modes engage PSB’s so-called RoomFeel voicing, which mimics the warmer, richer tonal balance of loudspeakers in a room. Barton’s created RoomFeel voicing for the M4U 2, which was a good move because the M4U 2’s full tonal balance was one of its greatest attributes.

The M4U 8 sounds very different when operated in passive vs. active mode. In passive mode, the 8 has a much darker tonal balance than the 2, with very weighty bass and an almost closed in midrange and treble balance yielding a murky sound without much openness and detail. But slide the switch on the right earcup to active mode, or active noise cancelling, and the M4U 8 takes on a whole new personality. The midrange and treble open up, the bass balance is more in line with the rest of the spectrum, and dynamics improve.

Comparing the M4U 2 and the M4U 8 (in active mode), the new model is significantly better than its predecessor. The 8’s most notable attribute is an ultra-smooth upper-

midrange and treble (notably better than the M4U 2) that gives the headphone a relaxed, engaging character. The 8’s tonal balance is not only more relaxed, but its rendering of midrange and treble timbres is far better, with less hardness, grain, and “bite.” Despite its heightened smoothness, the M4U 8 gives up nothing in terms of openness, resolution, transient speed, and detail. In fact, what makes the M4U 8 so compelling is its combination of an easy-going top end with its excellent resolution of detail and transient information. While the PSB doesn’t match planar headphones in detail and snap, neither does it have the threadbare “skeletal” character that plagues some “ruthlessly revealing” planar models. Concomitantly, the M4U 8’s bass continues the tradition of the 2, with a warm, rich, and full balance.

The new PSB also resolves space and depth quite well, although not to the degree of some other contenders. Listeners who value smoothness, ease, textural body,


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$499 AND BELOW

weight, and a general sense of engaging musicality rather than the last word in resolution will find the M4U 8 right up their alley.

Overall, PSB’s M4U 8 is not only a great performer, but a spectacular value. The addition of Bluetooth connectivity, more luxurious look and feel, and the tremendous improvement in smoothness and musical involvement make the M4U 8 a “can’t miss” winner. Robert Harley

TECHNICAL SPECIFICATIONSType: Closed-back dynamic headphone with active noise cancelingWireless pairing: Bluetooth aptX (2.4GHz), NFCDriver complement: One 40mm dynamic driverFrequency response: 20Hz–20kHz, +/–1.5dBImpedance: 32 ohms (passive mode)Accessories: Hard-shell travel case, dual 3.5mm adapter, 3.5mm cable, micro USB cableBattery life between charges: 15 hoursWeight: 322 grams (12.8 oz)Price: $399 US, £299

MANUFACTURER INFORMATIONPSB SPEAKERS633 Granite Court, Pickering, Ontario L1W 3K1, CanadaTel: (905) 831-6555URL: www.psbspeakers.com

SummaryVoicing: Neutral with somewhat elevated bass





Prosll Warm and rich tonal balance.ll Very smooth and engaging mids and treble.ll Can listen for hours without fatigue.ll Active design with noise canceling.

Consll Less resolving than similarly priced planars.ll Not as light and comfortable as some competitors.

Sennheiser HD 660 S

The Sennheiser HD 660 S is the current pinnacle of the company’s long-lived core HD 600 line. The Sennheiser HD 660 S is a scaled-down version of the flagship HD 800 S. The Sennheiser HD 660 S is a damn good headphone in and of itself. In fact,

the HD 660 S is all of those things, and more. The open-backed, over-ear, dynamic headphone uses

transducers designed for the HD 660 S, but leveraging technology derived and trickled down from the top HD 700, HD 800, and HD 800 S models. It uses an incredibly thin, precision crafted stainless steel fabric diaphragm, coupled to a lightweight aluminium voice coil. These are pair-matched to extremely tight tolerances (±1dB).

Supplied in a stiff card presentation case, this is every bit an HD 600 model, with its oval over-ear cups, plush ear pads and solid plastic construction. Aside from the all-black ABS finish, a slightly smaller logo-free Senneiser name across the headband and the logo set into the outer grilles of both ear cups, you could be looking at a model made in the last century. And there’s absolutely nothing wrong with that because the design is extremely comfortable, very light, and clamps to your head well (possibly too well for some).

The HD 660 S is supplied with two and a half sets of cable. A 6.35mm TRS jack plug is fitted as standard, but the cables can removed and replaced with the supplied set of cables that terminate in a 4.4mm Pentaconn balanced connector. The ‘and a half’ part is a short 6.35mm female to 3.5mm male TRS jack adaptor cable. These cables are all well-made, noise and tangle-free, of relatively basic construction—and almost absurdly long.

The HD 660 S is best with a good source and amplifier, but this is more of a guideline than a mandatory recommendation. In fact, these 150Ω headphones are quite easy to drive. The 4.4mm Pentaconn balanced input cable helps make this a great partner with a good balanced-output DAP, of course, although the headphone is too open backed to be the ideal on-the-move partner for an iPhone. But for home use, they can be fed quite comfortably from a tablet.

This is by far the most detailed headphone in the HD 600 range, and that makes it one of the most detailed headphones in its class. That’s why the HD 660 S cries out for a good DAC and amp: quality, not quantity. There is a wealth of musical information on offer, not quite the detail delivery of the original HD 800, but more like a mastering suite fitted to your head that affords you hours of insight into the music. It also shares with its bigger HD 700 and HD 800 S brothers that intrinsically uncoloured sound, albeit with a touch of granularity in the midband.

I’m something of a part-time supporter of the HD 600 line. I vacillate between loving the precision of the sound


Headphones

$499 AND BELOW

SummaryVoicing: Plenty of detail and soundstaging.





Prosll Superb detail, especially in the treble.ll Excellent sound staging, especially in context of

the design.ll Easy to drive.ll Studio-like accurac

Consll Head clamping pressure too tight for some.ll Bass could have more impact.ll Very mild grain effect in the midrange.

and the good low-end frequency extension and not liking the feeling of a sound stage slightly ‘shut in’ (more inside your head than outside). The HD 660 S resolves this elegantly, by making the soundstage seem more open and de-lateralised, but without undermining that precision. This improvement seems to have come with no significant downsides,

save for a slightly lean yet laid-back upper midrange. These characteristics are mild, effectively neutral to

long-term listening enjoyment rather than upsetting the sonic applecart.Despite its livery, I think the Sennheiser HD 660 S

looks to the stars, rather than setting itself at the head of the HD 600 family. That’s mostly a good thing. A stripped back HD 700 or HD 800 S is always welcome, and while that means the overall detail it produces comes at the expense of some of the grain-free bass depth of the best of the 600 line, I think that’s a worthwhile trade. Alan Sircom

This is by far the most detailed headphone in the HD 600 range, making it one of the most detailed headphones in its class.

TECHNICAL SPECIFICATIONSType: Single-driver open-backed, circumaural headphone.Driver Complement: 44.1mm dynamic driverFrequency Response: 10Hz–41kHz (-10dB)Impedance: 150Ω Sensitivity: 104dB/VWeight: 260g (Without cable)Accessories: One 3m single-ended headphone cable with 6.35mm TRS plug, one balanced headphone cable with 4.4mm Pentaconn plug, one 6.35-to-3.5mm adaptor, stiff card case, instruction manual.Price: $499.95 US, £429.99 UK

MANUFACTURER INFORMATIONSennheiser Wedemark, GermanyTel: +49 (0) 5130 600 0Tel: +1 (877) 736 6434 URL: sennheiser.com

Phone: 979.265.5114 • P.O. Box 125 • Clute, TX 77531 • USA • www.puristaudiodesign.com

We customize your Impresa Headphone Cable to your needs. By hand.

Mere 0.0213 • Ω/m resistanceCapicitance of 20 pF/FT • Crafted by hand for your system • Nano technology • Sonically revealing, transparent • Crafted in the USA • Over 30 years’ experience •

We connect you to the music.

Impresa customized for Audeze Headphones Impresa customized for Sennheiser HD800Impresa customized for Beterdynamic T1

Impresa customized for Sennheiser HD800

VOCE“...one of the finest electrostatic headphones ever created ...” -Chris Martens, Ultimate Headphone Guide

“...for those who want electrostatics but a far momore organic or natural sound.” -Marcus Downey, Headfonics

MrSpeakers


Headphones

Advanced Alpha

Advanced is new to the personal audio scene and has its office in Great Neck, NY. The Alpha planar magnetic headphones have been generating considerable favorable buzz, especially in light of their $499 price tag. The Alphas could be

an indication of great things on the horizon from this headphone-culture freshman company.

The Alpha is an open-back planar magnetic headphone featuring proprietary single-sided drivers, which contribute to the headphone’s low weight. The headphones use a universal-fit comfort headband, which expands and contracts to accommodate various head shapes and sizes. Advanced provides two sets of angular memory foam ear pads: A set of “deep” protein leather and a breathable “shallow” pair. The provided cables are terminated with 2.5mm plugs for each transducer and a 3.5mm mini plug on the amplifier end, making them replaceable for listeners who wish to use high-performance aftermarket signal cables.

These headphones are incredibly light and comfortable. Their clamping force is a bit tight out-of-the-box. They loosen up after a while, but not so much that the headphones fall down past your ears (a problem that plagues some bulky designs). Having such lightweight, full-range, open-back planars is an absolute pleasure for extended listening sessions. Their ergonomics are exemplary, distributing the weight of the design evenly from front to back. There are no fears of aching neck pains with the Alpha.

Advanced claims that their entrance into the personal audio universe was “for the love of the music” and “for the struggling instrumental buried under the heavy bassline.”

While that’s a terrific line, it might lead you to believe that the Alpha is lean in the low bass, but that would be far from the truth. It’s more than capable of reproducing pounding kick drums and bass lines in hip-hop and EDM, as well as detailed guitars, bass, and drums in pop music and jazz. Advanced also says they wanted to “bring the ultimate aural experience in a package that is simply affordable for everyone, because we believe everyone deserves good sound.” The Alpha achieves that goal with precision and class.

J. Cole’s “Love Yourz” [2014 Forest Hills Drive, Roc Nation/Sony Music] shows off the Alpha’s low-end capabilities with slam and weight. The kick drum pounds and dissipates instantly, with a dynamic sense of air and speed. The snare hits with a wicked transient attack while the keyboards are wonderfully fluid and colorful. Cole’s lyrical delivery is emotionally charged and vivid—a must for any J. Cole fan. He always manages to bring a very personal feeling to every piece he creates, which can get lost easily if the playback system lacks in the detail retrieval department. Finding a set of headphones that serve both hip-hop and pop music with equal clarity and respect is a rarity, and the Alpha did so with elegant gestalt.

The Alpha showcased its ability to capture and reproduce nuance and subtleties on Tori Amos’s “Silent All These Years” [Gold Dust, Atlantic Records]. Her piano playing has these fantastically ethereal textures. Maybe it’s the way Amos’s fingers dance and hover across her keystrokes, or the blending of her soaring vocals with the vibrant colors of the triggering of the notes. Either way, the Alpha created a dreamy cascading soundscape that was

$499 AND BELOW


Headphones

equally enveloping and rich. Amos’ powerful voice is locked dead center, with subtle echoing reverb effects panning left and right. This is a test of what a headphone can do with minimal arrangements that are creatively mixed, rendering images that feel far more intricate than the sum of their parts. The Alpha’s performance necessitated multiple clicks of the repeat button on this track.

Advanced’s Alpha is a stunning sonic, aesthetic, and ergonomic achievement. Its sound is well balanced and tight, drawing the listener deep into the music. Its lightweight and comfortable design enables the user to get lost in the music for hours without giving their neck a workout. The sensible $499 price also makes the Alpha a legitimate bargain. Michael Mercer

TECHNICAL SPECIFICATIONSType: Open-back planar magnetic headphonesDriver Type: 96mm single-sided n48 planar magnetic driver with silicone composite diaphragmFrequency Response: 20Hz–40kHzMax input power/Rated input power: 20mw/50mwProvided cable composition: Silver-plated copperProvided cable type: Detachable gold-plated 2.5mm input/3.5mm outputAccessories: One pair memory foam protein leather “deep” ear pads, one pair memory foam breathable/sweat resistant “shallow” ear pads, one silver-plated 8-way braided headphone cable, and one leather cable tie. Price: $499.99

MANUFACTURER INFORMATIONADVSOUND, Inc.Great Neck, NY 11021 USAURL: www.adv-sound.com

SummaryVoicing: Neutral-leaning/midrange-focused





Prosll Extremely lightweight.ll Fantastic ergonomics.ll Detailed and dynamic sound.ll A serious bargain.

Consll High clamping force out-of-the-box.ll Provided signal cable is prone to tangles/knots.

$499 AND BELOW

Audeze LCD-2 Classic

Audeze’s LCD series of over-ear headphones established the firm as a serious player in the premium headphone market. The least expensive model in the LCD line used to be the first model Audeze introduced in 2009, the LCD-2 ($995

MSRP). But with the new LCD2 Classic ($799 MSRP) Audeze has a lower-priced way for music lovers to get into the LCD universe. On their product page Audeze claims the new LCD2 Classic “features the slightly warm sound signature of the original LCD-2.” Let’s slip on a pair and find out if that’s true.

Like other LCD headphones the LCD2 Classic uses large ultra-thin film diaphragm planar magnetic drivers with a double-sided magnetic structure. It differs from the original LCD2 in several ways. The most immediately noticeable difference is that instead of bamboo wood end caps the LCD2 Classic uses a glass-infused plastic with a finish that resembles a powder-coated metal. The biggest difference that will have an effect on sonics is that the LCD2 Classic lacks the Fazor elements that were developed after several generations of LCD2s were released. I own an original pair of LCD-2 Bamboo (a generation before the Fazor change-over), so I had an opportunity to compare a new LCD2 Classic with this earlier generation version that the LCD2 Classic is modeled upon.

Comfort will always be subjective. The LCD2 Classic has the most forceful side-pressure of any headphone I’ve used recently. That means it will always make a good seal around your ears, but depending on your head size and shape, you may find, as I did, that you will need to take periodic comfort breaks. I could go about 45 minutes at a time before I need some free-range head time. The headband on the LCD2 Classic is the same as the current-gen LCD-2 but is different from the original headband on the LCD-2, which was padded lambskin leather. The current band is spring steel with a suspended vegan protein “leather” band positioned below it. As to relative comfort, I found the two headbands similar.

With a sensitivity of 101dB/1mW the LCD2 Classic was easy to drive. Out in the world I used it mainly with the Ear Studio amplifier, which is a small battery-powered 4.2 Bluetooth DAC/headphone amp connected to my iPhone 6SE. Tethered to a less portable rig, like the Sony TA-ZH1ES DAC/amp, the LCD2 Classic demonstrated an equally synergistic connection, with more gain than anyone would ever need and a completely silent background.

If Audeze’s primary goal was to duplicate the sound of the original LCD-2, pre-Fazor, they certainly succeeded. In fact, except for 3dB more sensitivity on the Classics and slightly more bass prominence and clarity on the original


Headphones

$500–$999

pair of LCD-2 headphones, they sounded exceedingly similar (I was told, due to production variations and age, current production Audeze products have much tighter production tolerances than during early years). The bass difference was very likely a function of the variation between the new pads on the LCD Classic and the more compressed 7-year-old pads on my original LCD-2 headphones. My ears were closer to the drivers on the old pair of LCD-2s.

Sonically, the LCD2 Classic headphones have a natural harmonic balance with good bass extension and control of low bass, with a large soundstage that displayed excellent three-dimensional imaging. The LCD2 Classic’s ability to separate and differentiate each element in even a complex mix was exemplary, as was the Classic’s low sonic fatigue

SummaryVoicing: Neutral with elevated bass.





Prosll More efficient than early Audeze LCD-2 headphones.ll Leather-free headband and ear pads.ll Removable, replaceable signal cables.ll Original LCD-2 sonics at a lower price.

Consll Moderately heavy.ll Strong side-pressure from headband.ll Does not fold flat for travel.ll No 3.5mm mini stereo adapter included.

TECHNICAL SPECIFICATIONSType: Planar magnetic, open backDrivers: Planar magnetic driver with Neodymium magnetsFrequency Response: 10Hz–50kHzImpedance: 70 ohmsSensitivity: 101dB/1mWConnector: Standard 6.35mm stereo plug with supplied cableWeight: 550 gramsPrice: $799, £599

MANUFACTURER INFORMATIONAudeze LLCSanta Ana, CA 92704 USA +1 (714) 581-8010URL: www.audeze.com

factor. If it weren’t for the need for periodic comfort breaks due to their side-pressure, I could have worn the LCD2 Classics all day.

If you have loved the sound of the original Audeze LCD-2 but could never quite bring yourself to part with that much cash, the new LCD2 Classic lets you have that original sound for $200 less. Maybe your procrastination wasn’t such a bad thing after all. Steven Stone


Headphones

Campfire Audio Cascade

Campfire Audio is a three year-old firm that is the brainchild of Ken Ball (of ALO Audio fame) and it has built a strong reputation at a rapid pace. The Cascade closed-back headphone reviewed here (Campfire’s first) will start shipping in early May of

2018 and follows Campfire’s recent trend to feature more mid-priced offerings. Don’t let “mid-priced” phraseology throw you, though; a smart wager would be that 9 out of 10 enthusiasts would probably estimate the price of these headphones to be higher than it actually is, once they’ve had a chance to handle and hear them in action.

The Cascades sport custom-built full-range 42mm Beryllium PVD drivers said to be the culmination of a three-year research and development effort. The drivers add notable speed and punch to the Cascade’s sonic

character. Cascade’s ear cups and ear cup hangers are made of machined aluminum and feature a crafty pivot and joist attachment that keeps the earphones pressed firmly against your ears while sealing in the sound. A sheepskin headband pad is fitted over a skeletal stainless-steel frame and it handsomely compliments the Cascade’s large, removable sheepskin ear pads.

Campfire targets the Cascade toward the needs of mobile headphone buyers. The durable aluminum and stainless steel frame minimizes weight (the Cascade weighs in at 383g without cables), the closed back design and sheepskin ear pads provide essential sound isolation, while the entire headphone folds up to minimize space requirements for travel. Cascade’s simple styling tips its hat towards a refined class, the included zipper-closure

$500–$999


Headphones






Prosll Intimate presentation with excellent upper mids.ll Near total sound isolation from exterior sounds.ll Compact size and folding frame makes for great

portability. ll Tuning dampers are not gimmicks; they produce

substantial (and useful) results.

Consll Somewhat small and snug earpads might not be

comfortable for all listeners; very tight fit.ll Bass might be a bit too forward or over-prominent for

some listeners.ll Ear pads can become quite hot after extended listening

sessions.ll Supplied Litz signal cables could be longer.

$500–$999

carrying case is appropriately slim, and in practice the sound isolation is incredible. Make sure you look both ways before you cross the street because it’s not going to be easy to hear that bus coming with these headphones on! The most excellent news, however, is that Campfire does not sacrifice sound quality for the sake of portability. On the contrary, the Cascade seems equally at home whether driven by your mobile DAP or plugged into a high-end headphone amplifier on your desktop.

The Cascade is largely a neutral performer through the midrange and highs, while bass response, though tight and cohesive, tends to be just slightly elevated. What continually impressed me, though, were the Cascade’s uncolored upper mids and highs. A musical moment that catches these strengths is the horn blasts on “Trespassing” from the Skull Snaps eponymous 1973 R&B album [GSF, 16/44.1]. It’s funny that you can listen to a track like this upwards of 25 times and then have a headphone like the Cascade transport you a new level of musicality that allows additional layers of grit and grime to seep right on through (and that’s a funk lover’s compliment people, trust me).

I found the Cascade allowed the music to speak for itself. While offering a fundamentally neutral sound, the Cascades include four sets of thin, microscopically perforated acoustic dampers that can be placed inside the ear cups to fine-tune voicing. The particular dampers I chose were able to rein in potentially overly hearty bass while balancing out the sound nicely. The key point is that Campfire gives users voicing options.

The Cascades come with a standard set of Litz-wire signal cables, but the Campfire team also sent along a set of premium ALO SXC8 signal cables ($349) for the headphones. The SXC8 cables offered quite a sonic enhancement, preserving the headphone’s compelling neutrality while unlocking far greater levels of resolution and tightening up bass response. In short, the SXC8 cables seemed to bolster all the things the Cascade already did well and helped fill in the very few sonic omissions I had observed with the stock Litz cable.

Whether with or without the ALO cable upgrade, Campfire’s Cascade is undoubtedly an upper tier performer that further enhances Campfire’s reputation

for performance. The Cascade has the style, build quality, and sonics to compete with any closed back headphone in its price class. Buzz Hughes

TECHNICAL SPECIFICATIONSType: Closed back, over-ear headphones with dynamic driversDriver complement: Beryllium PVD dynamic driversFrequency response: 5Hz–33kHzSensitivity: 100dB SPL/mWImpedance: 38 ohmsAccessories: Zipper-closure case, Litz-wire signal cables with cloth jackets, four custom fit acoustic dampers, Campfire lapel pinPrice: $799, UK pricing not yet finalized

MANUFACTURER INFORMATIONCampfire Audio Portland, OR 97214 USATel: +1 (503) 853-8606, +1 (855) 204-1492URL: www.campfireaudio.com

Campfire does not sacrifice sound quality for the sake of portability… Cascade seems equally at home whether driven by DAPs or high-end headphone amplifiers.


Headphones

$500–$999

In hindsight when Focal released its new pairing of Utopia and Elear headphones simultaneously in 2016 from Saint-Etienne in France, Focal seemed to have intentionally bound the lauded cost-be-damned Utopia and the oft-overlooked Elear for healthy sibling rivalry right from the outset. If Focal’s Utopia headphones seem

outside your budget at £4,000, its sibling Elear at £799 deserves a look. In fact, the closer you inspect the Elear the more family resemblance you will find with the Utopia, despite the Elear being listed at a fifth of the price. The on-going conversation about who is top dog in the Focal headphone family just got a whole lot more interesting when value entered the conversation, didn’t it?

The Elears, like the flagship Utopias, are open-back circumaural headphones designed around a visually seamless “one piece” aesthetic. They were conceived as open-backed, full-range loudspeakers with “perfect” frequency response. This required lightweight materials and driver diaphragms in order to avoid becoming physical roadblocks to sound reproduction—the pitfall of bulky, over-engineered headphones. Focal makes no secret that the Elear headphone borrows several key innovations drawn from the Utopia’s extensive research and development period. One of the most compelling innovations is that the Elear boasts is its own M-shaped cone/dome made of aluminium/magnesium. Focal believes the M-dome allows an added degree of physical space in the earcup that allows the plane sound wave to fully develop much as it would in a loudspeaker, but in the limited space available inside the Elear’s ear cups. The Elear tests at an impressive demonstrated frequency response of 5Hz–23kHZ. The Elear complements the impressive measured frequency response with a relatively high impedance so you should not have a tough time matching it with any modestly powered headphone amplifier. The Elear’s successful focus on dynamics is further bolstered with a lighter 25mm diameter x 5mm deep voice coil; it also sports an 80-micron thick suspension. All of these choices drive home Focal’s key design tenet yet again: a headphone is enabled to excel when it can produce the highest frequencies and producing the truest frequencies comes down to light weight parts and engineering with minimal mass to move.

When auditioning music it would stand to reason that the Elear’s rigorous focus on frequency perfection and dynamics would manifest itself during music playback in the ability to reproduce the tiniest nuances of a well-crafted musical recording. Aimee Mann’s album Lost in Space [SuperEgo Records] showcases what the liner notes refer to as “space loops.” These celestial space echoes wind their way through a melancholy palette at wonderfully unpredictable intervals and are tailor made for a nuanced headphone to bring them to life and make them pop. The track ‘Real Bad News’ proves to be a sonic rabbit hole that rewards well-made equipment with continued visions into just how deep the tunnel can drop. The track’s climaxing “da-da-da” layered vocal finale ties together quite a few elements: a shimmering cymbal cloud cover on the top end, a tar-like sticky bass foundation, and a gloriously well recorded and presented mid-range all of which are pushed to the max for the final 30 seconds of the track The Elear’s ability to glide through this dense mash of information and keep expanding the sound stage further and further away from my ears was nothing short of jaw dropping.

What I had perceived on previous tracks of the album to be the limits

of the sound stage were shattered as the Elear was able to effortlessly shift into a new top gear of horsepower to handle the tracks final push towards infinity.

If you were considering a £799 headphone purchase I would tell you with a straight face that the Elear simply must be on your short list and that an audition is required before any serious purchase. Elear is far ahead of its competition. Buzz Hughes

TECHNICAL SPECIFICATIONSFocal ElearType: CircumauralDrivers: Full-rangeFrequency response: 5Hz–23kHz Impedance: 80 ohmsSensitivity: 104dB Distortion: <0.3%@1kHz /100dB SPLWeight: 450g Price: £1000

MANUFACURER INFORMATIONFocal-JMlab URL: www.focal.com

Focal Elear


Headphones

$500–$999

Always proud to be swimming against the current, Southern California-based MrSpeakers has introduced two versions of their $799 ÆON Flow series headphones—one in closed-back form and the other

an open-back model. The ÆON Flow closed-back version, reviewed in Hi-Fi+ Issue 147, received our 2017 Hi-Fi+ award for High Value Headphone of the Year. The ÆON Flow Open headphone may be an even better performer.

The first thing that grabbed me upon unboxing the ÆON Flow Open was the distinctive “tear drop” shaped ear cup, which is constructed of an opaque thermoplastic polymer known as acrylonitrile butadiene styrene (ABS) and artfully finished with a deep metallic blue lacquer giving the headphones an understated and confident pop. ABS is only used in the painted plastic part that holds the grille. The comfort and fit are due to the gimballed NiTinol-memory metal headband, which is a remarkably simple arc-shaped and hinge-free design with a dyed through-leather headband strap. The final noteworthy design element is the visually arresting hexagon-shaped powder coated stainless steel grill on the exterior of the ear cup. This hexagonal grill gives the headphone a sophisticated and sharp look that again belies its price point.

The V-planar driver diaphragm design for which MrSpeakers has recently received patent approval is an equally important addition to the ÆON Flow Open headphone. Bruce Thigpen of Eminent Technology helped MrSpeakers’ Dan Clark design around the reality that any inelastic driver is not a flat surface but rather a bowed one. Confronting this fact, V-planar knurling or “pleating” was developed, which seeks to crease the driver surface enabling it to expand and contract like an accordion without stretching the material, while also allowing the entire diaphragm to move forward and backward in a linear way and without bowing in the centre. Dynamics again are said to be the beneficiary here, but notably this knurled V-planar diaphragm can push more air at low frequencies also bettering bass response.

For this review the ÆON Flow Open was auditioned using Tidal hi-fi FLAC 16/44.1kHz source files via an Audirvana-based music server running through a Chord Electronics Hugo TT headphone amp/DAC.

MOFRO’s debut Blackwater [Fog City Records] was an excellent choice to get the party started. Blackwater’s long and spooky lead-off title track has a break at about 3:45, at which point JJ Grey and the boys relentlessly start to hammer the keyboard bass while attempting to command total submission to their deep backwoods groove. This scary low bass easily outclassed any bass extension in sub-£1,000-class headphones I have heard to date. The low end was so tight and deep that it quickly became a focal point in the audition and added a new mystique to an album I had previously underappreciated.

The ÆON Flow Open continued to show its dynamic chops on Blackwater’s third track appropriately titled “Air.” A silky reverbed electric piano is thrown like a well-placed curve-ball at the bass lines, all the while maintaining a spacious pocket for the midrange to squeeze into.

The ÆON Flow Open showed remarkable sonic horsepower unpacking the varied and complex mix of sounds. The mid-range was clear and well defined, and the bottom end was again satisfyingly fast and tight. The ÆON Flow Open edition handled the spectrum so well that upon repeat listens I found that I was able to concentrate on different musical aspects every time with equal enjoyment. A connoisseur could argue the midrange was coloured

slightly towards the warm end of the spectrum, but to my ears the little

colouration I heard ultimately enhanced the presentation of digital tracks, making

them feel more accessible than if played through a rigidly neutral headphone.

The ÆON Flow Open is an extremely well built and good-sounding headphone. Across genres the ÆON Flow Open edition consistently seems to find new eye-opening ways to shake listeners out of complacency and reinvent the music anew with artistic intentions intact. Buzz Hughes

TECHNICAL SPECIFICATIONSType: Circumaural, open back, planar magnetic headphonesDrivers: Planar magnetic drivers with Trueflow motor magnet technology and V-Planar diaphragmsFrequency response: Not specifiedImpedance: 13 ohmsSensitivity: 95dBDistortion: Not specifiedWeight: 321gPrice: £799 (VAT included), $799 US

MANUFACTURER INFORMATIONMrSpeakers Headphone ProductsSan Diego, CA 92110 USA+1 (619) 501-6313URL: mrspeakers.com

UK DISTRIBUTORElectromodBeech Road, High Wycombe, Buckinghamshire HP11 1RY UK+44 (0) 1494 956558URL: electromod.co.uk

MrSpeakers AEON Flow


Headphones

$500–$999

Stax holds a special place in the hearts of music lovers. It’s the high-performance electrostatic headphone that even those who don’t like headphones enjoy. But, goes the logic, only a select few can get to enjoy them, because they are very expensive. The rest of us have to make do with high-performance dynamic

designs because we don’t have thousands to blow on headphones. This argument, however, suffers from being complete nonsense, as

evidenced by the SRS-3100 and SRS-5100 systems. You see, the SRS-3100 is Stax’s one-step-up-from-entry-level offering, comprising the SR-L300 earspeakers and the SRM-252S energizer, at a very competitive package price.

The SR-L300 earspeakers are based on the popular Lambda design, the classic rectangular, over-ear, speaker-shaped models similar to ones Stax designed back in the 1970s. In order to keep the price competitive, the heavier-grade ABS design of the more upmarket models from the same Lambda line has been slimmed down considerably. This makes the SR-L300 lighter on the ear than previous Lambdas (by a few grams), but it also makes the overall headphone/earspeaker feel flimsier. That being said, the new slide-type adjustment for the headband is a boon, and should be seen on later iterations of the pricier designs, in my opinion.

The SRM-252S also shows its inexpensiveness in a wall-wart power supply with a very small form factor. Where most Stax energizers look like someone cut an integrated amplifier in half, the SRM-252S is small enough to be hidden by a decent-sized paperback book. Nevertheless, despite its size, it houses a solid-state Class A amplifier.

The earphones and power supply are designed to act as a complete package, and there is no provision for a DAC. Just the one input, in fact. Power and volume are combined in a single volume pot, and a little green LED tells you when the power is being fed to the headphones. There isn’t much in the way of run-in required here. They just work out of the box without fuss.

Sonically, if you view the SRS-3100 in the light of “My First Electrostatic,” then for many the reaction will be “Oh my God! Where have you been all my life?” But if you have tried several seriously upscale electrostatics, you’ll think it a fine inexpensive unit with some understandable limitations in absolute clarity and bass due to the structural design of the earspeaker itself. In fact, both views of the SRS-3100 performance are true, but I’m coming down on the side of the newbie, here.

The fascinating thing about the SRS-3100 from that newbie’s position is just how good it is. I mean, really, ear-openingly, “Oh-now-I-get-it” good. If you are used to dynamic headphones—even really good ones that cost a lot more than the SRS-3100 system—the first time you hear this Stax sound is a revelation. Yes, there will be people who hear that

revelatory midrange and treble and conclude that they still need that powerful grip and weighty physicality of a dynamic, but there are more who will be reaching for their credit card within minutes. For many, the SRS-3100 will be their first time with electrostatic headphones, or “earspeakers” in Staxlish, and for some it will be the gateway to a world of electrostats, and for others it will be the beginning and end point for that electrostatic musical exploration.

The Stax SRS-3100 system is all about getting new people to experience its electrostatic headphone (sorry, “earspeaker”) sound, and it achieves that goal brilliantly! People erroneously discount ’stat headphone systems because “they are too expensive,” and then spend thousands on their dynamic ’phone system, and never look back. This setup really offers a “My First Electrostatic” experience, and if that fits your place in listening, it is a joy to try. Alan Sircom

SPECS & PRICINGType: Push-pull electrostatic, oval sound element, rear open-air type earspeakerFrequency response: 7Hz–41kHzElectrostatic capacitance: 110pF Impedance: 145k ohms Sound pressure sensitivity: 101dB/100V /1kHz Maximum SPL: 118dB/400HzWeight : 448g (including attached cable)Price : $999/£795

Stax SR-L300/SRS-3100 System

The fascinating thing about the SRS-3100 is just how good it is—really ear-openingly, oh-now-I-get-it good.


Headphones

$1000–$1999

It would not be a stretch to call Stax “the first audiophile headphone.” Back when almost all other full-sized headphones were using dynamic drivers, Stax had already established itself as preeminent by using planar-electrostatic technology exclusively. Nowadays, however, audiophiles have their choice of planar designs from many other

manufacturers at lower prices. Consequently, Stax needed an earspeaker in a more affordable package, so it developed the SR-L700 ($1400). Unlike most headphones all Stax electrostatic earspeakers use special dedicated amplifiers to drive them, which increases the cost of a Stax system proportionately. (Combined with the SRM-007tII drive unit, an SR-L700 system runs $3650.)

The SR-L700 utilizes the same “sound element” developed originally for the flagship SR-009. Stax calls this new ultra-thin polymer material “super-engineering plastics.” This Stax transducer also uses a special electrode scheme, which Stax named MLER (multilayer electrodes). The company’s intention was to create a thinner, lighter, stronger diaphragm material coupled with a thinner, lighter, and more powerful electrode array, and it has succeeded on both counts.

Where the SR-L700 differs from the SR-009 is that instead of the round enclosure featured on that model, the SR-L700 uses the traditionally shaped Stax Lambda Pro rectangular enclosure, headband, yoke, and earpads. A manufacturer could assemble the finest-sounding personal transducer ever made but if it doesn’t fit well, it’s sure to be a failure. The Stax Lambda Series has long been considered among the most comfortable headphone designs ever devised, and the SR-L700 continues this tradition.

The SR-L700, like almost all Stax earspeakers, is an open-back unit. That means it is intended for private listening at home in a quiet environment. If you need isolation and portability, the SR-L700 is not your best option.

The first time that you hear a pair of Stax electrostatic headphones, regardless of model or manufacturing date, the primary impression they make, if distilled down to a single word, is speed. The transient response of a Stax electrostatic design, when compared to a more conventional dynamic driver design, seems “faster,” with less additive distortion stemming from the mechanical action of the driver itself. With its lower mass, an electrostatic diaphragm moves with less physical impedance and once in motion can stop with less electronic damping because it has lower mass than a comparable dynamic driver.

The second thing that many will notice is the headphones’ unique bass character. The Stax low-frequency presentation has always been airier and faster than other headphone technologies, but many of the earlier Lambda models lacked impact in what I refer to as “the meat and potatoes” upper-bass and lower-midrange region. While it still may not deliver enough low-end impact for serious bassheads, the SR-L700 definitely offers enough low end to keep anyone who prefers a balanced harmonic presentation happy.

The size and image specificity of the Stax SR-L700 soundstage is dependent on the energizer/amplifier that is attached to it. The tube-based SRM-007tII produced the largest and most precisely imaged soundstage, followed closely by the older SRM-007t, which is also tube-based. Using different electrostatic amplifiers with the SR-L700 shows

that these earspeakers “scale up” nicely. When you tether them to a better-performing amp, the SR-L700’s overall fidelity improves.

Mike Longworth, Martin Guitar’s longtime historian and A&R head, wrote, “The main competition of a new Martin guitar is an old Martin guitar.” The same can be said about Stax earspeakers. The Stax SR-L700 is the least expensive offering that uses Stax’s latest stator technology. As such, it is the first new design from Stax that could lure longtime Stax owners to replace their older Stax models. Whether the SR-L700 will also attract first-time Stax buyers is yet to be seen. But for those audiophiles who want to experience the company’s latest technology, the SR-L700 is simply the most cost-effective way to arrive at a new level of uncolored Stax sound. Steven Stone

SPECS & PRICINGType: Push-pull, open-back, oval electrostatic headphoneFrequency response: 7Hz–41kHzElectrostatic capacitance: 110pF (including cable)Impedance: 145k ohms (including cable, at 10kHz)Sound pressure sensitivity: 101dB/100V RMS, 1kHzMaximum sound pressure: 118dB/400HzEarpads: Genuine lamb leather (direct skin contact), high-quality synthetic leather (surrounding portion)Cable: Silver-coated 6N (99.9999%) OFC parallel 6-strand, low-capacity special wide cable, 2.5m full lengthWeight: 0.8 lbs. w/o cable (1.1 lbs. with cable)Price: $1400/£1195 ($3650/£TBA with SRM-007tII amp)

Stax SR-L700


Headphones

$1000–$1999

Focal Clear

Designing and implementing a product that will sit comfortably between a top-tier model and an entry-level one is tricky, but that is exactly what Focal is trying to do with its latest headphone, the Clear ($1499).

The Clear shares much of the technology developed for Focal’s flagship Utopia ($3999), but its drivers are made of aluminum/magnesium rather than beryllium. Like the Utopia and the Elear ($799), the Clear is an open-enclosure design that uses a single full-range dynamic driver.

The Clear’s 40mm driver is fitted with a purpose-built 25.5mm × 5.5mm copper voice coil. The driver uses an aluminum/magnesium diaphragm formed into an “M”-shaped dome. Both the adjustable headband and the 20mm ear pads use memory foam encased in a perforated microfiber fabric to maximize comfort. The Clear arrives in a well-made protective carry case and comes with three sets of user-replaceable signal cables.

The sensitive and easy-to-drive Clear can be powered to satisfying levels by modest desktop headphone amplifiers or even smartphones. The Clear’s fit is similar to the Utopia’s, owing to their similar weights and physical designs. While the Clear does not “disappear” on my head, it remained comfortable during multi-hour listening sessions—even when I had eyeglasses on. While the Clear headphones are an open-back design, they do offer some attenuation of outside noise (principally at higher frequencies). Even so, others may hear your music if they are within a couple of feet of you.

Sonically, the Clear does everything you would expect a premium headphone to do well. With the right recordings it can project a remarkably three-dimensional image with a level of specificity and focus that will cause you to mistake recorded sounds for real sounds emanating from within your room. The Clear headphones are so phase-coherent and phase-transparent that they retain the subtlest phase cues well enough to fool my ear/brain—and probably yours. When you couple the Clear’s wraparound imaging specificity with its warm yet natural tonal balance, you have the makings of an easy-to-listen-to (and listen into) headphone. Even on aggressive pop mixes such as the Cheat Codes “Feels Great,” the grouped male voices (and auto-tuned back-up voices) remained decipherable without being overly soft or mushy.

The Clear offers a level of dynamic acuity and dynamic ‘slam’ that makes for lively listening. On dynamic tracks such as Mike Posner’s “In the Arms of a Stranger (Brian Kierulf Remix),” when the synth bass track comes in at 1:08, the sound will lay you flat out. The Clear handles micro-dynamics impressively too, meaning it has sufficient speed to handle and define even the subtlest changes in dynamics and emphasis.

The Clear’s low-level detail retrieval was exemplary, as was its overall midrange performance. “Angel from Montgomery” performed by Buddy Miller, Brandi Carlile, and The Lone Bellow on the Cayamo Sessions at Sea album is a wonderful “live-to-tape” recording with no overdubs. The midrange has a high level of purity with a lack of additive grain or electronic texture that was immediately obvious through the Clear.

While the Clear’s bass is well controlled with fine pitch definition, speed, and detail, it is not quite as impressive at the extreme bottom as some current reference headphones. If you’re not a Dubstep or dance

music fan, you may not miss that added kick below 30Hz. But if you listen to a lot of pop, you may yearn for that satisfying rumble that wells up from just below the threshold of audibility.

Mid-line components are often the most neglected in reviews and in consumer interest. Flagships get the raves, while entry-level models get approving nods for their value and economy. But when it comes to pure value for the money, those overshadowed mid-line models are often the best options. That’s exactly what you get from the Clear—a well designed, beautifully made, high-performance earphone that can deliver an exceptional musical experience. Steven Stone

TECHNICAL SPECIFICATIONSType: Dynamic, open-back headphoneDriver Complement: 40mm full-range dynamic driver with copper voice coil and an “M”-shaped aluminum/magnesium diaphragmFrequency Response: 5Hz–28kHzImpedance: 55 ohmsSensitivity: 104dB/1mWWeight: 450g Price: $1499 US, €1500

MANUFACTURER INFORMATIONFocal-JMLabSaint-Etienne, FranceURL: www.focal.com

DISTRIBUTOR INFORMATIONAudio Plus Services (U.S. Distributor)Champlain, NY 12919 USATel: +1 (800) 663-9352 URL: audioplusservices.com


Headphones

$1000–$1999

In 2015, the California-based firm MrSpeakers launched two world-class planar-magnetic headphones: the open-back ETHER and the closed-back ETHER C. Given the continuing “buzz” surrounding these first models, many assumed it would be a good long while before MrSpeakers saw any need to revise them. “If it ain’t broke,” as the

old saying goes, “don’t fix it.” But Dan Clark, the founder and President of MrSpeakers, doesn’t

operate that way. Instead, Clark is driven by a burning desire to improve the sound quality of his products whenever and wherever he can. And so, barely a year after releasing the original ETHER and ETHER C, MrSpeakers has now expanded its product line to include two significantly enhanced new versions: the ETHER Flow and ETHER C Flow.

The ETHER Flow is a top-class, open-back, planar-magnetic headphone that sells for $1799/£1695 when equipped with MrSpeakers’ premium 2m DUM signal cable. As of this writing, it is the finest planar-magnetic unit that MrSpeakers knows how to make.

Like the original ETHER, the ETHER Flow features machined, black anodized-aluminum driver baffles, pivots, and gimbals, with a distinctive Nitinol “memory metal” headband frame and an adjustable Italian Nappa leather headband strap. Within the baffles are suspended sets of MrSpeakers-designed 70 x 44.5mm single-ended planar-magnetic drivers. For the sake of a good and comfortable fit, beveled Nappa lamb-leather-clad earpads are provided.

Like the original ETHERs, the ETHER Flow’s drivers employ MrSpeakers’ V-Planar technology—a now patent-pending, pleated (or “knurled”) diaphragm that addresses “nonlinear driver motion by more deeply creasing the diaphragm to increase compliance.” The new Flow model also incorporates another major step forward with the introduction of what MrSpeakers call TrueFlow technology—waveguides that enable the diaphragm to drive soundwaves through the magnet arrays more smoothly and with less turbulence.

Does TrueFlow technology noticeably affect the sound of the ETHER Flow? In a word, yes! Like the original ETHER, the ETHER Flow is strongly clarity- and detail-oriented and offers neutral, but by no means astringently neutral, voicing. The ETHER Flow, like its progenitors, is a thoroughly honest-sounding headphone that is, above all, transparent to the sources with which it is used. But what the ETHER Flow brings to the party is a remarkably relaxing, wide-open, and fluid sound that appears, in myriad small but collectively important ways, to be almost completely free of even the tiniest, vestigial traces of edginess, overshoot, or low-level distortion. Moreover, the TrueFlow-equipped drivers also exhibit enhanced low-frequency power, definition, and transient impact.

When I first heard MrSpeakers’ original ETHER headphones, they seemed so accomplished that I could scarcely have imagined a new ETHER-derived model would soon come along offering even higher levels of performance, but that is precisely what the ETHER Flow does. The ETHER Flow is at once a headphone that is endlessly engaging

and always invigorating to hear, yet that is so smooth-sounding, comfortable, and relaxing that it makes you want to listen for hours on end. In sum, it is everything that a great transducer should be. Chris Martens

SPECS & PRICINGType: Open-back planar-magnetic headphonesDrivers: Single-ended 70x44.5mm planar-magnetic driver using patented V-Planar technology, and patent-applied-for TrueFlow magnet array technologyImpedance: 23 ohmsSensitivity: ~96dB/mWWeight: 1.36 kg, with packaging; headphone weight approx. 400g (without cables)Price: $1799/£1695 with 2m DUM premium cables

MrSpeakers ETHER Flow


Headphones

$1000–$1999

Oppo’s first products were introduced in the U.S. in 2005. Its DVD players, such as the DV-970HD, redefined what videophiles could expect for $150, both in performance and price. Since then the firm has continued to be a leader in universal disc players that have garnered enthusiastic reviews. But Oppo’s

most recent products are aimed at a different clientele. The PM-1 planar-magnetic headphones and HA-1 headphone amplifier are two audio-only devices designated squarely at the emerging “head-fi” market.

The PM-1 design is based around an 85mm by 69mm planar-magnetic driver. Oppo is the only planar-magnetic design that uses a double-sided diaphragm made with seven layers of material. The diaphragm also employs a spiraling pattern of flat conductors etched into both sides. Using both sides of the diaphragm increases the headphones’ sensitivity, provides better damping, and ensures greater consistency of magnetic force over the entire surface of the driver. Because these headphones have a sensitivity of 102dB/1mW and a nominal impedance of 32 ohms, the power amplifier in any smartphone, tablet, or portable music device can drive them easily without the need for an additional external dedicated headphone amplifier.

The circumaural (around the ear) PM-1 utilizes an open-back design created with optimum sound quality and comfort as primary objectives. A closed-back headphone enclosure would have added both weight and the inevitable “cabinet resonances” that reduce comfort and fidelity. But an open-back design has certain universal characteristics: For the listener it does not provide much isolation from outside noise; for people nearby you it does not provide much shielding of your music being played back. If your primary purpose for using headphones is privacy and isolation from outside noise, a closed-back headphone or in-ear monitor will serve you better than any open-back design, including the PM-1.

Right from the top, I must state that the Oppo PM-1s are not the best-sounding headphones I’ve heard. Actually they aren’t even on my Top Five best-performing headphone list. However, just because they aren’t ranked in the top tier doesn’t mean that many prospective owners won’t think they are the most enjoyable headphones they’ve owned.

What makes the Oppo PM-1 so enjoyable? First, they are extremely comfortable. Combine that comfort with their lack of any major sonic or ergonomic flaws, and you have a device that rarely disappoints. The PM-1 may not offer the last word in any performance area, but their overall effect is so salubrious that after a few minutes you won’t care. You’ll be too busy enjoying the music.

The PM-1’s low end is excellent with good detail, speed, and resolution, though it is not quite as airy or extended as the Audeze LCD-2 or Stax Lambda Nova Pro headphones. The PM-1’s midbass is just a bit on the warm side of neutral, and reminds me very much of the Sennheiser HD-600, but with better resolution and lower coloration.

The PM-1’s midrange clarity is easily its best sonic characteristic. The lack of electronic grain or noise, due most likely to the PM-1 design’s emphasis on reducing intermodulation distortion, gives every track a particular “rightness” that makes music sound more natural. In this respect the PM-1 is very un-hi-fi-like—it doesn’t have even the faintest trace of the edginess or hyper-articulation present with many premium headphones.

What are the Oppo PM-1’s sonic short-comings? Compared to many premium headphones, the PM-1 has less top-end air and treble extension. This manifests itself as a slightly smaller overall soundstage, as well as slightly less top-end sparkle and less precise image localization. However, these shortcomings only become apparent in direct comparison to reference-level phones.

Oppo’s PM-1 headphones take the prize as the best general-purpose headphones I’ve ever used, even though they are not the best performers in any particular category. The cliché “jack-of-all-trades” is appropriate. Oppo has come up with a great “all-arounder” that will certainly appeal to any audiophile. Steven Stone

SPECS & PRICINGDriver type: Planar-magnetic Driver size: (Oval) 85 × 69mm Magnet system: Symmetric push-pull neodymium Driver response: 10Hz–50kHz (in free-field) Max input power: 500mW according to IEC 60268-7 Pulse max input power: 2W Nominal impedance: 32 ohms Sensitivity: 102dB/1mW Input: 6.35mm stereo jack, 3.5mm stereo jack Cable connectors output: 2.5mm mono mini jacks Weight: 395g (without cable)Price: $1099/£1099

Oppo PM-1


Headphones

$1000–$2000

Sennheiser’s ‘functional’ top was rebooted with the HD 800. This remains a stunning headphone that was launched with two tiny flaws—it was so detailed that it could seem a bit bright, and it could get even brighter when partnered with the wrong amplifier. The HD 800 S is a response to that criticism and a

mark of how much Sennheiser has learned even in the last few years. It retains the awesome detail and resolution of the HD 800, but without the sheer amount of upper-end information to hand.

The open-backed HD 800 S can be recognised as distinct from the original HD 800 by its more ‘tacticool’ appearance. It’s all stealth black and somewhat bolder looking than its silver/black older brother.

In a very real way, the look and feel of the HD 800 S reflect the fact that Sennheiser faces one of the biggest challenges of all—staying relevant. Yes, Sennheiser is a mature brand and the HD 800 S reflects that maturity, but it does so in all the right ways. The HD 800 S is for those who appreciate the finer things in life, including excellent music. The look and feel of the HD 800 S are exceptionally refined and intended for use in homes that people call ‘elegant’ and ‘sophisticated’.

The HD 800 S shares the same ring diaphragm and Helmholtz resonator design of the HD 800, and both use the same connectors (now in black for the HD 800 S). The HD 800 S does come with two sets of cables—one set single-ended with a ¼ headphone plug and the other with a four-pin XLR for balanced operation.

The biggest change is an acoustic absorber designed to make the high-frequency range more even and extended, and a damping weight causing a small extension to the low-frequency range.

I liked the HD 800 because it was hyper-analytical. The HD 800 S adds more ‘visibility’, ‘body’, and ‘humanity’ to strings and voices, making it less austere without making it any less analytical. It’s like a recording studio for the home, but in a wholly good way.

This is coupled to a mild improvement to the bass. The HD 800 S manages to tease out a more energetic and more accurate bass line.

Everything else is classic HD 800, unchanged as it should be. I did feel the HD 800’s uncompromising detail at the top end was replaced with a better overall sound at the expense of some separation of instruments in the high frequencies, but once again this is mostly splitting hairs; the ‘better’ more than makes up for that.

Playing ‘The New Cobweb Summer’ by Lambchop [Is A Woman, Merge], you find the deceptively minimalist recording is cracked open on the HD 800 S. Where this might seem like a brutal exercise in studio analysis, it’s like peeling back the layers of a musical onion to get to its core. The overall performance is musically satisfying as much as it is analytical. It’s amazing how just a small change in the design, resulting in small changes in the sound, can muster large changes in the perception of that sound. I’ve often thought there can be too much detail in high-end audio, but the HD 800 S shows how you can get to that detail and present it in a way that isn’t harsh or aggressive sounding.

The HD 800 S redefines the notion of ‘open backed’ headphones. The sound of the outside world is virtually unattenuated by the construction of the headphone, and the sound of the headphone doesn’t just ‘leak’, it positively floods out of the HD 800 S. That means, this is not a headphone

Sennheiser HD 800 S

that can be used in company, because you’ll hear that company and that company will be able to listen to your music.

The Sennheiser HD 800S is one of the most satisfying headphone experiences I’ve had. Alan Sircom

TECHNICAL SPECIFICATIONSType: Circumaural open headphoneFrequency response: 4Hz–51kHz (-10dB)Transducer principle: Dynamic Impedance: 300ΩTHD (1kHz, 1Vrms): < 0.02 % Connectors: 6.3mm, XLR4Cable length: 3mWeight: 330g Price: £1399.99, $1699.95 US

MANUFACTURER INFORMATIONSennheiser Electronic GmbH & Co. KGURL: en-uk.sennheiser.com


Headphones

HIGH END: $2000–$3999

Abyss Diana

Abyss Headphones is a spin-off from the famous audio cable manufacturer JPS Labs, both companies founded by audio veteran Joe Skubinski. In 2013, JPS launched Abyss and the firm’s flagship AB-1266 open-back planar

magnetic headphones. The sound of the AB-1266 quickly won the hearts and minds of personal audio enthusiasts everywhere, but its industrial design proved controversial. Unlike typical planar headphones, the AB-1266 sported a wide, industrial-looking, square-shaped frame beneath which were mounted machined aluminum ear cup/driver frames, plus an elastically supported leather head-strap. The frame also featured a top-mounted thumbscrew that enables listeners to adjust the spacing of the open-back drivers from their ears. Also atypical for planars at the time, the drivers were single-sided.

While the AB-1266 looked like something out of a science fiction flick, its exceptionally dynamic sound was something to behold—especially its spectacular low-bass extension. Even so, the headphones were dauntingly power-hungry meaning they demanded muscular yet refined headphone amplifiers to give of their best. Recognizing the AB-1266 was not for everyone, Abyss set out to design a lighter, more compact, and more conventional-looking headphone that would preserve much of the AB-1266’s sound. That headphone is the new Diana reviewed here.

The Diana packs the signature Abyss punch in a small, comfy, and stylish package, sporting a thin, aircraft grade aluminum frame for “ incredible strength”. The “Emotion” headband features leather wrapped over a high-grade aluminum frame and adjusts magnetically, creating a comfortable fit. Diana is available in “black onyx”, “arctic white,” and “coffee” colors. Different leathers and custom “soft Alcantra” skins are available upon request. The Diana sports impressively large 63mm single-sided planar magnetic drivers—a pleasant surprise in such a compact headphone. The Diana is semi-open back, for “directional limited interference.” This design feature also aides in Diana’s wicked low-end reproduction.

Having an Abyss-style headphone in such a small, sleek package is a serious sonic treat, though Diana’s looks might prove deceiving to the untrained eye (in a good way). The Diana’s slender, minimalist design might give the impression that it can’t throw a thumping kick drum or bass line, but that’s not the case at all. Instead, Diana capably and forcibly handles everything from the low-end crash of house music and techno to the soft voices of folk. Its resolving capabilities are evidenced through its fine handling of complexities in classical and jazz. Diana’s dynamic prowess shines through its rumbling bass on electronic dance music (EDM) and its exquisite layering of atmospheric synths in ambient and trap music.

The masterfully textured roll and pound of bass line crescendos in Massive Attack’s “Angel” [Angel/EMI/Universal/Virgin] is enrapturing. The echoing vocals pierce through the ebbing crunch of the guitars and jump out at you. Diana renders the transient click and knock of the drums with precision and speed, while delivering the overall volume of a much larger headphone. Diana’s superbly executed soundstages are wide and dimensional. Diana isn’t scared of a challenging sonic workout; she relishes it.

Jose Gonzalez’s “Crosses” [Crosses, Imperial Records/Mute/Peacefrog] offers an engaging look into Diana’s rock/pop sensibilities and her flare for nuance. Gonzalez’s vocals are clear and coherent, but also possess a difficult-to-render, smoky, glass-like quality—a quality the Diana captures in a believable, organic presentation. “Crosses” is minimal in composition, but its sound is huge with plenty of space between notes and an intricate sense of air. Diana reproduces this song with fantastic transparency, detail, and dimensionality—especially on Gonzalez’s velvety, clean, glacial vocals.

Abyss has managed to squeeze a stunning amount of dynamics and oomph into a stylishly compact headphone. Diana is a beautiful lady with an attitude. She’ll please


Headphones

demanding headphone fanatics and draw personal audio newbies into a wondrous world of pounding, fluid bass, and silky-smooth mids. Diana is a grand headphone for discerning listeners with a keen sense of style and grace that matches their desire to carry a killer sound-system with them wherever they go. Michael Mercer

TECHNICAL SPECIFICATIONSType: Open-back planar magnetic headphone with single-sided driversDriver Complement: Patent-pending 63mm, single-sided planar magnetic driversFrequency Response: 7Hz–28kHzImpedance: 40 ohms Recommended Power: 300mw/2 wattsWeight: 330 gramsIncluded Cables: JPS Labs w/3.5mm/6.3mm adapter (4-pin XLR or 4.4mm plug optional) 1.5mAccessories: Made-in-USA dual-zipper canvas carry bag with leather accents and accessory pocketsPrice: $2995 US, £3450 UK

MANUFACTURER INFORMATIONAbyss HeadphonesLancaster, NY 14086Tel: +1 (716) 288-9112URL: https://abyss-headphones.com

SummaryVoicing: Midrange-rich/extreme low-end extension.





Prosll Stylish and stoutly built.ll Ergonomics.ll Incredible low-bass extension and weight.ll Warm, silky midrange.

Consll Provided cables are non-detachable.ll A bit heavy for such a sleek design.

MrSpeakers VOCE

MrSpeakers is led by its headmaster Dan Clark, a keen-eared headphone enthusiast and an engineer’s engineer. The company takes its name from an earlier phase in Clark’s career where he served as an accomplished

loudspeaker design specialist for hire. More recently, his efforts have centered on creating a growing range of full-size headphones, all of which have had planar magnetic designs—until now. For the past three years, Clark methodically has been developing a new flagship electrostatic headphone called the VOCE, priced at $2999.

Why an electrostatic? The answer is that Clark always loved the clarity and resolution of electrostatics, but felt they needed “a more extended bottom end with a more relaxed high-end delivery.” To this end, the VOCE’s electrostatic driver diaphragms are larger than most (88mm

HIGH END: $2000–$3999


Headphones

in diameter), yet also thinner (2.4 microns thick) and lower in mass. Completing the picture are what MrSpeakers terms “ultra-thin metal stators for superior sound”. The result is a driver offering exceptional transient agility, resolution, and nuance, with sufficient area to move serious amounts of air.

The VOCE features a Nitinol memory metal headband frame beneath which is suspended an adjustable leather headband strap. The frame also carries a pair of elegant matte silver ear cup yokes to which open-back ear cups are mounted. The ear cups’ rear sides are protected by open-design spider web-like grills while their lower edges provide connectors for the VOCE’s included sets of custom-made signal/bias voltage cables. The ear cups are fitted with thick, bevelled, leather-clad ear pads. MrSpeakers provides three sets of user-installable voicing filters that can be fitted within the pads’ ear openings. Capping things off is a walnut presentation case doubling as a headphone stand, complete with hinged acrylic doors featuring an opening through which signal cables can be routed.

From the moment I connected the VOCE to my electrostatic energizer (that is stat-speak for an electrostatic headphone amplifier), I was struck by the sheer transparency and lucidity of its sound and by the incredible amount of musical information it was able to extract from favourite recordings. Even more impressive was the manner in which it managed to combine breath-taking clarity with exemplary smoothness and control. Some electrostatic headphones exhibit heightened levels of treble sheen, overshoot, or glare, but the VOCE exhibited none of these typical electrostatic flaws.

On a high-res recording of Keith Jarrett’s Koln Concerts [ECM, DSD64], the VOCE captured the lilting yet articulate voice of Jarrett’s piano with natural clarity—right down to the vestigial sounds of the piano’s action, hammers on strings, pedals being applied or released, and even the creak of Jarrett’s piano stool. The effect was much like hearing a master pianist perform from just a few feet away and with no hi-fi artefacts to mar the sound in any way!

Unlike many electrostats, the VOCE also can deliver rock-solid bass and potent dynamics on demand, as the music warrants. For example, on a high-res recording of “You Love the Thunder” from Jackson Browne’s Running On Empty [Asylum, 24/192], the VOCE made child’s play of presenting the deep, potent punch of Leland Sklar’s electric bass and the soulful wail of Danny Kortchmar’s electric guitar, not to mention Russ Kunkel’s exuberant drumming. In short, the VOCE can rock with the best of them and with layers of nuance one might not have thought possible. Similarly, on Mark O’Connor’s Fanfare for the Volunteer [Sony, 16/44.1], the VOCE effortlessly transitioned from producing the sound of an orchestra at full song to the softer, subtler sound of O’Connor’s folk-inflected violin solos, always with composure intact.

The question of whether to use the supplied tuning filters is a personal one, so experimentation is encouraged. (I preferred the VOCE with the subtlest of the included filters, but you might choose differently.) Either way, the VOCE stands as one of the finest electrostatic headphones ever created and one that provides stiff competition for Stax’s legendary SR-009. Chris Martens

SummaryVoicing: Fundamentally neutral (although some perceive the VOCE to be slightly midrange forward).





Prosll Light and comfortable design with superb build quality,

fit, and finish.ll Exceptionally low distortion and coloration.ll Extremely high-resolution, but without trace elements of

brightness or glare.ll Great dynamics (including bass dynamics).

Consll As revealing as the day is long, the VOCE can expose

shortcomings in ancillary gear or recordings.

TECHNICAL SPECIFICATIONSType: Open back electrostatic headphoneDriver complement: One 88mm dust shielded, full-range electrostatic driver with a 2.4 micron-thick diaphragmFrequency response: Bass response extends to 10Hz -3dB; upper frequency limit not specifiedSensitivity: Not specifiedImpedance: Not specifiedBias voltage: Requires 580V “Pro-bias”, compatible with electrostatic headphone amplifiers or energizers that support “Stax-Pro” bias voltagesAccessories: Detachable custom made signal/bias cable featuring a non-microphonic jacket, low capacitance silver-plated copper conductors, and a proprietary Teflon amplifier plug with a machined aluminum housing and gold-plated copper connection pins, plus machined aluminum headphone connectors. Other accessories include a walnut presentation case/storage unit with an internal headphone stand and hinged acrylic doors providing a front slot for signal cable feed-thru; three sets of user-installable tuning filters for subtle voicing adjustments.Weight: <330gPrice: £2,600 UK; $2,999 US

MANUFACTURER INFORMATIONMrSpeakers Headphone Products3366 Kurtz Street, Suite 200, San Diego, CA 92110 USATel: +1 (619) 501-6313URL: www.mrspeakers.com

UK DISTRIBUTORElectromod

HIGH END: $2000–$3999

ÆON and ETHERAward-winning sound and comfort.

Made in San Diego.

MrSpeakers


Headphones

HIGH END: $2000–$3999

Many veteran headphone enthusiasts are familiar with the California-based firm Audeze and its famous LCD family of full-size planar magnetic headphones, the flagship model of which is the critically acclaimed LCD-4 headphone. The LCD-4 may not be the right headphone for everyone, partly because

of its formidable price, but also because it is comparatively heavy and bulky with what some consider overly high clamping pressures. Moreover, the LCD-4 enjoys a reputation for being somewhat power hungry and extremely demanding of amplifier quality.

This is where the new LCD-MX4 model comes in, priced at £2799 (or $2995 in the US). It is an open-back, circumaural planar magnetic headphone that uses an extremely low-mass 106mm Uniforce diaphragm patterned after the diaphragm of the LCD-4. It is fitted with an extremely powerful Double Fluxor™ magnet array that is essentially a more powerful version of the LCD-X magnet array. The LCD-MX4 forgoes the Fazor™ waveguide elements used in both the LCD-4 and the LCD-X.

The LCD-MX4 uses a more streamlined and lightweight one-piece ear cup and vented rear cover made of magnesium. This new structure not only looks lighter and more svelte than the ear cups and rear covers of other LCD models, it feels noticeably lighter. The LCD-MX4 uses a sturdy but light carbon fibre headband frame, beneath which is suspended a nicely made leather headband support strap.

Like other LCD models, the LCD-MX4 uses height-adjustable metal ear cup yokes that allow the ear cups to swivel from side to side and to tilt upward and downward until a comfortable fit is achieved. The MX4s feature Audeze’s bevelled, leather-clad ear cup pads, which are thicker toward the back of the wearer’s head. The MX4 provides a left/right pair of forward-angled mini-XLR-type signal cable connector jacks. Its connector housings, however, appear to be a bit smaller and less massive than those found on the earlier LCD headphones.

The headphones ship with a high-quality set of braided signal cables with mini-XLR fittings on the headphone end and a 6.35mm headphone plug on the amplifier end. In addition, the headphones come with a short 6.35mm-to-3.5mm mini-plug adapter cable that is handy for users whose headphone amplifiers only provide 3.5mm mini-jack outputs. The headphones arrive in a large, thickly padded, moulded thermoplastic flight case.

I used the LCD-MX4 in a system comprising a Windows-based Lenovo/JRiver Media Center music server feeding a Chord Hugo 2, which in turn drove a versatile hybrid valve/solid-state iFi Audio Pro iCAN headphone amplifier.

From the outset, the MX4 just felt right; its overall size, shape, and relatively low mass make it comfortable to wear for hours on end.

Sonically, the LCD-MX4 comes across as son of the LCD-4 in many respects, in particular showing an energetic, and very revealing midrange that sounds positively luminous and that is highly reminiscent of the sound of Audeze’s top model. Upper midrange and treble articulacy and resolution are very good. Most importantly, the LCD-MX4 offers a well-integrated and all-of-a-piece sonic presentation from the lower midrange right on up to the highest treble frequencies.

The MX4’s holistic quality made itself felt on Agnes Obel’s ‘The Curse’ [Aventine, Pias America, 16/44.1], where her wispy and reverb-drenched voice stands counterpoised against the song’s measured and almost

dance-step-like recurrent cello theme. There is something about the contrast between Obel’s upward-reaching vocals and the rhythmic, woody voice of the cello anchoring the track that makes it both mesmerising and endlessly fascinating.

The LCD-MX4’s bass is deeply extended and appropriately weighted, though perhaps not quite the last word in tautness and definition. Still, its low end provides solid foundational underpinnings for any music you might choose to play.

Audeze’s LCD-MX4 is a different and very satisfying kind of high-end headphone. It offers much of the resolution and finesse of the firm’s top LCD-4, but in a lighter and more comfortable package that is more tolerant of source and amplification components. Well done! Chris Martens

TECHNICAL SPECIFICATIONSType: Open-back, circumaural, planar magnetic headphones.Driver complement: Full-range planar magnetic drivers with 106mm thin-film diaphragms and Double Fluxor™ premium-grade Neodymium magnets delivering 1.5 Tesla of magnetic fluxFrequency Response: 5Hz–20kHz, with usable frequency extension to 50kHzSensitivity: 10dBImpedance: 20 ohmsWeight: Not specified, but said to be “significantly lighter than the LCD-4 model”Warranty: Not specifiedPrice: £2799, or $2995 USD

MANFACTURER INFORMATIONAudeze IncorporatedURL: audeze.com

UK DISTRIBUTORDecent Audio+44 56 0205 4669URL: decentaudio.co.uk

Audeze LCD-MX4


Headphones

HIGH END: $2000–$3999

Final D8000

Final is a respected Japanese manufacturer of premium-quality headphones, earphones, and other audio products; the company enjoys a reputation for technology-driven but always music-centred product design, a great example of which is the revolutionary D8000 planar magnetic headphone reviewed here.

Final’s aim with the D8000 was to create a best of two worlds design that would offer, “the sensitive high ranges of planar magnetic models and the volume and open-feel bass tones of dynamic models.” Consequently, Final took a clean-sheet-of-paper design approach for the D8000 and effectively wound up reinventing planar magnetic driver technology in the process.

The D8000’s driver uses a ring-shaped diaphragm featuring an inward-spiralling circular band of voice coil traces etched into the surface of an aluminium-skinned, ultra-thin film diaphragm material. The diaphragm also uses concentric corrugations to promote more linear motion over the diaphragm’s entire working surface. The result: a driver said to achieve superior “reproduction of subtle high frequencies.”

Each D8000 driver features two sets of doughnut-shaped magnets, with one magnet ring placed just to the inside and the other to the outside of the voice coil traces. Importantly, each driver features front- and rear-facing sets of magnets (for improved efficiency and lower distortion) positioned to minimise sound wave obstructions. Magnetic fields from the front/back and inner/outer magnet rings combine to create an evenly balanced magnetic field across the voice coil surface.

Finally, the D8000 driver uses an air film damping system the design for which was suggested by Dr. Heitatro Nakajima, a microphone specialist who led Sony’s Compact Disc project and who collaborated with Final on the design. The system places perforated metal screens a precise distance away from the front and rear sides of the diaphragm to provide a semi-constrained layer of air between the diaphragm and the outside world. Sound waves pass through the screen perforations, while the openings in the screens offer a just-right amount of resistance to provide critical damping or “braking” for the diaphragm. The sonic benefits of the system are readily apparent.

Straight out of the box, the D8000 offered astonishingly fine bass and midrange performance, but with upper mids and highs that initially seemed a bit reticent or subdued. However, after several hours of run-in time the D8000’s mids, upper-mids, and highs opened up magnificently so that the headphone’s tonal balance became pleasingly neutral while its overall resolution, transient speed, and focus took dramatic steps forward.

Stated simply, the D8000 combines in roughly equal parts the following qualities: accurate and neutral voicing, high levels of resolution, superb transient agility from top to bottom, finely shaded dynamic contrasts, energetic expressiveness and impact—all with remarkable freedom from audible ringing, overshoot, distortion, or compression. Listening through the D8000 can be a revelation because it lets listeners hear recordings in their most pure, unexaggerated, and unadulterated forms—as if the slate suddenly has been wiped clean of a thousand small sonic obstructions, leaving just the music behind.

To appreciate the D8000’s superb resolution and expressiveness listen to Imogen Heap’s witty and deceptively complex song “Bad Body Double” from Ellipse [RCA, 16/44.1], which contains a heady mix of natural,

synthesized, and electronically processed sounds. The song combines funky and intricate riffs with high-energy rhythms, while Heap’s wry lyrics refer to her being her own bad body double. The D8000s effortlessly teases out the sophisticated multi-layered sounds used in the track while highlighting Heap’s feisty, self-deprecating humour. What is more, the D8000s reveal a cool sonic detail that sets the stage for the song: namely, the fact that as the track opens Heap is softly working out the lines of the song as she sings to herself in the shower (!).

Few headphones have captured our attention and musical imagination in the way that Final’s D8000 has. It is a breakthrough design that has an uncanny ability to capture the essence of the music while pushing the usual sonic obstructions aside. Chris Martens

TECHNICAL SPECIFICATIONSType: Planar magnetic headphone with air film damping systemDriver complement: Full range AFDS planar magnetic driverMaximum SPL: 98dBImpedance: 60 ohmsFrequency response: Not specifiedWeight: 523gAccessories: High quality single-ended signal cables, metal headphone standWarranty: 2 yearsPrice: £2999 UK, or $3799 US

MANUFACTURER INFORMATIONFinal/S’Next Co., Ltd.Kawasaki-shi, Kanagawa 212-0057 Japan+81 44 789 5795URL: www.s-next-final.com

DISTRIBUTORKS DistributorURL: www.ksdistribution.co.uk


Headphones

HIGH END: $2000–$3999

There’s not much I can say about the Stax SR-009 that people don’t already know. It’s the flagship electrostatic “earspeaker” from a company best known and associated with electrostatic headphones that use a purpose-built electrostatic amplifier or “energizer” (not simply a conventional headphone amplifier).

Also, the whole system costs as much as a good second-hand car. However, where a flagship design typically adds to the standard

product lineup, there is next to nothing in the SR-009 shared with other Staxes, down to the diaphragm material. The SR-009 uses an ultra-thin film in place of the usual reinforced engineering plastics, because it has all the properties needed by an electrostatic diaphragm, but with more resilience. It doesn’t come cheap. Neither do the photo-etched multi-layer electrodes or “MLER” (not the best acronym, unless you speak fluent zombie) that drive the whole diaphragm itself. The enclosure itself is a traditional circular shape. The aluminum outer ring connects to the headband with a tried-and-trusted gimbaled connection, which means it’s a universally comfortable design.

The SR-009 connects, via a flat cable and a molded five-pin plug, to one of a range of energizers—high-voltage amplifiers designed specifically to drive those stator ear panels. We used the Stax flagship energizer, the SRM-007tII. This has two pairs of 6FQ7 tubes in the output stage, and an FET input stage, running pure balanced and in full Class A. The company Symmetry “hot rods” the SRM-007tII slightly in its “Kimik” version, with a spot of cryo treatment for the tubes, gold-plated pins, and EAT tube dampers, adding at least an extra $260/£200 to the base price.

Those 6FQ7s are not there for show, or to soften or warm up the sound. They are there because high-voltage electronics was more of a “thing” in the golden age of tubes, and although solid-state can also be used for high voltage, this is one place where hollow-state technology has indisputable benefits that do not just fall into the category of “sounding nice.”

The SRM-007tII can take balanced or single-ended audio inputs, but it is distinctly balanced in design, and this perfectly fits the inherently balanced SR-009. Dedicated headphone enthusiasts could use it in place of an amplifier entirely, and simply connect it to a line or tape output. It’s not inherently cable fussy or platform sensitive, and despite having four glowing bottles inside, isn’t particularly microphonic. That being said, the SR-009s can show up the difference between good-, better-, and best-quality sources with ease, and if you are wanting to show off how good your new cables sound, you’ll hear everything through the SR-009s.

Curiously though, the first reaction to the SR-009 sound is a vacillation between two states. The first is “Meh!” And the second is “I wonder how that album sounds on these?” In fact, these are variations on the same

theme, and it’s the Stax busily re-writing just what you think of as “good.” There is nothing intrinsically impressive about the SR-009, and that is paradoxically what is so impressive about the SR-009. You begin to realize (and pretty quickly) that what appears good about other transducers is a sham; a smoke-and-mirrors trick to make music “showy”-sounding, whereas the Stax combo is the real deal.

Perhaps the best praise I can lay at the door of Stax is the day after these headphones went back, I mourned their loss, and stopped listening to music for a week (which in my job is practically a resignation letter). These headphones aren’t just “good”; they are tantamount to a life-changing experience for the open-minded audiophile. They are the last loudspeakers you will ever own. Alan Sircom

SPECS & PRICINGType: Push-pull circumaural, open-back, electrostatic headphoneFrequency response: 5Hz–42kHzElectrostatic capacitance: 110pF (including cable)Impedance: 145k ohms (including cable)Sensitivity: 101dB/100V RMS @ 1kHzMaximum sound pressure: 118dB/400HzBias voltage: 580V DCWeight: 590g (with signal cables)Price: $3825/£3495

Stax SR-009/ SRM-007tII “Kimik”

These headphones aren’t just “good”; they are a life-changing experience for the open-minded audiophile.


Headphones

EXOTICA: $4000 AND UP

Hi-Fi+ reviewed the original Abyss AB-1266 planar-magnetic headphone in early 2014, concluding that it was “one of the greatest world-class headphones ever produced.” In the intervening years, though, many other manufacturers of planar-magnetic headphones have stepped up their respective games

(for example, Audeze with its LCD-4, HiFiMan with its HE1000 V2 and Susvara, Kennerton with its Odin, and MrSpeakers with its ETHER Flow and ETHER C Flow). In short, the competition has gotten better and more serious, thus giving listeners less costly alternatives. Not being ones to rest on laurels, Abyss has answered these challengers with its significantly improved AB-1266 Phi model, which sells for between $4495 and $7495 (£4750 and £7495), depending on the accessories desired.

For those unfamiliar with Abyss, we should mention that the firm is a direct spin-off from the well-respected high-end audio cable manufacturer JPS Labs, headed by Joe Skubinski and sons. The single-minded goal in founding the company was to build the finest headphones in the world—and that goal hasn’t changed. What has changed in the AB-1266 Phi is the planar-magnetic driver itself, which now uses a single magnet with a specific magnetic-field pattern that is said to dramatically increase the accuracy with which the planar diaphragm’s trace patterns are driven.

For those of you who have never seen Abyss headphones in the flesh, they not only look unorthodox, but also fit the wearer in a non-standard way. Basically, the headphones provide a two-piece, width-adjustable metal frame shaped like an inverted “U,” at the ends of which are attached precision-machined aluminum earcup/driver frames. The earcup/driver frames are rigidly attached to the frame and do not swivel, providing an extremely rigid and stable mounting platform for the Phi drivers.

Internally, those drivers use a very thin, very low mass diaphragm with a patent-pending, single-sided “high-power neodymium magnet with (an) optimized slot pattern.” The front side (or ear side) of the driver features what Abyss describes as a “low carbon steel front baffle with integrated resonance control,” while the rear side of the driver uses “unique foamed aluminum sides acoustically tuned to the planar diaphragm for complete open sound.”

In the interest of comfort, the AB-1266 Phi headphones provide an elastically tensioned leather headband, which supports the weight of the headphone, plus a set of soft, beveled, lambskin-covered earpads which are attached magnetically and positioned via locating pins.

Right off the bat, the AB-1266 Phi differentiated itself from the original AB-1266 in several key ways. First, bass, which was always a strong suit of the AB-1266, is even better, retaining all the depth and power of the original, but tightening up on pitch definition while also improving transient speed and correcting an occasional tendency toward slightly overly ample midbass. Second, midrange frequencies in the Phi model are pulled forward in the mix just slightly, making for more neutral voicing, while also exhibiting a big step up in resolution and generally sharper (though by no means “edgy”) focus. Third, highs sound even more extended than before and—like the

Phi’s midrange frequencies—exhibit an across-the-board improvement in resolution and focus. Finally, the Phi model is significantly easier to drive than the original was, which means the headphone no longer requires a hyper-powerful, hyper-expensive, unobtaninum-level amplifier.

With the AB-1266 Phi, Abyss has taken an already superb headphone design and made it markedly better. For those looking to step beyond traditional excellence to get at the very heart of their favorite pieces of music, the AB-1266 Phi stands as a must-audition headphone. Chris Martens

SPECS & PRICINGType: Open-back, circumaural planar-magnetic headphoneDriver complement: One low-mass, single-sided magnet, planar-magnetic driver Frequency response: 5Hz–28kHzSensitivity: 88dBImpedance: 42 ohms nominal (non-reactive)Distortion: Less than 1%: less than 0.2% through (the) ears’ most sensitive rangeWeight: 620gPrice: $5495/£5200

Abyss AB-1266 Phi Edition

Abyss has made an already superb headphone design markedly better.


Headphones

HiFiMAN Shangri-La Jr.

Many audiophiles and music lovers dream of owning the best audio components, but don’t want to shell out as much as a luxury automobile to get them. While no-holds-barred systems advance the state of the art, they are

out of the reach of most audiophiles and music enthusiasts. What I like to find are components that approach the state-of-the-art, but are much more affordable, like HiFiMAN’s amazing Shangri-La Junior electrostatic headphone system ($8000).

Electrostatic transducers have captured my attention since I first heard the original Quad loudspeakers several decades ago. I have owned several pairs of original Quad ESL-57 and ESL-63 speakers, and still enjoy a set of refurbished ESL-57s. The Quads bring the musical event closer to me than most other transducers, but they can be somewhat difficult to drive and typically don’t plumb the subterranean depths as do many loudspeakers sporting dynamic drivers. However, I find myself coming back to electrostats time and again because of their transparency, coherence, lightning quick and focused transient response, clarity, and their natural-sounding harmonics.

The Shangri-La Jr. electrostatic headphone system, including a tube-driven amplifier, comes very close to the best audio systems I have heard, including HiFiMAN’s own Shangri-La and Sennheiser’s HE-1. Both those state-of-the-art contenders cost over $50k, so the fact that the “Junior” gives up very little in terms of sonic performance is quite an achievement!

Like the reference Shangri-La (which I’ll call the “Senior”), the Junior uses an ultra-thin, very low mass diaphragm suspended between two oppositely charged stators that are rapidly charged and discharged to move the diaphragm back and forth, producing remarkably coherent sound that only a single driver system can provide. While a lot of the technology in the Junior headphone unit is similar to the reference Senior, it uses a smaller driver or diaphragm. According to designer Dr. Fang Bian, HiFiMAN’s Founder and CEO, the Junior’s smaller circular-shaped driver is actually a bit faster than the Senior’s larger oval-shaped one. The nano-particle coating on both ultra-thin (less than 0.001mm) diaphragms is very evenly distributed to avoid hot spots, and the stators share similar materials. Both use sophisticated micro-mesh wire stators working in close proximity to the diaphragm to increase openness and minimize distortion while allowing extended frequency response from 7Hz to 120kHz. Overtones in the

high frequencies are undistorted, enabling voices and instruments to sound more natural, while deep tones are extended and controlled.

The Junior’s attractive amplifier is more compact and less ambitious than the awesome amplifier provided with the Senior, but it is a honey. It shares a similar circuit structure with the larger Senior amplifier and also uses a stepped attenuator volume control to keep the signal pure. While certainly not portable, the Junior’s amplifier is easily “luggable” and fits comfortably on a desk, tabletop, or nightstand. Its input stage, using four matched 6SN7N tubes, produces a wide soundstage and musicality in spades. The Junior amp is a hybrid, mating a Class A output stage with the tube input stage. It is able to drive difficult loads and at the recent AXPONA show, it drove both the Shangri-La Senior and Junior simultaneously via its two five-pin electrostatic headphone jacks. Some show attendees plugged their Stax headphones into the amp and reported very good results. The Junior’s amp (available separately for $5,000) is worthy of a separate review—it’s that good!

The Shangri-La Junior and Senior share a lot of the same outstanding sonic attributes—particularly “see-thru” transparency, startling clarity, low coloration, and lightning-fast transients without any smearing. It’s difficult to match the seamless coherency of the Junior with any multi-driver transducer—as is apparent on demanding vocal and piano recordings.

Indeed, the Shangri-La Junior system excels at reproducing piano recordings with addictive sonic realism. The Junior’s wide-bandwidth, transparency, clarity, openness, and explosive dynamics all come into play here to produce a highly engaging result. I found myself transported to the recording venue and was able to hear all kinds of subtle details, typically obscured by other transducers, like the natural decay of the notes, the pedaling nuances, and the hammers hitting the strings on both classical and jazz recordings like Vladimir Ashkenazy performing Rachmaninov: Complete Works for Piano [Decca] and Bill Evans on the brilliant MoFi LP reissue of Sunday at the Village Vanguard.

Another difficult challenge involves reproducing human voices accurately and realistically and the Junior excels in this area, too. Listening to an SACD of Nat King Cole singing “Stardust” on Love is the Thing [Analogue Productions], I was reminded of how silky-smooth his voice was, as well as of its gorgeous timbre. Via the Junior, Nat’s clear diction and impeccable phrasing help to draw one into the music and performance. Female voices like Sara Vaughn’s on Ballads [Roulette Jazz] or Julie London’s on Cry Me A River [Liberty Records] are seductive and mesmerizing, and massed voices on Reference Recordings’ wonderful recording of John Rutter’s Requiem are close to the best

It reproduces wide dynamic changes so quickly it can send chills down your spine.



Headphones


I’ve heard outside of the concert hall. They’re spread across a wide and deep sound stage, the sound is rich and full-bodied, and one can clearly hear the ambience of the hall.

With its extended frequency response and low coloration, the Junior is ruthlessly revealing of flaws in source material, cables, and associated electronics, and the Junior sounds better with well-recorded high-resolution tracks and LPs. As with many reference components, the better the ancillary equipment and cables you use the better the sound will be. My tube-based Modwright-Oppo player, aided by a Shunyata Research Alpha power cable, produced far better results than what I heard from the Junior at both CanJam SoCal and AXPONA. Specifically, the sound was significantly more neutral and natural with these better associated components and cables than in the trade show demos. (I suspect the noisy hotel power at both shows was the culprit.).

One common criticism of electrostatic transducer designs is their lack of bass, but this is not true with either of the Shangri-La’s. The Junior has extended and well-controlled bass and can even reproduce the deep pedal tones of a church organ on recordings like Reference Recordings’ Saint-Saens Symphony No.3, the organ symphony. Better still, you don’t have to worry about over-driving your room reproducing those deep tones! The bass guitar on the late great Jaco Pastorius’ Word of Mouth album [Warner Bros.] was quite satisfying with phenomenal bass articulation and zero overhang. Sam Jones’ bass on

Somethin’ Else [Analogue Productions’ Blue Note SACD reissue] sounds like the real thing without the additional bass bloat so often heard on other systems. Indeed, listening to this album featuring Cannonball Adderley and Miles Davis, places you right in the recording venue and the transient quickness, rhythmic drive, and clarity of Art Blakey’s drums add to the excitement of the performance. Another hallmark of the Junior is that instruments sound amazingly realistic and balanced, with true natural timbre. Both Cannonball’s alto sax and Miles’ trumpet sounded “spot on” in this terrific recording.

Did I mention that the Junior can also rock? It is able to reproduce wide dynamic changes so quickly that it can send chills down your spine! Additionally, percussion instruments are reproduced with amazingly clean and quick transients, propelling the music forward with excitement on albums like the reissues of Jimi Hendrix’s Electric Ladyland [Sony Legacy] and Led Zeppelin II [Atlantic]. I found myself listening to entire albums when I thought I would only listen to one track.

If you covet the best headphone systems in the world but don’t want to spend more than fifty-large, the Shangri-La Jr. will get you very close at a fraction of the price provided you feed it well-recorded source material and clean power, and avoid lean-sounding DACs and cables. Given how close it comes to the best reference headphone systems, the Shangri-La Junior is a stunning achievement! Jim Hannon


Headphones


SummaryVoicing: Fundamentally neutral with well-recorded source material and high-quality cables.





Prosll Outstanding clarity and coherence.ll Terrific transparency.ll Extended response at both frequency extremes.ll Comfortable fit.

Consll Highly revealing, exposing poor source material, cables,

and DACs. ll With its open-back design, others in the room may be

disturbed when you’re listening.ll Requires several days of break-in before the Junior

comes into its full glory.

TECHNICAL SPECIFICATIONSType: Open-back electrostatic headphone system Valve Complement: Four matched 6SN7N tubesDriver Complement: Single full-range electrostatic driver with 0.001mm thick diaphragm and Nano-material coatings, ultra-thin metal mesh stators, and Nano-material dust coversHeadphone Weight: 374 grams (13.2 oz.)Frequency Response: 7Hz–120kHzBias voltage: 550V–650VWeight: 374 grams (13.2 oz.)Price: $8000 US (includes amplifier)Shangri-La Jr. amplifier (included with Jr. package, but also available separately for $5000)Amplifier dimensions: 400 × 265 × 108 mm (15.7” × 10.4” × 4.2”)Valve complement: Four (4) SN7N tubesAmplifier Weight: 24lb (11kg)

MANUFACTURER INFORMATIONHiFiMAN Corporation+1 (201) 443-4626URL: www.hifiman.com

LB Acoustics MySphere 3.1

In the battle for the Samsungifcation of Harman, there were always going to be casualties of war. In the shuttering of AKG’s Vienna offices, the group lost a lot of very smart designers and builders, many of whom went to a new pro-audio brand called Austrian Audio. But

Heinz Renner, the brains behind the legendary AKG K1000 ear speakers, had different ideas. He joined forces with Viennese test equipment makers LB-acoustics where he met his friend Helmut Ryback, co-developer of the K1000, and set to work making really good headphones. The distinctive MySphere 3.1 and 3.2 ‘hover ear’ headphones are the result.

The MySphere comes in two flavours: the 15-ohm MySphere 3.1 and the 110-ohm 3.2. The choice depends on the characteristics of your headphone amplifier and LB-Acoustics recommended the 3.2 for use with our Burson Conductor V2+ amp/DAC. Neither model is hard to drive, however.

The heart of the MySphere is its drive unit (and the way it fits your head). Unlike every other design on the market, the MySphere uses a two-part membrane made from glass, air, plastics, and resin, designed to be rigid, well damped, yet extremely elastic—a combination said to produce “symmetrical linear movement with displacements that have not previously been achieved in headphone design.” This is coupled with a fully radially aerated magnet system (with approximately 1.5T field strength) and a custom-manufactured, resonance-free, acoustic resistor to make a truly unique way of producing ‘ear speaker’ sound.

The way you put the MySphere design on is different to practically every other design, too. MySphere’s bow headband is worn like Alice’s from Alice’s Adventures in Wonderland—from behind your ears across the temples to the front of your skull. LB-acoustics is doing something right because the 340g MySphere feels much lighter (because its weight is distributed over a large area). The cable connects to one end of the band (there are connectors on both sides) via a 3.5mm TRRS 4-pole symmetric connector. A 1.2m cable is supplied as standard with a 3.5mm plug and a 6.35mm adaptor. An optional longer cable and two balanced options are available.

The ear-cups (called “Soundframes”) are freely mounted, attached to the headband through a fixed arm, which contains solid conductors that connect to conductor bars on the band itself. Users then adjust the height and angle of the ear cups relative to their ears (aided by a PDF instruction manual and pink noise file included on a USB memory key). Once properly adjusted, the ear cups hover just away from your ears (hence the name). One hint: Don’t worry about symmetry, but instead make sure


Headphones


the Soundframes are correctly aligned to each ear’s height and shape. As MySphere set-up is inherently flexible, we recommend taking notes and photos.

This feels ‘different’ at first, and the fixed band is not ideal for those with ‘outlier’ (read: watermelon-sized) heads. However, any initial trepidation is dispelled at the listening stage and after about a minute they feel extremely comfortable. But it’s the sound that grabs you most of all.

First, you are struck by the openness of the sound (as you might expect, but there’s a sense of expansiveness that puts them at the top of the top of the tree). What comes next is both the speed of transient attack, which is almost supernaturally fast, and the bass, which is surprisingly deep and meaty, but more importantly perfectly balanced with the rest of the tonal range. The pithy, one-word summation would be: ‘uncanny’.

It’s rare that we encounter a design that is genuinely different, rarer still when the differences are not only physically easy to spot and work as advertised, and the whole caboodle gains ‘hen’s teeth’ status when all of that comes with good sound. The ambitious and audacious MySphere 3.1/3.2 ticks all those boxes. Expensive it may be, but the MySphere sets the benchmark for dynamic headphone performance today. Wow! Alan Sircom

SummaryVoicing: Extraordinary out-of-head imaging and detail.





Prosll World class soundstaging from a headphonell Extremely transparent, accurate, and open sound.ll Deep, well-integrated bass.ll Extremely fast transient response

Consll Expensive.ll No, I mean really expensive!ll Not every head will suit the headband

TECHNICAL SPECIFICATIONSType: Single-driver ‘hover-ear’ headphoneDriver Complement: single-driver earphones, single-capsule omnidirectional microphonesFrequency Response: 20Hz–44kHzImpedance: 110Ω (15Ω for 3.1 model)Sensitivity: 96dB/1mW RMS (115dB SPL/V eff)Rated-continuous power: 60mW RMS (pink noise)Weight: 340 grams (without cables)Included Cables: 1.2m 3.5mm-3.5mm TRRS plug, with 6.25mm adaptorOptional Cables: 3.5m version, 3.5m XLR, and 1.2m balanced 2.5mm jack versions available. Special cables on request availableAccessories: Quick Start guide, USB stick with manual and pink noise file, metal flight casePrice: From €3,300; $3,900 US ex-factory without tax or customs (nominally, $4000)

MANUFACTURER INFORMATIONLB-acoustics Messgeräte GmbHBahnsteggasse 17–23/Stiege 11210 Vienna, Austria+43(0) 1 270 77 00URL: www.mysphere.at

The MySphere 3.2s deliver a sense of expansiveness that puts them at the top of the top of the tree.


Headphones

When they see the words “electrostatic earphone,” the first thing that comes into most experienced audiophiles’ minds is Stax Ltd, which has owned the market since 1960. That may now have changed. Sonoma Acoustics’ Model One (or M1) electrostatic headphone system may not eat

all of Stax’s lunch, but it seems poised to sit down at the table and take a major bite out of it.

The Sonoma Acoustics headphone’s design goals are “to deliver high-resolution audio in unparalleled sound quality, and to provide the ultimate in listener comfort.” The headphone system has two parts—the headphones themselves and the energizer/DAC that powers them. Currently, the two units are only sold as a package and are not interchangeable with other manufacturers’ electrostatic headphone designs.

The Sonoma Acoustics system boasts some unique proprietary technologies, beginning with its electrostatic panel. This patented High-Precision Electrostatic Laminate (HPEL) audio transducer was developed in the UK by Warwick Audio Technologies Ltd. (WAT). Instead of a thin membrane coated with a conductive material suspended between two electrically conductive metal grids, as in a conventional electrostatic panel, the HPEL uses a thin, flexible, metalized laminate film for the “front” grid. The laminate is attached to an insulating spacer, and the film is machine-tensioned in both the x and y planes. The octagonal design of the spacer essentially creates eight separate “drum-skin” diaphragms from one piece of film. Finally, a stainless-steel mesh forms the back grid. Unlike a traditional electrostatic panel, the sound does not pass through a grid. According to Sonoma Acoustics, “WAT was able to fine-tune the characteristics of the ‘drum-skins’ such that they have different resonant frequencies. Each cell is acoustically independent, but driven in parallel. As a result, the sound from each cell combines in acoustic space, but the independent resonances average out.”

The M1 enclosure, which Sonoma Acoustics calls “earcups,” is made of injected magnesium that Sonoma claims has one-third less weight than—and superior sonic characteristics compared to—aluminum. The amplifier/energizer unit of the M1 system uses a high-performance, single-ended, discrete-FET Class A amplifier, which is electrically matched to the HPEL.

The two words that kept popping up in my listening notes during my time with the M1 system were clarity and cohesion. That “whole cloth” quality that I’ve only heard from full-range transducers that use a single driver (planar or dynamic) and have no crossover circuitry is very much in evidence here, even though the reality is that the M1 headphone diaphragm has eight separate sections. Also, the speed and clarity that electrostatic headphone technology is known for is definitely present in the M1 system. Listening into a mix, no matter how dense, seems easier through the Sonomas.

The M1 system is extremely smooth and detailed in the top octaves. I was hard-pressed to discover any hint of over-emphasized peaks in the treble. Its midrange is as close to harmonically neutral as any headphone I’ve heard recently. And it plays bass with spot-on pitch control and fine definition.

No audio component is perfect, and the Sonoma Acoustics M1 is certainly no exception. But its variations from perfection are small, involving long-term listening comfort, cable hardware, and distortion from excessively high analog input (though none from digital). As these flaws aren’t fatal, if you are in the market for a superbly neutral, revealing headphone system for critical listening or monitoring purposes, the Sonoma Acoustics M1 should be near the top of a very short list. Steven Stone

SPECS & PRICINGType: Open-back, circumaural electrostaticSensitivity: 94dB SPL at -10dB full-scale digital input and 75mV analog inputWeight: 10.7 ozPrice: $4995/£4995 (sold as system with M1 energizing amplifier/DAC)M1 Headphone AmplifierType: Discrete FET, single-ended Class A solid-stateOutputs: 1 × headphone connector for M1 headphonesDimensions: 7.48” × 2.24” × 11.42”Weight: 5.40 lbsPrice: $4995/£4995 (sold as system with M1 electrostatic headphones)

Sonoma Acoustics Model One System


www.kimber.com

IEM CABLESRMAF 2018

TAS-HIFI+_headphone_issue.indd 1 5/22/18 2:16 PM


How to choose a Digital Audio Player

How to Choose a Digital Audio Player

Introduced in 1979, the Sony Walkman TPS-L2 was the first portable personal music player. Since then players have advanced but their function hasn’t changed—to deliver good music, which is whatever you want to hear right now (as opposed to bad music, which according to the late comedian George Carlin, is everything else) with high

fidelity to the original source. Never before have more portable devices been available to consumers.

Today’s players sport a whole host of advanced features and capabilities, and some incorporate very sophisticated audio sections for superlative sound. We will look at the various capabilities, features, and ergonomics that can make one player a better or worse choice for you, with the understanding that your final decision must be based on your own needs and tastes.

SOURCES AND STORAGEIn portable audio, music for playback can come from two locations—external or internal to the player.

External sources come via the Internet, or from music stored on a Network Attached Drive (NAS) via Wi-Fi, Bluetooth, or proprietary streaming technologies, such as Apple’s AirPlay. External sources can also include streaming services, such as Tidal, Spotify, and Pandora, or an Internet radio station via its URL.

Internal sources include the memory or storage capability built into the player, which can be anywhere from as little as 8GB on a Sandisk Clip to as much as 256GB on an Astell&Kern AK380. Many players allow storage to be expanded via removable memory cards. Some use full-sized SD cards while others use microSD cards. Occasionally a player, such as the Astell&Kern KANN, will have a slot for both cards.

Populating a player’s on-board storage with music can be done in several different ways. Some players can be connected to a computer, where they are recognized as a memory device, at which point you simply drag and drop music files. Other players use a dedicated application such as Android File Transfer (for Macs) to move files. Sometimes you can transfer files directly from your computer to an SD or microSD card via a card reader, and then put the SD cards into your player.

OUTPUTS AND OUTPUT POWEROnce we have music available, the next important detail is how a player outputs those sources to playback devices and which playback devices mate with it most successfully.

For analog headphones, a single-ended mini-stereo connection is the default standard on all portable players. But as you move up the price spectrum, other connectors—such as a balanced headphone output, Bluetooth wireless output, Wi-Fi output, and SPDIF digital output—are often added.

Which kind of headphone a player is best suited for depends, to a large extent, on the output power of its built-in amplifier. More upscale units often have higher output amplification, which allows them to power harder-to-drive, higher-impedance, lower-sensitivity, full-sized headphones, as well as easier-to-drive, lower-impedance, higher-sensitivity earphones.

Some players offer different gain-level options for their output—to avoid an amplification mismatch, which can cause high-sensitivity in-ear monitors to generate hiss by being overdriven, or limit volume levels on low-sensitivity full-sized headphones by running out of juice. As sensitivities can vary from a low of around 85dB to a high of 115dB, it is a rare portable player that can handle the entire range without sufficient power and a provision for gain adjustment.

STREAMING PLAYBACK CAPABILITIESOne of the features that you will find on mid-level-and-up players is streaming. Music can be streamed from your network-attached drive (NAS) or from an Internet source such as Spotify, Pandora, Tidal, or Internet radio stations. The primary difference between streaming to a portable player and streaming to your smartphone is that the portable player needs a Wi-Fi connection to stream, while the smartphone can stream directly from your cell provider and does not necessarily require Wi-Fi.

Since a smartphone can stream, why would anyone use a portable player for streaming? Several reasons. First, a portable player has been optimized for music playback; audio quality is not the first priority on smartphones. Second, a portable player will support more headphone choices than a smartphone, which is limited due to its power-output capabilities. Also, some new model smartphones no longer have an analog audio output and require a Bluetooth connection for earphones (or an adapter). A third reason is battery life. By streaming to a portable player you aren’t expending the batteries in your smartphone.

BATTERY LIFEWhen considering a portable player, an important non-audio-related specification is battery life. The longer the battery can power your player, the better. Some players have gotten to the point where they can deliver more than 12 hours of continuous play, which if you’re planning on a transcontinental flight, may be the minimum required. Battery life is never a specific amount of time because the power draw depends on what kind of files you

Steven Stone



play. MP3 files expend less energy than high-resolution files. Of course, you can always use an outboard accessory battery to expand your player’s playing time, but if traveling with the least amount of extra stuff is your goal, an additional outboard battery probably won’t be your first choice.

SIZE AND WEIGHTAnother important consideration is the size and weight of a portable player. Some of the most expensive portable players are also the heaviest, which, depending on your priorities, may not be your favorite option. The reasons that some players are heavier stem from several factors. The first is the battery size, weight, and output capability. More powerful batteries are larger and heavier than their less powerful counterparts. So, making a player that has better battery life often requires a larger, heavier final result. There are some exceptions, but generally if you are looking for the smallest, lightest player, it may have playing-time limitations.

A second reason for additional weight is the composition of the player’s chassis. Some are made of copper or stainless-steel, which weighs substantially more than aluminum. Obviously, if you intend to use your portable player primarily at home and about town, weight will be less of an issue. But if you’re a world traveler, every extra ounce can matter.

INTERFACE/ERGONOMICSAlthough a player’s operating system (OS) has little effect on sound, it is a major part of the portable-player experience. Some players have simple controls, such as the original Apple iPod, while others have multiple nested menus to accommodate all their features. There are many factors that enter into whether you like

or dislike a particular interface or OS, but if a player doesn’t do what you want it to do with a minimum fuss, you are not going to enjoy it in the long run.

Another important aspect of the OS is whether it is “open” or “closed.” Open systems are similar to those in smartphones—most use an Android OS and can access and download apps from the Android Playstore. They have the advantage of flexibility, but that flexibility comes at a cost—it is too easy to download an app that will not run on your player due to incompatibilities. In extreme cases, a rogue app can “brick” (disable) your device.

Because an errant Android app can cause issues, some manufacturers use a “closed” OS that is not designed to accommodate Playstore downloads. The advantage is that a closed OS can be optimized specifically for its intended function, which is playing music. The disadvantages of a closed system can be less upgradeability and flexibility, although the best companies deliver regular OS updates for their players.

Another part of a player’s ergonomic personality is its physical controls. Every player feels different in your hands and has controls in slightly different locations. Some of these locations may or may not be in places that are comfortable for you to use. Because this really comes down to personal taste, there is no virtual substitute for holding and operating a player to see how well it suits you. As you move up the price ladder, players begin to use touchscreens, which depending on how much you like using a touchscreen may or may not be an advantage.

The last and final part of ergonomics is the overall design aesthetic. Some players are more stylish than others. And some players make more of a “statement,” which may or may not appeal to you. Also, the choice of materials can tip your decision. Some players use wood and leather trim, while others feature carved solid blocks of metal.

UPGRADEABILITY AND LONGEVITYSome players have provisions for operating system/firmware updates. Even some players that lack a Wi-Fi connection can be updated via a file on their SD card. The most forward-thinking companies, such as Astell&Kern, issue regular firmware updates, while other companies update far less frequently. With a few players, the OS that came with the player when you bought it will be there until it expires. Before buying, just ask the question, “Does this unit support firmware updates?” The second question is, of course, “How?” The slickest method is automatic (with your permission, of course).

Why use a portable player for streaming? First, a portable player has been optimized for music playback; audio quality is not the first priority on smartphones.



FORMATSA format is the way that the data is arranged so that a player can read it. In the case of music, the most common digital format is MP3, which can be encoded at various bit rates. MP3 is a “lossy” format, which means it has less data than the original file. Depending on the encoding and bit rate, the sound can be almost indistinguishable from the original or noticeably degraded. The higher the bit rate, the less degraded the file will be. The maximum bit rate available from MP3 is 320bps (bits per second).

Full-resolution, non-lossy formats, which do not sacrifice any of the information contained in the original, include WAV, which can be digitally encoded at anything from 44.1kHz/16-bits all the way up to 384kHz/32-bits. WAV files are themselves often compressed into a non-lossy format called FLAC, which can support any bit rate supported by WAV. (FLAC is very similar to Apple’s proprietary ALAC non-lossy compression scheme.) Apple has its own non-lossy files, called AIF or AIFF. They, too, can be compressed into a FLAC or ALAC file. The primary disadvantage of FLAC files is that iTunes will not play them back natively—they must first be converted to WAV, AIFF, or MP3.

DSD is a different digital format that is very similar to what Sony used on SACD discs. DSD comes in several different bit-rates, 64x, 128x, 256x, and 512x. Some players can decode DSD “natively,” meaning it is not converted to PCM before being turned into an analog signal. Other players will convert DSD to PCM, which may or may not reduce fidelity, depending on the technology used. ITunes will not play DSD.

DXD is another spin-off of DSD, developed originally for the Pyramix audio recorder. DXD is a PCM signal with 24-bit resolution (8 bits more than the 16 bits used for Red Book CD), sampled at 352.8kHz. Presently, relatively few portable players support DXD files.

Other compressed lossy formats are used primarily by streaming sources. These include Opus, Vorbis, Musepack, AAC, ATRAC and Windows Media Audio Lossy (WMA lossy).

Another format that recently has been gaining traction is MQA (Master Quality Authenticated), which is an enfolding technology that permits 44.1/16 and higher-bit-rate files to be reduced in size so they can be sent easily over the Internet and then “unfolded” into their original resolution by the player. Some players will completely decode MQA internally, while others can use the Tidal OS or an Android app to do a partial decoding within the Tidal app.

Usually, entry-level portable players will only play MP3 files and will not support streaming. As you move up the ladder in price and features,

uncompressed file playback and streaming capabilities are generally added. The most full-featured players will support all formats and allow for playback of sources streamed via Wi-Fi. Some players can even stream to and receive signals from other networked music playback devices in your home, while a few also have the ability to serve as a digital-to-analog converter for your computer or smartphone’s digital output. This last requires some kind of USB connection, usually a type B or C.

CUSTOMER SUPPORTCustomer support encompasses more than just having a website address. The best sites have user FAQs, a user forum, a download section for firmware and user info, and, most importantly, a way for users to contact the manufacturer with questions or problems. If you have doubts about a manufacturer’s customer service, send it a question about a player via its site. See how long it takes to get an answer. That will give you an idea of how fast its customer support works.

BUILD-QUALITYAs players move up in price their “build-quality” improves. Less expensive players may not survive a drop that doesn’t faze a more physically robust design. Premium players often employ chassis carved via a CNC machine from a solid billet (one-piece) of metal. Aluminum is often used for such players, but some manufacturers opt for other metals such as stainless-steel or copper, which makes for a heavier but more rugged unit.

WARRANTIESThe length of a manufacturer’s warranty can vary from as little as 90 days to as much as three years. As you would expect, higher-end players usually have longer warranties. And while all portable players’ warranties do cover manufacturing defects for parts and labor, very few will cover physical abuse. The old phrase, “You drop it, you (still) own it,” is definitely true with portable players.

SUMMARYEvery time a manufacturer introduces a new flagship player someone usually claims it is the best player ever made. The problem with this is that what’s best for my use and taste may not be best for someone with different priorities. This article has attempted to cover the features and details that differentiate one player from another. But, as stated, any buying decision has to come down to your own needs and tastes. ugh


DIGITAL AUDIO PLAYERS

Personal Audio Electronics

When Astell&Kern unveiled the first photographs of the KANN, many enthusiasts thought it was so different from Astell&Kern’s 100, 200, and 300 series players that it couldn’t possibly be from the same design team. Subsequent revelations proved that, yes, indeed the KANN

($999) does come from the same creative minds that designed the older models. Along with the AK70 ($599) and SP1000 ($3499) the KANN represents the latest wave of products from Astell&Kern.

And where does the KANN fit within the hierarchy of A&K players? Astell&Kern’s advertising claims state that the KANN is “one player to rule them all.” While this sounds more appropriate for Game of Thrones than portable audio, it does beg the question as to whether the KANN will banish all thoughts of using other portable players. Let’s see.

I could easily fill up my word limit with a complete technical description of the KANN’s many features and capabilities. It plays everything in native format up to and including Quad DSD and 384/32 PCM. The KANN is also powerful, with 2V output from its single-ended and up to 7V from its 2.5mm balanced output. You can also send the KANN’s digital output to another USB DAC if you wish. With AK Connect, the KANN can receive streams from several services, including Tidal and Groove+ via Wi-Fi. The KANN does not, however, have MQA decoding capabilities.

The KANN is the fourth Astell&Kern player I’ve reviewed. As with past players the operating system is closed with no provisions for the end user to add additional applications. Instead, you get a slick, stable, fast, efficient system that does what it is supposed to do and does it with the elegance of a head waiter at a five-star restaurant.

While most players supply one SD card slot, the KANN supplies two; one for micro and one for full-sized cards. Combined with the 64GB of internal storage, you could, if you are feeling megalomaniacal, max out the KANN with one 256GB microSD card and one 512GB SD card for a whopping total of 832GB of music.

Charge time with a Type-C USB quick-charger is fast; in one hour you will accumulate 6.5 hours of stored play time. Battery life is listed at 15 hours “based on 16-bit/44kHz FLAC file with the screen off, 50 volume level, and normal playback settings.”

The KANN had no problems powering my two toughest-to-drive headphones, the HiFiMAN HE1000 V2 and and Beyerdynamic DT-990 600-Ohm. On Katy Perry’s “Swish Swish,” the KANN handled the extreme low bass elegantly while preserving the transient attack of the finger snaps. On Bleacher’s “All My Heroes,” the KANN let the HE1000 V2’s step out with lots of percussion effects and a huge soundstage that was the aural equivalent of an Omnimax presentation. During the last verse, where I swear I could hear a kitchen sink in the background, the KANN delivered all the music buried deep inside the mix (although it did end up at 140, very near the 150 max volume setting).

Hooked up to sensitive multi-driver custom IEMs such as the Empire Ears Zeus, the KANN proved to be an equally synergistic match-up. With

no background hiss and a soundstage whose size rivaled that of the HE1000 V2’s, the Zeus/KANN combo was hard to stop listening to. Jade Jackson’s “Bridges” via Tidal had a gloriously epic quality that came through intoxicatingly well with this pairing.

With the high-value AK70 below it and the wondrous SP1000 above, the middle sibling KANN, with its odd name, might be considered the black sheep of the A&K family. But after putting it through its paces I can only conclude that the KANN is fully capable of being that “one player to rule them all.” The KANN played everything, handled a wide variety of headphones, sounded fabulous, and was a joy to use. Steven Stone

SPECS & PRICINGType: Portable music playerDisplay: 480 × 800 WVGASupported formats: WAV, FLAC, WMA, MP3, OGG, APE (normal, high, fast), AAC, ALAC, AIFF, DFF, DSFOutput: Unbalanced, 2Vrms / balanced, 2Vrms (condition no load) High output: Unbalanced, 4Vrms/ balanced, 7Vrms (condition no load)Line out: Unbalanced, 2Vrms / balanced, 2Vrms (condition no load)Battery life: 15 hoursMemory capacity: 832GB (64GB on-board)Dimensions: 2.8” × 4.56” × 1.01” Weight: 9.83 oz.Price: $999/£899

Astell&Kern KANN

The KANN is fully capable of being that “one player to rule them all.”




Astell&Kern practically invented the audiophile-grade portable player category, and the company is clearly determined to maintain its considerable share of that market. To that end, one of its most effective tactics has been the regular introduction of covetable new flagships. First came the

AK100, which proved far superior to the various flavors and generations of iPods with which it competed. That inaugural model was followed by a parade of flagships: the AK120, AK120 Series II, AK240 and, most recently, the AK380.

As the standard bearers’ model numbers rose, so did their size, feature set, and price. The AK380, for instance, introduced an impressive 4” screen, a suite of function-enhancing peripherals, and a barrier-busting $3500 price tag. But what is most noteworthy about the evolution of A&K’s flagships is that the sound quality, too, has risen continuously. Why is that surprising? Because each one sounded so good, it was hard to imagine anything sounding better. Yet somehow A&K kept topping itself.

Now the company has released the A&ultima SP1000 to sit on the Iron Throne. This top model is a rather different beast than its predecessors. For one thing, it is significantly larger than any previous A&K model. Size-wise, think of the company’s prior players as iPhone 5’s, whereas the SP1000 is a 7 Plus. You’ll need a wide grasp to grip this big boy. You’ll also need some arm strength since the SP1000 is constructed from a solid billet of either stainless steel or copper. Weighing in at nearly a pound in either material, this player strains the definition of “portable.” That seems counter-intuitive for a company built on mobility, but A&K’s intent was to meet demand from customers for whom heft and size signify quality.

Although I find the resulting product a bit of a handful, I admit to being smitten by the crisp, richly-saturated 5” touchscreen. With this display, the SP1000 banishes both squinting and the need for careful poking. Touchscreen commands are executed via the same eight-core processor that powers the Samsung Galaxy 8 smartphone. The result is the same: seamlessly smooth, immediate responsiveness. File transfers are also faster, thanks to a USB-C jack and USB 3.0 support. USB-C also enables fast charging; the SP1000 can play for twelve hours after just two hours of charge.

The primary sound-related upgrade is a move to a pair of AKM’s latest AK4497EQ DACs. To find out if this makes an audible difference, I compared the AK380 with the SP1000 using my trusty NAD HP50 ’phones tricked out with a Wireworld Eclipse cable. My first comparison had the two players fighting it out with a 176/24 version of Rebecca Pidgeon’s evergreen “Spanish Harlem.” On this track, the SP1000 easily surpassed its predecessor. In particular, the new flagship delivered more detail in the string bass, and the general presentation was significantly more open. Besides instruments sounding more realistic, I could hear sonic accoutrements—like the shape of the reverb—far more clearly.

As I continued listening, those initial observations proved consistent. Regardless of source material, the SP1000 delivers better bass definition and more low-end information, is more extended on top, and delves more deeply into the mix. Yet, while these differences are clear, they’re

subtle. The two players sound much more similar than different. Thus, whereas A&K’s new flagships have been rather substantial steps up, the SP1000 is instead a worthy incremental improvement.

For now, the AK380 remains in the A&K product line, at a reduced price of $3000. The choice between it and the SP1000 comes down to priorities. Do you prefer the more compact lightweight form factor of the AK380, which still delivers superb sonics? Or do you want A&K’s best sound and most seductive display? In the end, you can’t go wrong with either of these players. I think of them both as flagships. Alan Taffel

SPECS & PRICINGDisplay: 5-inch touchscreenSupported audio formats: WAV, FLAC, WMA, MP3, OGG, APE, AAC, ALAC, AIFF, DFF, DSFMaximum sample rate: 384/32, DSD256Battery: 3400mAh 3.7V Li-PolymerOutputs: Headphones (3.5mm), optical (3.5mm), balanced (2.5mm, 4-pole)Memory capacity: 256GB plus 256GB microSDWireless: 802.11 b/g/n (2.4GHz), Bluetooth V4.0 (A2DP, AVRCP, aptX, aptX HD)Supported OS: Windows XP, 7, 8, and 10; MAC OS X 10.7 and upDimensions: 2.98” × 5.2” × .64”Weight: 13.7 ozPrice: $3499/£3299

Astell&Kern A&ultima SP1000




Remember when your mobile phone was actually only a telephone? Looking back, it seems like a quaint memory that a person would need to carry around a device devoted exclusively to music. However, the digital audio player may be staging a comeback in the age of high-resolution audio. With its Explorer,

Echobox Audio is attempting a fresh new take on the paradigm.The Echobox Explorer is a portable high-fidelity audio player geared

for modern times with wireless connectivity, WiFi (802.11 a/b/g/n), Bluetooth (4.0), DLNA, and set to run on open Android Marshmellow 6.0 software. By making the calculated choice to run on Android’s platform, Echobox has created a true streaming device. Outside the many offerings for user customisation is a close alignment with and support for the Tidal streaming service. Echobox offers a three-month free subscription with each Explorer.

The attractively styled body of the Explorer is focused around a 3.5’’ LED touchscreen surrounded by a block of milled solid hardwood. Choices include mahogany, maple, ebony, and zebra wood with a handsome laser-etched Echobox logo. The hardwood is accented top and bottom with machined aluminium endcaps.

The Echobox Explorer is designed to be fully compatible with most digital file formats, including WAV, AIFF, and FLAC. It comes with 64GB of internal memory and has a MicroSD slot that allows you to upgrade to a total capacity of 192GB. You can add a very attractive docking station for an additional $50 that will match your choice of hardwood.

The Explorer hardware recipe starts with a powerful Texas Instruments 300mW/channel amplifier capable of adequately driving a wide variety of in-ear and headphone models with no headphone amplifier needed. Its Rockchip RK3128 Quad Core processor runs at 1.3GHz and sports 1GB of RAM. The Explorer’s 4000mAH lithium rechargeable battery can power the device easily for over a day of steady use.

What about the Explorer’s main ingredient—its integrated DAC? Close to 50 percent of the circuit board is burnished with dedicated audio circuitry supporting the Texas Instruments Burr Brown PCM 1794 stereo DAC chip, a ‘highest performing’ chip delivering up to 24-bit, 192kHz resolution. DSD is supported but converted to PCM for playback. MQA support is not yet on the radar, however. Echobox’s target audience for the Explore consists more of music lovers rather than out-and-out audiophiles, meaning the need for MQA is perhaps a more complex issue than first imagined, given that MQA is attempting to encroach on a more mainstream audio market. But I suspect the market for good looking, great sounding DAPs will find its own niche, MQA or not.

In my auditions, the Explorer delivered a laid-back, natural sound complemented by an openness of presentation that was wonderfully unexpected in a hand-held device. Take Kurt Vile’s 2011 Wakin’ on a Pretty Daze [Matador]. Over a breezy set of tracks Mr. Vile sets up the melodic finale ‘Gold Tones’ that never fails to deliver you someplace special by way of hypnotic monotone vocals over an evolving interplay between traditional acoustic and slide guitars. The Explorer wrapped each of these crucial elements with a little sonic membrane of space and depth that was eye opening. The Explorer offered a high-fidelity listening experience that was solidly convincing. However, I did find myself missing some of the precise midrange detail offered by a full-size piece of desktop equipment. But the thrill of being able to enjoy a comparable

and arguably better level of quality-on-the-go left me with a positive impression of the Explorer’s value. The Explorer suggests we might be misunderstanding the purpose of the Digital Audio Player.

Those who would never buy an iPod because it’s old news, or most DAPs because they’re iPod clones, will buy an Explorer. Better still, for $599 and a decent pair of headphones, the Echobox Explorer means you are going to be doing just fine no matter where you find your day taking you! Buzz Hughes

TECHNICAL SPECIFICATIONSType: Solid-state digital audio player with built-in storage and DACStorage: Internal 64GB for music data storage/data storage, plus option for additional micro SD card storageDAC Resolution/Supported Digital Formats: FLAC/wav/AIFF/mp3, etc. Sampling rate for D/A conversion up to 192kHz/24-bit. Analogue Outputs: One 1/8’’ headphone jackFrequency Response: Not specifiedDistortion (THD + Noise): Not specifiedUser Interface: 3.5-inch display (on main unit), preconfigured with Echobox-supplied application softwarePrice: $599

MANUFACTURER INFORMATIONEchobox AudioTel: (+1) 206- 228-0595URL: echoboxaudio.com

Echobox Explorer




FiiO X7 MkII

Over the past 10 years, the Chinese firm FiiO has earned a reputation for building personal audio products that offer advanced technologies, high build quality, and exceptional value for money. No wonder the company’s whimsical slogan, which

translates only imperfectly into English, reads, “Born for Music and Happy!” A great example would be the firm’s flagship X7 MkII high-resolution digital audio player ($650 US or £599) reviewed here.

The full-featured X7 MkII’s DAC section is based on an 8-channel ESS ES9028PRO DAC device, backed by a trio of precision crystal oscillators (one for DSD/44.1kHz multiples, one for 48kHz multiples, and one for 384kHz sample rates). The DAC can handle PCM files to 32-bit/384kHz rates, DXD files at 352.8kHz rates, and (native) DSD files up to DSD128. Storage features include 2GB of RAM, 64GB of ROM, and two Micro SD card slots. Connectivity options include a 2.4/5GHz Wi-Fi interface and an aptX Bluetooth 4.2 interface, plus a USB port (used for charging and data transfers).

FiiO says the versatile X7 MkII is based on a “highly modified” Android 5.1 operating system, meaning users easily can download and install music playback apps such as Tidal, Spotify HD, or the like. Also included is the FiiO Music app, which is extremely easy to use. Physical controls include a top-mounted on/off switch, left side-mounted play/pause and track forward/backward buttons, plus a thumbwheel-type volume control. I/O ports include a top-mounted line out/coaxial/optical output, while other I/O options are dependent on the amplifier module(s) chosen.

The X7 MkII gives owners the choice of several different amp modules that attach at the foot of the unit’s main chassis. FiiO typically bundles the X7 MkII with its AM3A module, which is how our sample came equipped; the module provides a USB jack, a 3.5mm single-ended headphone jack, and a 2.5mm balanced output headphone jack.

The X7 MkII’s excellent user interface leverages the unit’s 3.97-inch 400x800 pixel full-color touchscreen. In practice, the FiiO feels less like a DAP and more like a well executed Android smartphone (minus the phone part, of course). The screen is clear and sharp while the interface offers pleasingly intuitive navigation. Installing and/or updating apps proved incredibly easy, while music playback controls—whether for Tidal or for FiiO Music—fell readily to hand. Once we had our sample charged up, we went from zero-to-music in well under a minute flat.

Where some DAPs can sound either congested or else almost painfully hyper-incisive, the X7 MkII quickly won us over with a sound that found the elusive sonic middle path. Thus, the FiiO offered up low-frequency traction, depth, and impact, plus a degree of natural organic warmth, while also delivering smooth yet highly revealing mids and highs. There were textural and transient details and nuances aplenty, yet the FiiO never sounded hard, etched,

or overwrought. The player also had sufficient power to drive full-size planar magnetic headphones yet was quiet enough to work well with high-sensitivity earphones.

A track that nicely illustrates the FiiO’s capabilities is Mary Chapin Carpenter’s “Come On, Come On” from her album of the same name [SBME Special Markets, 16/44.1]. The track leverages Carpenter’s breathy and evocative voice, juxtaposed against beautifully recorded guitar, piano, and bass accompaniment. The only drawback—at least through some electronics—is a tendency for the voice and instruments to sound somewhat hot, bright, or spotlighted. Through the X7 MkII, though, the track exhibited richness of detail and textures without glare or spotlighting, and with desirable qualities of heartiness and warmth plus a welcome touch of sweetness on Carpenter’s vocals (not the cloying kind, but rather the sort that makes lyrics sound heartfelt and sincere).

FiiO’s X7 MkII is far from the most costly DAP we have ever reviewed, but it has emerged as a go-to favorite for everyday use. It offers beautiful build quality, a fine user interface, and sound quality that utterly belie its modest price. Chris Martens

TECHNICAL SPECIFICATIONSType: High-resolution digital audio player: based on a highly customized Android 5.1 OS platformInputs: 2.4/5GHz Wi-Fi, Bluetooth 4.2/aptX, playback from onboard storage, USBOutputs: X7 MkII main chassis provides 3.5mm combination line out/coaxial/optical output port




Various amplifier modules are available. The standard AM3A module provides 3.5mm single-ended and 2.5mm balanced headphone outputsSupported file formats: PCM to 32-bit/384kHz, DSD to DSD128 (native DSD), DXD 352.8Storage: 64GB ROM, 2GB RAM, and two Micro SD card slotsOutput power: AM3A amplifier moduleAM3A balanced output: 420 mW @ 16 ohms/1kHz; 540 mW @ 32 ohms/1kHz; 70 mW @ 300 ohms/1kHzFrequency response: 5Hz – 83kHz +0/-3dB; SNR: ≥115dB; Distortion (THD + N) <0.0008% @ 32 Ohms/1kHzAM3A single-ended output: 250mW @ 16 ohms/1kHz; 190mW @ 32 ohms/1kHz; 25mW @ 300 ohms/1kHzFrequency response: 5Hz-83kHz +0/-3dB: SNR: ≥ 115dB, Distortion (THD + N) < 0.001% at 32 ohms/1kHzBattery: 3800mAH Lithium PolymerAccessories: Leatherette case, clear silicone protective case, 7H tempered glass screen protector (factory installed), decorative strip, ejector pin tool for opening Micro SD card slots, coaxial digital adaptor cable, micro USB cable, miniature Torx driver for installing amp modules, warranty card, Quick Start User Guide.Dimensions (H×W×D): 15.5 × 67.2 × 128.7mmWeight: 212gPrice: $650 US; £599

MANUFACTURER INFORMATIONFiiO Electronics Technology Co., Ltd. Guangzhou, China Postcode 510430URL: www.fiio.net

SummarySonic character: Fundamentally neutral with a hint of natural, organic warmth.

Darker, warmer, more ‘romantic’

Neutral, balanced, focused

Brighter, cooler, more ‘analytical’

(All ratings relative to comparably priced Digital Audio Players.)

Resolution/Focus:nnnnnnnnnnDynamics/Expression:nnnnnnnnnnSoundstaging/Imaging:nnnnnnnnnn

Freedom from Noise:nnnnnnnnnnFeatures and Versatility:nnnnnnnnnn

Prosll Well-balanced sound offers a fine blend of power, detail,

and expressiveness with just a hint of warmth.ll Standard AM3A amp module is excellent, but optional

amp modules add versatility.ll Beautiful build quality, plus nice mix of useful accessories.ll A nicer user interface than many Android smartphones.

Consll None worth mentioning in light of its price.

iBasso DX200

Coinciding with their 10-year anniversary iBasso has released the new DX200 digital audio player, which retails for $869. iBasso’s digital audio player seeks to justify its pricetag by being able to do a little bit of everything you might need.

In addition to being a mobile audio player with 5G Wi-Fi and Bluetooth 4.0 capacity, the DX200 doubles as a fully functional USB DAC. Equipped with an XMOS XU208 USB receiver and Thesycon USB driver, the DX200 will enhance music from a computer and source files to an amplifier potentially making it a very valuable addition to your equipment lineup.

The DX200 is billed as an upgrade of IBasso’s earlier DX100 DAP in many key areas. The DX200 now sports dual 32-bit ES9028 Pro DAC chips based on HyperStream DAC technology, each of which has eight built-in DACs running in parallel for each channel. The DX200 has an upgraded 8-core, 64-bit CPU and a long list of internal “Cadillac” components like femtosecond oscillators, a jitter eliminator, low ESR capacitors, and ultra-low-noise power regulators. While you most likely will never set eyes on these internal upgrades, iBasso is confident that its exacting work under the hood will pay dividends to your ears once you hit play.

The exterior of the DX200 centers around a 4.2-inch IPS high-resolution touch screen that is surrounded by




a tank-like shell formed from CNC machined aircraft aluminum. A set of physical command buttons and a 150-tick volume control wheel are located along the right-hand edge of the device, allowing you to control basic functions like play/pause/track forward/track reverse/volume up/down without having to look down and swipe away every time you need to interact with your tracklist. The DX200 features several interchangeable amplifier card “bases” that are easily switched out in seconds with a supplied mini flathead screwdriver. The different AMP cards offer various configurations of high current, high-voltage, and other circuits each offering different sets of sonic attributes, where the idea is to tailor your AMP selection to complement your favorite earphones or headphones.

My review sample of the DX200 came with iBasso’s $99 IT01 dynamic driver headphones and a couple of AMP base options to try out. Initially I feared the interchange of amp cards would be a hassle, but the changeout proved to be so quick and easy that it ended up being a fun spot in the listening tests that broadened the appeal of the DX200 and gave the device a good bit of sonic flexibility.

As future-ready as this device is designed to be, the DX200 makes the music sound deliciously retro and steers far away from any kind of “plastic” digital sound. Using the IT01 headphones and the AMP 5 card in my auditions, the music had more than enough space to breathe and gave a pleasantly warm presentation that reminded me of listening to a good analogue system. The DX200 showed crisp resolution without ever feeling harsh as I observed when playing The North Mississippi Allstars’ Shake Hands with Shorty [Tone-Cool Records]. Through the DX200, the album’s lively reinvention of the Memphis Blues turned into an extended 10-track “wow” moment as any number of previously buried whoops, harmonies, and delta hollers were drawn out into the open. The drums were vividly loose and raw, the slap bass guitar was clean and nuanced, and Luther Dickinson’s indelible shredding guitar tone was crystal clear. The DX200’s organization of spacial cues and superb dynamics produced nothing short of a captivating listen.

The DX200 is pushing into the upper tier with its nearly $1000 price tag, but those who can dish out the cash would do well to place this DAP up near the tops of their “must go hear it” lists. The combination of well-thought-out functionality and top-notch musicality make the DX200 a benchmark to measure against in the digital audio player realm. Buzz Hughes

SummarySonic character: Tends toward the darker, warmer, more romantic end of the sonic spectrum.







Prosll All around excellent sonic performer: warm midrange,

clear highs, well-defined bass.ll Sonic flexibility with easy AMP card changes.ll Solidly built, good battery life.ll Well-thought-out physical controls.

Consll Mango interface took a bit of getting used to for navigation.ll Device still has a ways to go in order to be able to install

and use Android based apps.ll Tad bit bulky when leather case is being used.

TECHNICAL SPECIFICATIONSType: Android-based high-resolution digital audio playerInputs: Wi-Fi, Bluetooth, playback from onboard storage, USB-COutputs: Depends on AMP module chosen. Standard AMP1 module provides 3.5mm single-ended and 2.5mm balanced headphone outputs, plus a combo optical/coaxial S/PDIF digital output. AMP 5 High Voltage/High Current single-ended module provides 3.5mm line out and 3.5 single-ended headphone outputSupported file formats: PCM to 32-bit/384kHz, DSD to DSD512Output power:AMP 1 Balanced output: 6Vrms, 20Hz–20kHz +0/-0.16dB; SNR: 125dB; Distortion (THD + N) <0.0002%AMP 1 Single-ended output: 3Vrms, 20Hz–20kHz +0/-0.16dB; SNR: 122dB; Distortion (THD +N) <0.00032%AMP 5 Single-ended output: 8Vrms, 15Hs–45kHz, +0/-0.3dB; SNR: 121dB; Distortion (THD + N) <0.00025%Battery: 4400mAH Lithium PolymerAccessories: Leather case, tool for changing AMP modules, USB cable, 2.5mm burn-in cable, 3.5mm coax cableDimensions (H×W×D): 19.5 × 69 × 128.5mmWeight: 240gPrice: £749, $869 US

MANUFACTURER INFORMATIONiBassoURL: www.ibasso.com

“The DX200’s organisation of spatial cues and superb dynamics produced nothing short of a captivating listen.”




Serious headphone enthusiasts are by nature an inquisitive lot and so it happens that at industry gatherings such as the CanJam event held each year at the Rocky Mountain Audio Fest we do a lot of behind the scenes

comparing of notes.“What do you consider to be the best-sounding DAP

(digital audio player) you’ve heard thus far?” asked a trusted colleague from the Head-Fi world.

“I’ll tell you my favorite DAP if you’ll tell me yours,” I replied. “Deal?” My colleague nodded his assent, and at the count of three we both

said, more or less in unison, “the Questyle QP1R.” A big smile broke over my colleague’s face as he offered me a traditional fist-bump to celebrate our shared appreciation for a fine product. The QP1R was not the most powerful DAP on the market, nor did it offer the most “gongs and whistles,” but what it did offer was compelling sound quality and equally impressive build-quality. The QP1R sounded terrific and became for me not only a reference but also a go-to component I almost always take along when I travel. Now, however, Questyle Audio has released an identically sized but dramatically revamped new player called the QP2R, which promises even higher performance.

For those unfamiliar with Questyle Audio, the firm is a specialty high-end audio electronics manufacturer based in China and that is led by the gifted engineer Wang Fengshuo (or Jason Wang in anglicized form). Wang is perhaps best known for his work in developing practical, very high performance current-mode amplifiers. Is current-mode amplification a big deal? I would say it is. Much as with pure Class A amplifiers, there is a certain sonic je ne sais quoi that makes them sound at once masterful and muscular beyond all proportion to their claimed power output. What’s more, current-mode amps seem largely unfazed by ”tricky” loads that can give lesser amps and DAPs fits.

The QP2R improves on the original QP1R in several key respects. First, it provides an all-discrete, fully balanced, pure Class A current-mode amplifier, and therefore offers both single-ended and balanced headphone outputs. Like its predecessor, the QP2R provides user-selectable low, medium, and high master-gain settings while also providing a pure Class A bias control that lets users choose standard or high-bias settings, depending on the loads being driven. The DAC section of the QP2R takes big steps forward, too. Based on the well-regarded AKM AK4490 DAC chip, it can handle PCM files captured at 32kHz–384kHz rates with 16/24/32-bit word depths; it can also handle DSD files at DSD64, DSD128, or DSD256 resolution levels.

At the foot of the unit is a USB Type-C port that provides both charging and data transfer functions, plus a card slot for installing an external microSD memory card with maximum capacity of up to 200GB. Some might lament the fact that the QP2R now supports only one microSD card whereas the QP1R supported two, but that is the price to be paid for the QP2R’s fully balanced amplifiers, which take up extra space. Happily, internal storage for the QP2R is a generous 64GB (twice that of the QP1R).

From the outset, the QP2R exhibited a far more finely resolved and sharply focused presentation than the QP1R, while preserving the sophisticated and yet pleasingly muscular and organic sound for which Questyle current-mode amplifiers are known. Where the QP1R sounds

like what it is, namely a very well executed portable digital audio player, the QP2R instead sounds like something more, with a sound reminiscent of Questyle’s larger and more costly full-sized tabletop units.

The QP2R is a winner, pure and simple. While it is not powerful enough to drive the latest generation of low-sensitivity planar-magnetics (the HiFiMAN Susvara and Abyss AB-1266 Phi), it can drive almost everything else with telling results. It offers sound quality competitive with many premium desktop headphone amp/DACs, but at a lower price point and in a compact, pocket-sized package. Enthusiastically recommended. Chris Martens

SPECS & PRICINGType: High-resolution portable digital audio player/DACInputs: Built-in 64GB music library; one microSD memory card slot (supports cards up to 200GB)Outputs: Combo 3.5mm single-ended headphone and optical digital output jack, 2.5mm balanced headphone output jackSupported formats: WAV, FLAC, WMA, MP3, OGG, AAC, ALAC, AIFF, DFF, DSF, APE (normal/high/fast)Sample rates: PCM 32–384kHz, 16/24/32-bits; DSD64, DSD128, DSD256 (native support for DSD64)Power output: Unbalanced, 38mW @ 32 ohms, 9mW @ 300 ohms; balanced, 70mW @ 32 ohmsDimensions: 65mm × 134mm × 14.5mmPrice: $1299/£1299

Questyle Audio QP2R


Headphone Amps, DACs, and Amp/DACs

$199 AND BELOW

BACK in 2012, AudioQuest created an entirely new product category with the DragonFly DAC. With the form factor of a USB flash drive, low price, and truly amazing sound quality, it was spectacularly successful. It not only appealed to

hardcore audio enthusiasts; it was just as tempting to anyone who listened to music from a computer. The product was simple to use and the value proposition was compelling: Rather than connect headphones or a desktop audio system to the computer, plug them into the $149 DragonFly and get better sound. The DragonFly delivered on its promise, showing an entirely new audience that investing in a better audio system could greatly enhance their enjoyment of music.

AudioQuest has now retired the original DragonFly in favor of two new models, the $99 DragonFly Black and $199 DragonFly Red. In addition to offering better sound than the first model, the Black and Red can be used with Apple and Android smartphones and tablets, as well as computers.

The revamped DragonFlys feature new DACs—the 9010 32-bit ESS Sabre chip in the Black and the higher-performance 9016 in the Red. Both chips use minimum-phase digital filtering. The Black includes the same headphone amplifier found in the original DragonFly, while the Red gets an ESS headphone amplifier with a digital volume control that is integral to the DAC chip. The Black’s maximum output level is 1.2V; the Red’s is 2.1V, allowing it to drive low-sensitivity headphones. Finally, both DACs offer MQA rendering (!) and both are software upgradeable for compatibility with future developments via a desktop application available from AudioQuest. (A worthwhile upgrade to either DAC is AudioQuest’s $49 JitterBug, an in-line USB device that fits between your computer and any USB DAC. The JitterBug isolates the computer from the outboard DAC, reducing jitter as well as noise and ringing on both the power and data lines in the USB interface.)

I compared the Black and Red to the original DragonFly in my desktop system as well as through PSB M4U 2 headphones ($399) and state-of-the-art Audeze LCD-X planar-magnetic headphones ($1699). The Black is a massive upgrade over listening directly from the computer’s analog output jack. In fact, for someone listening to the computer’s output, adding a DragonFly Black is without doubt the greatest bang for the buck in all of audio. The computer’s audio output (a Dell XPS 8700 in my case) is flat, grainy, bright, airless, and hard, quickly inducing listening fatigue. The treble is a joke; cymbals sound like aerosol spray cans. The Black elevates the computer-listening experience by delivering a much smoother, more relaxed, and warmer sound. The Black has a tonal richness and body that better portray instrumental and vocal timbre. The treble is far, far cleaner, with a real sense of delicacy and texture rather than mere high-frequency hash. Another big improvement is the sense of space and dimensionality.

But as good as the DragonFly Black is, I think that most TAS (and UHG) readers looking in this category will opt for the Red. Yes, it’s that much better and worth double the price. This is particularly true if you have difficult-to-drive headphones; the Red’s more robust output

amplifier (2.1V vs. the Black’s 1.2V) has greater dynamic swings and more solid bass. The Red also has significantly greater smoothness, ease, and warmth than the Black, and better dimensionality. Indeed, the Red ups the ante in every sonic criterion. Even in my ultra-expensive main system, the Red/JitterBug combination sounded much, much better than it had any right to for $199. I experienced an odd sense of disconnect at hearing the mighty Magico Q7 Mk IIs with their prodigious bottom end, and knowing that the source was the tiny DragonFly.

With the DragonFly Black and Red, there’s simply no excuse for listening to the compromised DACs and output amplifiers built into computers. At $99, the Black brings much of what high-end audio is about to just about any quality-conscious listener. The Red is significantly better sounding, and worth the price difference. Adding AudioQuest’s $49 JitterBug is a no-brainer for both, allowing either DragonFly to reach its full sonic potential. Robert Harley

SPECS & PRICINGDragonFly BlackMaximum output voltage: 1.2VMaximum input signal: 96kHz/24-bitDimensions: 19mm × 12mm × 62mm Price: $99/£89

DragonFly RED Maximum output voltage: 2.1VMaximum input signal: 96kHz/24-bitDimensions: 19mm × 12mm × 62mm Price: $199/£169

AudioQuest DragonFlys



$199 AND BELOW

iFi’s diminutive and cost-effective nano iDSD Black Label headphone amp/DAC ($199/£200) beckons with an extensive list of features and functions. It can be viewed as a ‘junior version’ of iFi’s critically acclaimed micro iDSD-BL amp/preamp/DAC. For obvious reasons, the nano cannot do everything its overachieving bigger brother can,

but it does sport distinctive technical tricks that make it quite appealing. Specifically, the nano iDSD Black Label provides MQA support, while also introducing iFi’s all-new dual-mono, ‘S-Balanced’ amplifier circuit topology. These are compelling reasons music lovers might want to add it to their personal audio electronics stables.

The DAC section of the nano iDSD-BL is versatile and uses a Burr-Brown DAC, says iFi, to enable decoding “truly native DSD and PCM data streams.” Accordingly, the Black Label provides support for PCM files up to 352.8/384 kHz, for DSD files up to DSD256, for DXD files up to 352.8/384 kHz, and for MQA files. The Black Label also provides two switch-selectable filter settings, labeled Listen and Measure, whose effects are context sensitive. For PCM files the Listen setting applies a minimum phase Bezier filter, while the Measure setting invokes a standard FIR linear phase filter. For DSD files, the Listen setting applies an “extended bandwidth, transient optimized” filter, while the Measure setting invokes a “narrow bandwidth, low output band noise optimized filter”. DXD files are automatically treated to the DAC’s “fixed bit-perfect processing”, while MQA files use built-in 88.2/96/176.4/192kHz filters as appropriate.

The DAC provides an asynchronous USB input that is backed by what iFi terms a Zero Jitter® memory buffer system. The concept is for incoming digital signals to be fed to the buffer system and then separately (and precisely) re-clocked before being passed along to the DAC device. iFi claims that jitter levels are below the levels of their own test equipment. The nano iDSD Black Label is, of course, ideal for use when playing digital audio files from a PC (via iFi-supplied device drivers) or Mac, but with the appropriate adapter cables it is also compatible with portable devices.

The nano’s amplifier section with maximum rated output of 285mW@30Ω, is where much technical wizardry has been applied. iFi makes the bold claim that “S-Balanced technology means that despite the amplifier being single-ended, this delivers all the benefits of balanced wiring.” In practical terms this also means the nano can be used either with headphones equipped with balanced signal cables or with traditional single-ended signal cables.

The nano iDSD Black Label is capable of being either USB or battery powered, depending upon the sequence in which it is powered up. The nano features a built-in Lithium/Polymer battery that iFi states should be good for about 10 hours of continuous playing time.

Two very different tracks that show off the nano’s qualities through IEMs and headphones are vocalist Hanne Boel’s rendition of J.J. Cale’s ‘After Midnight’ from Outtakes [WM Denmark, 16/44.1] and jazz artist Henri Texier’s ‘Vent Poussiere’ from Remparts d’Argile [Label Bleu, 16/44.1]. The former is an R&B/rock standard that Boel captures with an earthy and deeply soulful flavour (aided by a locked-in and bass guitar-propelled rhythm section), while the latter is an angular and at times almost austere-sounding jazz composition featuring percussionist Tony Rabeson, saxophonist/clarinetist Sébastien Texier, and bassist Henri Texier. The common denominators between the pieces involved the highly expressive and sumptuously detailed manner in which the nano

served up the smoky inflections of Boel’s voice, the razor-sharp attack and lingering decay of Rabeson’s percussion notes, the gently seductive yet melancholy voice of Sébastien Texier’s horn, and the woody inquisitiveness of Henri Texier’s bass. In short, the nano is a device that lets you hear not only the inner structure of the sounds being reproduced, but also the emotional content behind them.

iFi’s nano iDSD Black Label is a brilliant headphone amp/DAC that offers serious sound quality in a very compact and affordable package. Chris Martens

TECHNICAL SPECIFICATIONSType: Battery/USB-powered headphone amp/DACInputs: USB-2.0 ‘OTG’ portOutputs: Two 3.5mm headphone jacks (Direct/iEMatch®), one 3.5mm line out jack. Digital formats supported: DSD to DSD256, DXD to 384kHz, PCM to 384kHz, MQA up to 192kHZ filters.Filters: Two PCM & DSD filters (Listen/Measure), DXD fixed analogue filter, MQA fixed filterJitter: Below test set limitPower Output: 20mW@600Ω, 285mW@30Ω, 200 mW@15Ω Dynamic Range: >109dB(A)@3V Direct jack, >107dB(A) @ 0.5V iEMatch® jackDistortion: < 0.005% THD + Noise@125mW/30Ω Controls: Rotary volume control and on/off switch, filter control switchDimensions (H×W×D): 25.5 × 64 × 96mmWeight: 139 gramsPrice: £200, or $199 U.S

MANUFACTURER INFORMATIONiFi AudioURL: ifi-audio.com

DISTRIBUTORSelect Audio URL: selectaudio.co.ukTel: +44(0)1900 601954

iFi nano iDSD Black Label



$199 AND BELOW

The $22k price tag for the 808v6 is far beyond the means of all but a few listeners, but Meridian’s $199 MQA-capable Explorer2 makes MQA accessible to just about anyone. In fact, most people will experience MQA for the first time through the Explorer2. I

requested a review sample of this popular “pocket DAC” that has been on the market for some time without MQA capability. (A fairly recent software update added MQA decoding.)

This small oval tube of a DAC is designed for personal listening, but with both line output and a headphone jack, can be used in a home system. The Explorer2 has one mini-USB input at one end of the oval tube, and stereo 1/8” line-out and headphone-out jacks at the other. One of the three LEDs indicates whether Explorer2 is decoding a standard file (white), an MQA file (green), or an MQA Studio file (blue). The two other LEDs indicate sampling rates of 88k/96k and 176k/192k, respectively. Mac users can plug-and-play; Windows users need to download a driver from Meridian.

Inside the extruded aluminum case is an asynchronous USB interface, analog volume control, and Meridian’s apodizing digital filter. The filter and MQA decoding run on an XMOS DSP chip with 1000MIPS of horsepower. For comparison, Meridian’s 808v2 CD player that introduced Meridian’s apodizing digital filter made do with 150MIPS of DSP power. The Explorer2’s filter upsamples incoming data to 176.4kHz, but passes 192kHz data natively to the TI PCM5102 DAC. Output impedance is 0.47 ohms.

I listened to the Explorer2 primarily in my desktop system with the Audience 1+1 V2+ single-driver speakers, Audeze and PSB headphones (driven directly by the Explorer2), and headphones powered by the Moon by Simaudio 430HA headphone amplifier with the Explorer2’s line output driving the amp. I also listened to the Explorer2 in my main system, fed by an Aurender W20 playing MQA-encoded files as well as conventional PCM files.

Playing standard (non-MQA) files, the Explorer2 proved itself to be a good $199 portable DAC. The treble was fairly clean, dynamics were wide, and the sound was reasonably resolved and transparent. It’s a huge upgrade from the computer’s audio output, boasting much smoother treble and a more liquid midrange. The Explorer2 was also significantly more dimensional and spacious, with better differentiation among instruments. By comparison, the computer’s audio output was grainy and flat. The Explorer2 brought the sound quality up to an audiophile level. I would characterize it as a solid and competent performer when compared with other products in the very competitive low-priced portable DAC category.

But the Explorer2 morphed into an entirely different animal when decoding MQA files. The disparity in sound quality between standard files and MQA files was large, and far greater through the Explorer2 than between those same files decoded by the Meridian 808v6. Meridian’s $22k flagship CD player/DAC’s performance on standard material was significantly better than the Explorer2 (as would be expected), but less dramatically better when playing MQA files. The MQA decoder knows what DAC chip it is driving and can correct for certain DAC shortcomings. The Explorer2’s less-expensive DAC chip apparently benefited to a greater degree from this aspect of MQA than did the superior DAC chip in the 808v6.

When decoding MQA files on my desktop system, through headphones, or even at the front of a world-class reference system, the Explorer2 sounded stunningly great. Playing MQA files, the Explorer2 has that sense of realism and presence that defines MQA. This was largely because of increased dimensionality, along with the removal of the glassy hardness overlaying instrumental and vocal timbres. Even at the front of a massively resolving system of Constellation electronics and Magico speakers, the MQA experience was unmistakable. Of course, it didn’t equal the sonic performance of Meridian’s flagship 808v6, but it came closer than one would expect considering the 74x price disparity.

As I listened to MQA files through the Explorer2 and PSB M4U 2 headphones ($199 and $395 respectively) on my PC, it struck me just how good this combination sounded for not a lot of money. This level of sound quality at this price would have been unimaginable not that long ago.

The Explorer2 is a great way for you to experience MQA for yourself, in a desktop, portable, or even home system. It’s a good-sounding DAC with conventional digital files, but spectacular when decoding MQA. It’s not the ultimate realization of MQA, but it delivers the technology’s musical essence at an eminently reasonable price. Robert Harley

SPECS & PRICINGInputs: Mini-USBOutputs: Line out on 1/8” stereo jack, headphone out on 1/8” stereo jackOutput impedance: 0.47 ohmsDimensions: 4” × 1.25” × 0.7”Weight: 1.76 oz.Price: $199/£129

Meridian Explorer2



$199 AND BELOW

Ninety-nine dollars. What does that buy you these days? What if you want a high-quality headphone amp that can drive difficult headphones? Well, Schiit Audio has that covered with its new Magni 3 headphone amplifier. Schitt claims its Magni 3, which costs a tick under $100, can not only power hard-to-drive

headphones but is also quiet enough to use with in-ear monitors. Let’s see if this Schiit is for real.

Schiit calls the Magni 3 a “fully discrete, fully complementary, all-bipolar, symmetrical current-feedback design with no capacitors in the signal path and DC servo.” The Magni 3 replaces the original Magni and the Magni Uber, offering double the power output of the original Magni while adding the preamplifier outputs and aluminum top from the Uber. Other differences include a new discrete gain stage, faster shutdown due to a new muting circuit, and an improved potentiometer curve with a slower ramp-up from low volume. The inexpensive Magni 3 is not cheaply made; even its metal case sports a better-quality finish and more robust construction than the vast majority of “entry-level” components.

The Magni 3 front panel sports a volume knob, a white LED, and a standard 6.35mm stereo headphone output. The Magni 3’s rear panel has one pair each of RCA single-ended inputs and outputs, an on/off switch, a high/low gain switch, and a connector for the power supply. The variable-gain RCA outputs make it possible to use the Magni 3 as an analog preamplifier. When you plug headphones into the Magni 3, its preamplifier outputs are muted.

I fed the Magni 3 with multiple digital audio players including Sony’s flagship NW-WM1Z, an Onkyo DP-X1, an Astell&Kern KANN, and a Questyle QP1R. I also used the Magni 3 connected to the output from a Sony TA-ZH1ES desktop headphone amp/DAC so I could compare it with that unit. Finally, I used the Magni 3 in my desktop system, fed from the analog output of a Mytek Brooklyn DAC/preamp, and driving an Optoma/Nuforce STA-200 amplifier powering either ATC SCM 7 II or Audience 1+1 loudspeakers.

Sonically, the Magni 3 is the electronic equivalent of a Unitarian Universalist—it got along with everybody. High-sensitivity in-ears, including the Ultimate Ears 18+, Empire Ears Zeus, and EarSonics S-EM9, all presented quiet “black” backgrounds with a lack of noise, hum, hiss, or other amusical electronic artifacts. In turn the Magni 3 had more than ample gain to drive power-hungry full-size headphones such as the 600-ohm Beyerdynamic DT 990 or the HiFiMAN HE1000 V2.

But, really, you wonder, how does it sound? In comparison to a more expensive amp known for its “tube-like” character, the Magni 3 had far better bass and sub-bass control, pitch definition, and drive, as well as a more dynamic upper midrange. On certain selections, some listeners might prefer the competing amp’s tube-like presentation, but the Magni 3 was more harmonically neutral and had greater dynamic contrasts.

As mentioned earlier, my test setup allowed me to compare the Sony TA-ZH1ES ($2199) and the Magni 3 side-by-side using the same DAC source and with volume settings matched. Even in this seemingly mismatched comparison, I could not reliably tell a difference between the two headphone amps using a wide range of headphones. When I used the Magni 3 as preamplifier getting an analog feed from the Mytek Brooklyn, it offered fidelity comparable to listening directly through the

Schiit Audio Magni 3

Mytek. Both sounded exceedingly clean with well-defined inner detail.

When compared in matched-level A/B tests versus more bespoken options, few budget-priced components could acquit themselves as well as the Schiit Magni 3 did. In fact, the Magni 3 is in no way outclassed when used with very expensive transducers costing many times what the amplifier does. For $99 the Magni 3 seems almost a miracle as it provides a simple, cost-effective way to drive a wide variety of headphones and high-sensitivity earphones at or near their optimum sonic potential. Steven Stone

TECHNICAL SPECIFICATIONSType: Solid-state headphone amplifierOutputs: Single-ended 6.35mm stereo, one pair of RCA single-ended outputsOutput power: 3Wpc RMS @ 16 ohms, 2Wpc RMS @ 32 ohms, 1.3Wpc RMS @ 50 ohms, 430mWpc RMS @ 300 ohms, 230mWpc RMS @ 600 ohmsOutput impedance: < 0.3 ohm at either gain settingDimensions: 5” × 3.5” × 2.5”Weight: 1 lb.Price: $99 US, £110

MANUFACTURER INFORMATIONSchiit Audio 24900 Anza Drive, Suite AValencia, CA 91355URL: www.schiit.com

DISTRIBUTORElectromodBuckinghamshire HP11 1RY EnglandTel: +44 (0) 1494 956558URL: www.schiit.eu.com



$199 AND BELOW

With its headphone amp/DAC combo, Ultrasone is going ultra-compact by making your car’s keyless entry in your pocket look big. The mission of Ultrasone NAOS is to bring all your downloaded and streaming music files up to par in a one-size-fits-all powerhouse small enough to get

lost in your jeans pocket. This helps solve the existential quandary of our modern audiophile existence. Sure, we may have a prized hi-fi setup waiting for us when we get home, but what do we do in transit? The answer: reach for the NAOS. Most of us have no further excuse for leaving it up to Samsung or Apple to convert and amplify our source files with the NAOS priced affordably at £199.

The NAOS is covered by brushed aluminium housing measuring 46mm by 18mm by 6mm. At this small size, weighing in a negligible 6 grams, you can be sure that if you are hooked up to your mobile device, the NAOS will not affect any of the lifestyle activities you were planning such as going for a walk, a jog, or a bike ride. Ultrasone made the device friendly to any platform, including Apple, Android, and PC sources. NAOS comes with cables for micro USB, USB C, Lightning, and USB A. It uses the connection not only to transfer data but also draws its power using the same cable. NAOS works with iOS, Mac OS, Android (USB OTG function), and Windows (driver installation).

The digital to analogue converter in the NAOS allows a listener’s digital files or streaming source to be converted up to a resolution of 192kHz and a word depth of 24 bits. After NAOS runs its conversion process, the analogue signal is run through its high-performance amplifier, which is said to be ‘optimised’ for use with a wide range of headphones.

To assess the NAOS’ performance, I concentrated on auditioning Bill Wilson’s underappreciated classic Ever Changing Minstrel [Columbia]. The track ‘Long Gone Lady’ is an excellent piece of music to gauge the nuances of audio equipment’s presentation as there is little production razzle-dazzle to distract the listener. The track features an equal mix of soulful acoustic guitar, strong male vocals, nearly naked bass, and backing female vocals that are all expected to stand out in the mix and share the space. The treble, midrange, and bass were all enhanced and immediately woven into a remarkably defined and well-managed sound stage. The presentation upgrade from the NAOS was so engaging that I quickly found it unthinkable to simply plug headphones into my iPhone 6S or desktop computer. As I moved on in the audition from high-quality FLAC streaming to a few lower-fidelity sources such as a simple Spotify stream, music-based podcasts off iTunes, or my collection of first-generation MP3s, the NAOS ‘top-to-bottom enhancement factor’ was apparent across the board on all these sources.

Fortunately for Ultrasone, most of us live in the world (especially on the go) where the virtually limitless variety of superior quality headphones under £250 will do just fine. In this vast price plateau, the NAOS was able to augment virtually all facets of the musical presentation (treble, bass, midrange) regardless of the quality of source.

If your selected playback device happens to be operating on its own battery, please be aware that using the NAOS will put a sizeable dent in battery life and any volume controls that are part of your headphone assembly will not work. However, these inconveniences seem a small price to pay when you are stuck on a jet in an economy seat and the

NAOS can help turn your cramped middle seat and modest travel headphones into the next best thing outside your home listening room. The sound of most moderately priced headphones will be enhanced in a positive way by the addition of this versatile and nearly invisible and weightless pocket-sized dynamo. Buzz Hughes

TECHNICAL SPECIFICATIONSType: Solid-state high-resolution digital-to-analogue converter/headphone amplifier Digital Inputs: Micro-USB, Lightning, USB (Type A), USB-CAnalogue Outputs: 3.5mm mini-jack Frequency Response: 10 Hz–30 kHzDimensions (H×W×D): 6×18×46mm Weight: 6g Price: £199, $199 US

MANUFACTURING INFORMATIONUltrasone AG Tel: +49 (0) 881 901150 0URL: ultrasone.com

Ultrasone NAOS



$200–$499

The audio business is a bit creepy: It suffers from mission creep and price creep. In its 40 years of existence, Arcam has resisted these temptations better than most, and its rSeries components uphold the company’s tradition of no-nonsense audio design.

The rHead is a stand-alone headphone amplifier, and an obvious visual match to the irDAC-II from the same brand. It’s a small, black box with a choice of one XLR and one RCA stereo input. The prevention of mission creep kicks in here, because this is not a two-input headphone amp; the choice of input is selected at the rear of the rHead, using a small toggle switch. The prevention of price creep kicks in at that back panel too, as the rHead draws its power from an external 12V, 1.5A power supply. The power switch is also on the back panel.

The front of the rHead is equally spare in its ornamentation. A little green light in the center denotes the juice is flowing. One 3.5mm and one 6.35mm headphone jack poke out from a recess on the left, while a silvery volume control is to the right. The volume control has a standby/mute click to the far left of its travel, and the green LED turns orange as a result of engaging mute.

Underneath this minimalist exterior is a discrete linear Class A amplifier—not a “chip amp,” but a classic design that has no transistor crossover distortion. (Theoretically, when playing a difficult headphone load at very high volumes, the rHead will switch into Class B.) Playback

level is set by the digitally controlled, ultra-linear, analog Texas Instruments PGA2311A resistive ladder array behind that shiny volume knob. This means that along with no crossover distortion, you have no tracking errors across gain settings.

Sonically, the rHead is almost immediately impressive. The first time you power it up, it might take a few minutes before it shows its best, but after that putting it into standby leaves it thermally active, and it sounds great almost the moment you move into the green.

The first and most important test of a good headphone amplifier is noise floor. Aside from a faint hiss at relatively high volumes with very-high-senstivity earphones, the Arcam’s background is silent—dead-quiet with every other type of headphone. Within real-world operating parameters, between “whisper” and “hearing damage,” the rHead is a fine, clean, and consistent performer. In fact, it’s that consistency that really makes the rHead something special. From the deepest bass you can get from your headphones up to dog-whistle frequencies, the rHead is refined, graceful, temporally on the money, and extremely detailed.

Forty and a bit years ago, A&R Cambridge Ltd (now better known as “Arcam”) launched its first product: a no-nonsense amplifier called the A60 that took the two-channel audio world by storm. The Arcam rHead continues that tradition for the headphone generation. Indeed, I’m going to stick my neck out here and give the rHead the nod as my take on the best value in headphone amplification right now. Alan Sircom

SPECS & PRICINGFrequency response: 10Hz–20kHzTHD + Noise: 0.001% @ 2V output, 32-ohm loadSNR ratio: 109dB @ 2V output, 32-ohm loadHeadphone output power: 2.0W, 16-ohm load; 1.1W, 32-ohm load; 0.13W, 300-ohm loadHeadphone recommended impedance: 16–600 ohms, 3.5 or 6.35mm plugOutput impedance: <0.5 ohmInput levels: 0-4V (RCA); 0-8V (XLR)Dimensions: 19.4cm × 4.4cm × 13.5cmWeight: 0.71kgPrice: $450/£199

Arcam rHead

I give the rHead the nod as the best value in headphone amplification right now.



$200–$499

CEntrance BlueDAC

Personal audio devotees need no introduction to CEntrance. The small Chicago company took the high-end headphone world by storm in 2009 with their cigar-sized DACport, a USB headphone amp/DAC that featured a class A amp stage and a

DAC that had one of the lowest jitter measurements ever recorded. In 2014, they rewrote the rules of engagement again with HiFi-M8, one of the first fully battery-powered headphone amp/DACs that included balanced, dual 3-pin XLR outputs for demanding low impedance headphones (as well as a slew of other features including optical and USB inputs). This outfit knows how to cram a ton of features into a small product footprint without compromising performance. With their accredited background in pro-audio, CEntrance built a name for themselves designing and building products that served the music first and foremost. They’ve done it again with BlueDAC, a portable Bluetooth headphone amp/DAC capable of driving power-thirsty headphones with a battery-life of up to 20 hours!

BlueDAC’s extended battery-life makes it the perfect travel companion, as there’s no need to mess with cables from your mobile device. Operation couldn’t be simpler. Merely turn on BlueDAC and select it in the Bluetooth devices menu on your handheld. BlueDAC then feeds your headphones via its 3.5mm single-ended or 2.5mm TRRS balanced outputs. The TRRS output enables you to utilize a breakout cable if you wish to run dual 3-pin XLRs, connecting to the balanced inputs on your Hi-Fi equipment at home. If you wish to hard-wire your cell phone, BlueDAC can get its input signal over USB as well. If you have an Android phone, just plug in. If you prefer Apple iDevices you may connect with the addition of a CCK (camera connection kit).

BlueDAC features a VelvetSound AK4490 digital-to-analog converter and CEntrance’s own “AmpExtreme”

headphone amplifier stage. It’s amazing how dynamic this diminutive headphone amp/DAC sounds, but that’s no surprise coming from CEntrance. That’s how they’ve managed to carve out such a strong reputation for sonic integrity and functionality. BlueDAC’s sound is consistent with most CEntrance audio products to date: resolute and neutral. How Michael Goodman and Co. (Goodman is CEntrance’s founder and CEO) managed to squeeze this much sonic and musical integrity out of a Bluetooth signal is an audible mystery, but a most welcome one.

Radiohead’s “Everything in its Right Place” from Kid A [EMI/XL Recordings] is a fantastic track to show off BlueDAC’s musical prowess. The velvety textures ebb and flow gloriously, surrounding and enveloping Thom Yorke’s dreamy vocals, creating a wavelike effect that’s stunningly visceral. The keyboards punch with weight and velocity, trailing off like pond ripples. The cascading soundscape is colorful, clear, and concise.

In turn, Adele’s “Hello” from 25 [Sony Music/XL Recordings] showcases BlueDAC’s ability to capture the emotive power of music as well as its dynamic attributes. Adele’s voice is chesty and soulful, while her painful delivery echoes with a deep sense of longing and regret. This song was everywhere for awhile, but grasping its emotional impact necessitates a system equally capable of nuance as well as fine detail retrieval. There’s a palpable sense of hope peering out from the darkness in this song. BlueDAC delivered these intricacies with accuracy and exquisite poise, uncanny in a component of this size and price.

Centrance’s BlueDAC is a stunning combination of versatility and musical performance. Equally capable with everything from rock to reggae, ambient and pop music, its neutrality should please even the most discerning music lover. Michael Mercer



$200–$499

SummaryVoicing: Neutral







Prosll Extended battery-life.ll Ease of use.ll Neutral and Resolute sound.ll Versatility.

Consll Supports Bluetooth source connections, but

headphones (of course) still require signal wires.ll Gain switch is small and recessed into chassis.ll Brushed plastic chassis slides on surfaces easily.

TECHNICAL SPECIFICATIONSDIGITAL SECTIONResolution: 32-bitSample Rate: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.2 kHz, 192 kHz, 352.4 kHz, 384 kHzDSD Support: DSD64 and DSD128Inputs: USB 2.0 asynchronous, Bluetooth

ANALOG SECTIONFrequency Response: 20Hz–20kHz +/-0.5dBOutput Impedance: 0.4 ohmOutput Power, 32 ohms: 500mW (total) @ 32 ohms, drives 600 ohms headphones.Supported Headphones: 16–600 ohmsMax Output Level, 1kHz: 2.9V rms/+11.3dBuBattery Specs: Rechargeable Li-Polymer, 20 hours play time (Bluetooth input)Format Support: SBC codec, APTX, MP3, AAC, and FaststreamcodecsPrice: $399.99

MANUFACTURER INFORMATIONCEntranceMorton Grove, IL 60053 USAURL: www.centrance.com

iFi xDSD

Few manufacturers have made as strong a commitment to building high performance personal audio electronics as has the UK-based firm iFi Audio, and fewer still can bring to bear as much high-end audio design know-how as iFi does (iFi

is a spin-off from the high-end manufacturer Abbingdon Music Research or AMR). But despite their sophistication, iFi’s products are traditionally very reasonably priced (a little like getting a Ferrari for the price of a Fiat). A perfect case in point would be iFi’s new xDSD portable headphone amp/DAC with Bluetooth connectivity, which sells for $399.

The xDSD is the first offering in iFi’s all-new x-series product family. In terms of performance, technologies, and features the xDSD falls between iFi’s critically acclaimed micro iDSD Black Label portable headphone amp/DAC ($599) and its smaller sibling, the nano iDSD Black Label ($199). The xDSD, however, introduces a new industrial design motif and some distinctive features of its own.

The xDSD’s mostly metal chassis is loosely rectangular in shape but sports rounded edges and gently scalloped top and bottom surfaces, with polished casework treated to a mirror-like titanium grey finish. The xDSD faceplate sports a 3.5mm headphone jack; pilot lights to indicate file sample rates and the input selected, plus the on/off status of available Xbass+ and 3D+ processing functions; a processing function/input selector; and a cool-looking rear-illuminated volume control whose colors change to show the volume levels chosen. The heel of the unit is made of molded black thermoplastic (scalloped to match the main



$200–$499

chassis) that encloses an internal Bluetooth antenna, and provides a mini USB charging port, a digital filter control, and both USB and coax/optical S/PDIF input ports. Overall, the handsome xDSD creates a striking first impression.

The DAC section of the xDSD uses the same Burr-Brown DSD1793 DAC device found in the Micro iDSD Black Label, here supported by an AMR-designed, low-jitter, Global Master Timing circuit. The DAC can handle high-res PCM and DSD files, and is fully MQA compatible. Available inputs include USB, coax/optical S/PDIF, and an aptX/AAC Bluetooth interface. This means the xDSD can be fed via wired connections to PCs, music servers, etc., but is equally happy to make wireless Bluetooth connections with portable devices—a feature that greatly enhances its flexibility for use on the go.

The amplifier section features the same basic S-balanced circuit topology that debuted in the nano iDSD Black Label; the circuit is a single-ended design, but one said to mimic the noise and crosstalk reduction benefits of traditional balanced circuits. In the xDSD, a distinctive Cyberdrive circuit places “all parameters of the fully analogue system under digital control”, further reducing noise and distortion. The xDSD amplifier delivers 500 mW/channel (about twice the output of the nano iDSD).

Sonically, the xDSD combines the sophisticated digital refinement of the larger micro iDSD Black Label amp/DAC with the low-noise performance of the compact nano iDSD Black Label. But the xDSD also gives users the freedom of Bluetooth connectivity, plus an amp section that produces a gutsy and dynamically authoritative sound.

To appreciate what I mean, try a track such as “Right Off” from Miles Davis’ A Tribute to Jack Johnson [Columbia/DSD 64], which is a well-recorded 1970s-era fusion jazz classic. As expected, Davis’ trumpet eventually becomes the centerpiece of the cut, but the horn seems to surf upon an incredibly funky and hard-grooving wave of sound created by the ensemble’s drum kit, electric bass, and guitar. Lesser amp/DACs can make the track sound bright, thin, and splashy, but through the xDSD it sounded wonderful, owing to the xDSD’s combination of suave resolution and dynamic muscle.

iFi’s xDSD is a gem. When you hold one in your hand, you can’t help but marvel at just how much functionality and performance iFi has packed within such a compact and reasonably-priced component. Above all, the xDSD reminds us that personal audio should be accessible, emotionally engaging, and fun. Chris Martens

TECHNICAL SPECIFICATIONSType: High-resolution portable headphone amp/DAC with Bluetooth connectivityInputs: Bluetooth aptX/AAC, S/PDIF (coaxial and optical), USBOutputs: 3.5mm headphone output jackSupported file formats: USB: In standard form, supports up to to 32-bit/384kHz and DSD to DSD256USB: Can be expanded to support 32-bit/764kHz and DSD512

via an optional firmware upgrade, but at the expense of losing MQA compatibilityS/PDIF (coax and optical): Up to 24-bit/192kHzBluetooth: Up to 16-bit/48kHzDAC section is MQA compatibleOutput power: 500mW per channelBattery: 2,200mAH/3.8V Lithium/Polymer battery with Fast Charge supportAccessories: Velvet drawstring carry bag, Apple Lightning-to-USB Type A cable, Android OTG-to-USB Type A cable, USB-to-USB Type A cable, 5V iPower AC power supply with adapter for the XDSD’s mini-USB charging portDimensions (H×W×D): 19 × 66.5 × 95mmWeight: 127gPrice: $399 US; £399

MANUFACTURER INFORMATIONiFi AudioURL: www.ifi-audio.com

UK DISTRIBUTOR Select Audio URL: www.selectaudio.co.uk Tel.: +44(0)1900 601954

US DISTRIBUTORiFi Audio USAURL: www.ifi-audio.com/sales

SummarySonic character: Fundamentally neutral with a hint of natural, organic warmth.







Prosll Terrific industrial design inspires pride of ownership.ll Sophisticated, smooth, and energetic sound is a gift that

keeps on giving.ll Xbass+ and 3D+ functions are useful and enjoyable, but

can also be switched off.ll Rich features and functions plus a big sound in a

compact enclosure—and it’s wireless, to boot.

Consll Accessories should include a high-quality 6.35mm to

3.5mm adapter plug.ll More detailed set-up instructions would be welcome.



$200–$499

For many years Schiit Audio staunchly resisted building combination headphone amp/DACs, its thinking being that DAC technology typically evolves much faster than amplifier technology, meaning that amp/DACs are potentially in danger of growing obsolete more rapidly than any of us might wish. At

the same time, there’s no denying the convenience of having a good amp and a good DAC bundled together in one nice, neat package. Faced with this dilemma, Schiit Audio President and co-founder Jason Stoddard decided to create what he terms a “configurable” headphone amp called the Jotunheim.

The Jotunheim is a compact, fully balanced, high-powered, quiet, and very low distortion headphone amp/preamplifier that uses an all-new (and hypothetically patentable) Stoddard-developed, balanced circuit topology called a “Pivot Point” gain stage. According to Stoddard this new circuit gives the Jotunheim better measurable performance in almost all respects (save for sheer power output) than any other headphone amplifiers the firm makes irrespective of price, which is saying a mouthful.

The name Jotunheim, like so many other Schiit Audio product names, is drawn from Norse mythology and means “Land of the Giants”—a name that takes on ironic connotations once you realize that while the amp may produce a giant sound, it isn’t very big in physical terms. Happily for music lovers on a budget, Jotunheim also isn’t very big in price—just $399 or £385, making it an undeniable bargain.

Given its low price, you might surmise that the Jotunheim is a minimalist design and in some respects it is, but nothing important

(apart from a remote control, which has deliberately been omitted) has been left out. For instance, the amp features both balanced (XLR) and single-ended (RCA) inputs and preamplifier outputs on its rear panel, along with balanced (4-pin XLR) and single-ended (6.35mm headphone jack) outputs on its faceplate. Also up front are two small toggle switches, one for choosing high or low gain and the other for choosing single-ended, balanced, or other input options (including optional Jotunheim USB DAC or phonostage modules—the “configurable” parts).

How does the Jotunheim sound? The answer is that the amp sounds powerful, refined, and accomplished—almost absurdly so in light of its price. You enjoy the punch and authority for which well-designed solid-state amps are known, ample detail and resolution, plus the quiet backgrounds and precise control over the leading and trailing edges of notes that are the hallmarks of first-rate fully balanced designs. I was floored by the stunning dynamic contrasts the Jotunheim was able to capture, and struck by its ability to convey the natural warmth and gravitas in the music. (Only rarely have I heard acoustic bass so realistically reproduced through a headphone-based system.)

In sum, the Schiit Jotunheim offers heavyweight performance in a middleweight-sized chassis for a bantam-weight price. If that’s not an irresistible combination of virtues, I don’t know what would be. Try one, soon! Chris Martens

SPECS & PRICINGType: Solid-state, fully balanced headphone amplifier/preampAnalog inputs: One pair single-ended RCAs, one pair balanced XLRsAnalog outputs: One pair single-ended RCAs, one pair balanced XLRs; two headphone outputs—one balanced 4-pin CLR, one single-ended 6.35mm jackOther: Internal I/O module port (blanked off with plate as standard)Dimensions: 30.48cm × 15.24cm × 22.86cmWeight: 2.27kgPrice: $399/£385

Schiit Audio Jotunheim

The Jotunheim offers heavy-weight performance in a middle-weight chassis for a bantam-weight price.



$500–$1499

Chord Electronics’ popular Mojo DAC gained a new ally in the Poly add-on server/streamer. If the Mojo broke new ground, the Mojo+Poly are the portable audio world’s Krakatoa!

As the Poly was meant to plug into that best-loved portable DAC, it was designed from the get-go to live in the portable

audio space, controlled by your smartphone. Poly slots into the digital connection side of the Mojo, sporting its own battery; the single remaining Micro-USB slot on the Poly simultaneously charges both devices.

Poly soaks up the Mojo’s lone Micro-USB digital input, meaning if you connected your Mojo direct to your smartphone via an OTG cable or an iKludge (Lightning to USB, then USB to Micro-USB), you are out of luck. This is probably not a problem, however, as Poly brings a host of wire-free communication protocols to the table. Where Mojo was limited to that one Micro-USB slot, Mojo+Poly can speak to the world via Apple AirPlay or Bluetooth, and better yet can treat your phone as a DLNA server, streaming music stored on the phone or online streamed music sources like Tidal and Spotify. It also comes with a little Micro-SD card slot, so it can be its own music server.

There are a number of DLNA-friendly control point programs. Some are paid, others free. I’ve had some success with Linn’s Kinsky, MyAudioStream, and PlugPlayer on iOS and BubbleUPnP for Android.

The other weird thing about the world post-iDevice is ‘personal dual inventory’ in consumer electronics seems very out-dated. People don’t carry an iPod anymore because there’s an app for that on the iPhone. They don’t carry a compact camera for the same reason. So, the idea of carrying a Micro-SD card-reading server that runs alongside but independently to your smartphone seems like a step backwards in time. But, then you hear just how good it sounds, and you can almost hear that switch flip in your head. Instead of being an extra box to take on the tasks your phone can already do, music on your smartphone becomes outmoded, compromised by the limitations of being just another app on a phone. The dedicated operation of the Mojo+Poly makes a vast amount of sense almost immediately. The fact you can also switch between data stored on the Poly to streamed content fed from your phone is merely more of the same wonderfulness!

This is not a small perception shift; it makes you include a Mojo+Poly as part of your everyday pocket roll-out. Keys, wallet, smartphone, Mojo+Poly, IEMs—let’s go! As before with the Mojo as a standalone, the Mojo+Poly unlock a range of headphones and IEMs that would struggle to gain acceptance being played through a smartphone alone.

The Mojo+Poly simply integrates perfectly to deliver that articulate, hugely entertaining, and naturally rhythmic sound of the Mojo with greater flexibility. All that you lose is the USB cable.

In an ideal world, I’d want a thinner case, and I think the battery indicators could be rolled into the illuminated buttons of the Mojo, as the standard ones are difficult to see.

There are few ‘done deals’ in audio, but the Chord Mojo+Poly is just that. Once you begin to get just why the Poly is so useful, the excellent Mojo becomes almost redundant without its partner. Poly is Starsky to Mojo’s Hutch, Wallace to Mojo’s Gromit. Basically, once the Poly was clicked into place next to Mojo, there was never a time when Mojo was going to be seen out on its own again. Poly simply makes the Mojo so much more than just a DAC. You will use a MicroSD card, and

you will fill it with high-res files, and you will wonder how you ever listened to music on the move without the Poly. It really is that good. Headphone users of the world unite! You have nothing to lose but your wires. Alan Sircom

TECHNICAL SPECIFICATIONSType: Add-on battery powered wireless streamer/server for Chord Mojo DACInputs: Bluetooth A2DP and Wi-Fi 2.4GHz, x Micro SD card slotPlay time: 9+ hoursCharging: <4 hours, 2-amp Micro USB input. Both Mojo and Poly can be simultaneously charged via Poly’s Micro USB. Playback support: Roon, DNLA, AirPlay and Bluetooth playbackDLNA server and renderer: SMB Server (SD card); MPD player (SD Card)Integrated Access Point: Allows configuration of connected networks (up to 32) Hotspot mode: Poly can create its own hotspot where networks/devices/countries don’t support tethering. Files supported: ACC, WAV, FLAC, AIFF, OGG VORBIS, ALAC, WMA and MP3PCM sample rates: 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz, 358.8kHz, 384kHz, 717.6kHz and 768kHzDSD via DoP sample rates: DSD64 – DSD256 (Quad-DSD); DSD from SD cardDimensions (WxHxD): 6.2x2.2x5cm Price: £499, $749 US, Poly; £399, $549 US, Mojo

MANUFACTURER INFORMATIONChord ElectronicsTel: +44 (0)1622 721444URL: www.chordelectronics.co.uk

Chord Electronics Mojo+Poly



$500–$1499

Questyle is an engineering-driven firm led by the talented audio technologist Wang Fengshuo (whose anglicized name is Jason Wang). Thus far, Mr. Wang’s greatest single contribution to music arguably involves his evolutionary development and refinement of “current mode amplification” (as opposed to

the far more commonly seen “voltage mode amplification”)—a circuit topology that Questyle applies in personal-audio devices and other audio components both large and small. Many consider Questyle’s “Golden Stack” to be the finest all-around headphone amp/DAC system on the planet, which comes as no surprise in light of its stratospheric £10,096 price tag. But if the Golden Stack offers “ceilings unlimited” performance at a cost-no-object price it also forces us to ask what high-performance alternatives are available to serious music lovers with “earth-bound” budgets? Happily, Questyle has an answer in the form of its CMA600i headphone amp/preamp/DAC, which sells for the reasonable sum of $1299/£1199.

Given the huge price disparity between the Golden Stack and the CMA600i, you might assume the junior model had to drop features or cut corners, but that isn’t the case at all.

First, the CMA600i incorporates a full-featured DAC based on the excellent 32-bit AKM AK4490 DAC chipset supported by what Questyle terms “a unique 3X clock structure” plus a “newly developed switch capacitor filter ‘OSR Doubler’ that greatly reduces sound degradation from noise shaping, achieving a flat noise floor up to 200kHz.” In keeping with past Questyle design practice, the CMA600i DAC section not only handles PCM files at resolutions up to 384/32, but also can play DSD64/128/256 files via so-called “True DSD” decoding, meaning the Questyle does not require DoP (DSD over PCM) processing. The DAC provides an optical SPDIF input, a coaxial SPDIF input and output, and a USB Type-B input.

Second, the CMA600i headphone amplifier section uses Questyle’s patented fully balanced, Class A current-mode amplification circuit, patterned after the amp section of the firm’s flagship CMA800R headphone amplifier. The CMA600i headphone amp produces remarkably low distortion figures (<0.00034% distortion) while also offering a generous amount of power (220mW @ 300 ohms or 950mW @ 32 ohms in single-ended mode, and twice that or more in balanced mode). The headphone amp provides dual single-ended outputs (via two 6.35mm headphone jacks) and a balanced output (via a 4-pin XLR jack).

Finally, in a rarely seen design touch, the CMA600i incorporates two separate and independent amplifier sections—one designed to power your headphones and the other as a preamplifier circuit

to drive power amplifiers or self-powered loudspeakers.

How close is the CMA600i able to come to the sound quality of the Questyle’s upper-end models? In fact, it does an almost shockingly good job of channeling the sonic performance of the Golden Stack.

All the expected Questyle sonic virtues are present and accounted for. There is the firm’s even-handed tonal balance, effortless speed and definition, very high levels of transparency and detail, and above all a quality of ample but agile power on tap. The result is an amp/DAC that has an uncanny knack for elevating the performance of almost any headphone you might care to try.

For those of us whose fiscal ships have not yet come in, the reality is that the brilliant CMA600i amp/DAC offers perhaps 85-to-90% of Questyle’s flagship performance for about 1/10th the price—an equation that spells unbeatable musical value in any language. Chris Martens

SPECS & PRICINGType: Solid-state headphone amplifier/preamplifier/DAC Digital inputs: One TosLink (16-24/192), one coaxial SPDIF (16-24/192), one USB Type-B input (16-32/384 PCM, DSD64/128/256, DoP64/128)Digital output: One coaxial SPDIFAnalog input: One stereo (via RCA)Analog outputs: Two single-ended (6.35mm headphone); one balanced (via 4-pin XLR headphone); one single-ended (via RCA); one balanced (via XLR)Dimensions: 330mm x 55mm x 300mmWeight: 3.2kgPrice: $1299/£1199

Questyle Audio CMA600i



$500–$1499

Virtually everything the Scottish firm RHA makes is known for exceptionally high standards of fit, finish, and overall build quality. The Dacamp L1, an ambitious, portable high-resolution DAC and balanced output headphone amplifier, builds upon that tradition.

The outer case of the pocket-sized Dacamp L1 is made of aluminium formed through a combination of extrusion and machining processes and is finished in a soft satin grey colour. The edges of the case feature gentle curves that convey an upscale look and feel, while the exposed sides of the case are done in a soft-feel matt black.

On its rear panel, the Dacamp L1 sports a line in/optical in jack, an analogue line out jack, a USB A-type jack used for connections to iOS devices or as a charging output, a USB micro-B-type jack used as the digital input for most other types of sources and as a charging input, and a small slide switch with settings for iOS in/charging out, USB in/charging in, and to select the line in/optical in input jack. The front panel of the Dacamp L1 in turn features a 3.5mm mini-jack headphone output, a four-pin mini-XLR balanced headphone output, and a laterally positioned and partially recessed knurled thumbwheel that doubles as an on/off switch and as the unit’s volume control.

I fed the Dacamp L1 digital audio files sourced from an iDevice (an iPad Air), from an Android-powered Samsung smartphone, and from a Windows/Lenovo/JRiver-based media server. In turn, I listed through a range of earphones, CIEMs, and full-size headphones.

In almost all cases, the Dacamp L1 serves up a notably clean, clear, and muscular sound that gives the impression one is listening through a device with much higher output specifications than the RHA unit in fact claims. I listened to a selection of tracks from bassist extraordinaire Tony Levin fed through the Pandora app running on my iPad. The RHA DAC/amp synced up effortlessly with the iPad and handled decoding tasks so masterfully that it struck me I had never heard such superb sound quality from Pandora-sourced materials before. The Dacamp L1 drove the moderately sensitive (97dB) MrSpeakers planar magnetic ÆON headphones with delicacy and authority.

Levin’s punchy and articulate bass sounded terrific. Having recently heard the MrSpeakers ÆONs powered by larger, more expensive amp/DAC combos, I was floored that the Dacamp L1 emerged at times as an outperformer.

My only critique of the amplifier section: for very high sensitivity CIEMs such as my Noble Katanas, it has a bit too much gain for its own good. The line between ‘just barely playing at all’ and ‘playing way too loudly’ is a fine one indeed.

The DAC section of the Dacamp L1 performed flawlessly though my tests, syncing with my iPad, Android/Galaxy smartphone, and with my Windows-based music server, gracefully shifting back and forth between standard and high-res PCM and DSD files. At all times, the Dacamp L1 delivers pristine clarity and the sort of low-level sonic detail that is only possible with devices that have very low noise floors. Down low, listeners enjoy superb pitch definition while up high they are treated to soaring high harmonics that sound ineffably right. In the middle, human and instrumental voices show unforced transparency and expressiveness.

A good example is the ethereal track ‘Hey Now’ from London Grammar’s If You Wait [Sony Legacy, 16/44.1] as played through RHA’s remarkable CL1 Ceramic earphones. The CL1 Ceramics are not easy to

drive, but the Dacamp L1 really made them sing, neatly revealing the pinpoint precision of Dan Rothman’s guitar work, the atmospheric vibe of Dominic ‘Dot’ Major’s meditative keyboards, and the lofty, upward-reaching beauty of Hannah Reid’s vocals. The listening experience became deeply moving and inspired a quiet sense of reverence.

RHA has another winner on its hands with the Dacamp L1—one that upholds the RHA tradition of offering products that provide superb build quality, useful features, terrific sound quality, and value. Chris Martens

TECHNICAL SPECIFICATIONSInputs: Stereo analogue line in (via 3.5mm mini-jack), USB A input, USB micro-B input, Mini-Toslink optical input.Outputs: One single-ended analogue line out (via 3.5mm mini-jack), one single-ended headphone output (via 3.5mm mini-jack), and one balanced headphone output (via 4-pin mini XLR jack).DAC complement: Two ESS ES9018K2M DACs Supported formats: PCM files at 44.1kHz–384kHz with bit depths of 16, 24, or 32 bits DSD files at 2.8224MHx (DSD64), 5.6448MHz (DSD128), or 11.2896MHz (DSD 256).Device drivers: Dacamp L1 can run PC environments with installation of an RHA-supplied device driver.Mac OS, iOS iPhone/iPad and Android environments: no drivers are required. Battery: 4000mAh lithium ionFrequency Response: 10Hz–100kHzOutput impedance: 2.2 ohmsPower Output: 300 ohms, 28mW 16 ohms, 300mWAccessories: Two sets of RHA-branded silicone bands (for attaching the Dacamp L1 to a smartphone, etc.), one cleaning cloth that doubles as an anti-abrasion pad to keep the Dacamp L1 from chafing against an adjacent smartphone, one USB A-to-USB micro-B-to-USB micro-B (OTG) cable. Dimensions (H×W×D): 20 × 118 × 72mmWeight: 233gPrice: Formerly £399, $549 US; now £299, $299 US

MANUFACTURER INFORMATIONRHA AudioTel: +44 (0) 141 221 8506URL: www.rha.co.uk

RHA Dacamp L1



HIGH END: $1500–$2999

The Ayre Codex headphone amp/DAC combines several key technological developments put in place to make a high-performance portable player with a balanced headphone output—the kind of high quality home audio designs Ayre knows so well. The Codex is said to be first in a long line of products

in a new minimalist desktop line. Ayre’s small, desktop Codex combines a DAC with asynchronous

USB and Toslink digital inputs, plus an amp supporting both balanced and single-ended headphone and line-level outputs. It can support signals up to 24bit/384kHz or DSD 128 on USB and 24bit/192kHz through Toslink. There is no line-level input, so it technically can’t be considered a ‘headphone preamplifier’. This means there are both a pair of RCA and XLR output sockets on the rear panel and two 3.5mm and one 6.35mm TRS jack on the front. The 3.5mm jack sockets can be used as a conventional stereo output for headphones or as individual channels in balanced operation. Controls are limited to the two-in-one dial on the front panel and a power switch by the IEC power inlet. Display options are limited to a simple red alphanumeric panel at the top of the player and a single red LED to denote balanced operation.

Pressing and holding the volume control for a few seconds calls up a series of instructions. Ayre calls this its menu tree, but limited display options are available. Nevertheless, you can change inputs, adjust the output mode (headphone or audio system output), alter the display brightness, or display the firmware version. The 3.5mm jacks have auto-sensing: if only one headphone jack is inserted, the Codex defaults to standard single-ended stereo mode. If a second is inserted, the Codex ‘asks’ if there are two headphones sharing the same input or balanced left and right-channel connections from a single headphone.

Through all its products, Ayre deploys a ‘Four Treasures’ approach to design: devices must be zero feedback, fully complementary, fully balanced, and built with a high-quality power supply.

The interesting part of the Codex performance, from the perspective of someone who knows their way around the Ayre sound, is that it doesn’t sound similar to models like the discontinued QB-9 at all. Tonally, the Codex is warm, rich, and inviting sounding at the treble, where the traditional Ayre Sound is considered clean and bright in the top end. However, what they both share is a fluid, transparent, and extremely dynamic midrange, and a stentorian, deep bass. This can be clearly heard on “Pretty Pimpin’’ by Kurt Vile [B’lieve I’m Goin Down, Matador], with Vile’s delicate tenor/countertenor voice and simple guitar parts underpinned by a thumping bass line. Although less compressed than other tracks on the album, this is a recording that doesn’t benefit from lots of stark high-frequency detail, and that makes it sound sonorous and beautiful through the Codex. However, the track also needs a lot of mid-band fidelity and articulation, and it’s here the Codex does wonders.

But perhaps the most attractive part of the Codex is its inviting sound—rich, but not too rich, having that harmonic structure and tonal insight that people crave from good audio. It is never tonally ‘heavy set’ or ‘thick’ across the midrange but instead possessed of the kind of tone that makes many good DACs seem a little ‘lean’.

The Ayre Codex is an important product for the brand. It’s the first Ayre-branded headphone design and the first in potentially a new line of lower-cost desktop audio components. It’s now Ayre’s entry level digital

source component and something of a gateway into the brand’s products for many prospective newcomers. While it may be warmer-sounding than Ayre ‘proper’, it’s an incredibly inviting and easy-to-like sound. Whether this is your first venture into top-notch audio, your first Ayre product, or the first line in your desktop audio chain, the Codex does it all so well it’s hard not to love it. Alan Sircom

TECHNICAL SPECIFICATIONSAyre CodexType: DAC with headphone amplifierInputs: USB and Optical (Toslink) Headphone outputs: Two 3.5mm mini-phone jacks. One ¼” phone jack.3.5mm mini-phone jacks configurable to balanced mode.USB features: Asynchronous transfer mode for USB input. DSD or PCM input over USB. Formats supported (USB): PCM 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz, 352.8kHz, 384kHz (up to 24 bits), DSD64, DSD128.Formats supported (Toslink): PCM 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz (up to 24 bits)Filter: Minimum phase digital filter: single-pass 16x oversampling. Output Level (Headphone or Preamp Mode): 7.0 volts balanced, 3.5 volts single-endedOutput Level DAC Mode: 4.0 volts balanced, 2.0 volts single-endedDimensions (W×D×H): 25.5 × 23 × 13.7cmWeight: 1.4 kgPrice: £1695, $1995 US

MANUFACTURER INFORMATIONAyre AcousticsURL: www.ayre.com

UK DISTRIBUTORSymmetryTel: +44 (0) 1727 865488URL: www.symmetry-systems.co.uk

Ayre Codex



HIGH END: $1500–$2999

When Chord Electronics released the first-generation Hugo headphone amp/DAC in 2014 it started a revolution in more ways than one. First, the Hugo proved that a headphone amp the size of a paperback novel could not only compete with but also potentially surpass the

performance of full-sized desktop or rack-mount components. Second, the Hugo introduced many audiophiles to a whole new way of thinking about DACs and the digital filters used in them. Even though the Hugo was relatively expensive it became a huge commercial success. Now, Chord is back with a better and even more capable new Hugo 2.

What’s different and better about the Hugo 2 vis-à-vis the original Hugo? Just about everything.

On the amplifier side of the equation, Chord sought to give the Hugo 2 more power, lower distortion, and a reduced noise floor. Accordingly, the Hugo 2 puts out 1050mW at 8 ohms (up from 720mW at 8 ohms in the original Hugo), distortion rated at 0.0001% at 1kHz/3V (down from 0.0005% in the Hugo), and a 126dB signal-to-noise ratio with “no measurable noise floor modulation” (an improvement on the 120dB dynamic range of the Hugo). Chord says the Hugo 2 amplifier features a full Class A “discrete OP stage integrated into the DAC output amplifier and filter” that is “capable of 5V RMS and peak output currents of 0.5A.” The Hugo 2 analog amplifier section also features second-order noise-shapers said to “reduce distortion with load(s).”

In turn, Chord has dramatically increased the capabilities and all-around sophistication of the Hugo 2 DAC section relative to the original Hugo. The first-gen Hugo’s DAC was a four-element pulse-array design with a digital filter offering about 26,000 filter taps; in comparison, the Hugo 2 DAC is a ten-element pulse-array design whose digital filter offers a stonking 49,152 filter taps. Chord claims that “pulse-array DACs have innately very low levels of noise floor modulation.”

Apart from eliminating noise wherever possible, the real secret to the Hugo 2’s sound lies in its very sophisticated WTA (Watts transient alignment) filter system. In the Hugo 2, the filter system is implemented via a powerful, custom-coded Xilinx Artix 7 FPGA (field programmable gate array) device, which uses the equivalent of “45 208Mhz DSP cores in parallel to create the WTA filters.” The Hugo 2 offers four user-selectable, color-coded filter options: an incisive neutral “ultimate reference” filter (white), an incisive neutral filter with HF roll-off (green), a warm filter (orange), and a warm filter with HF roll-off (red). Thus, users can fine-tune filter settings on the fly to obtain to the best sound quality possible with the recordings at hand. Finally, the Hugo 2 provides an adjustable/defeatable crossfeed circuit designed to make headphone/earphone soundstaging sound more like the presentation heard from high-quality speaker-based systems.

When used as a stand-alone DAC, the Hugo 2’s defining sonic characteristics involved neutral but also naturally warm and organic-sounding voicing, exceptional resolution of low-level transient and textural detail in the music, truly striking three-dimensionality, and extremely quiet backgrounds.

When I used the Hugo 2 in my speaker-centric hi-fi system, I found its sound different from but also very much competitive with that of my PS Audio DirectStream DAC, which is saying a mouthful (the $6000 DirectStream DAC itself has a reputation for terrific performance for the

money). The DirectStream DAC enjoyed an edge in terms of definition, focus, and incisiveness. In contrast, the Hugo 2 offered a more holistic and organic-sounding presentation, equal if not slightly superior amounts of low-level detail, and a noticeable edge in three-dimensionality.

When used as a transportable headphone amp/DAC, the Hugo 2’s sonic character is much the same as when it is used as a stand-alone DAC, but with the added benefit that top-shelf headphones make the Chord’s low-level details and three-dimensionality even more apparent.

I found the Hugo 2 more than quiet enough to use with high-sensitivity earphones, yet powerful enough to drive all but the most demanding full-sized headphones.

If I sound deeply impressed by the Chord Hugo 2, that’s because I am. At this time I can’t think of any other transportable headphone amp/DAC that can compete with the Hugo 2. Granted, the Hugo 2 is not inexpensive, but it performs at such a high level as a headphone amplifier and especially as a DAC that it deserves your careful consideration and our strongest recommendation. Chris Martens

SPECS & PRICINGType: High-resolution portable headphone amplifier/DACDigital inputs: MicroUSB (PCM up to 32/768, native DSD from DSD64 to DSD512), coaxial SPDIF via 3.5mm combo jack (32/768), optical via 3.5mm combo jack (24/192), TosLink (24/192), Bluetooth (Apt X implementation, 16/44.1/48)Analog outputs: One 3.5mm headphone jack, one 6.35mm headphone jack, one stereo analog output via RCA jacks Power output @ 1kHz, 1%THD: 300 ohms, 94mW; 32 ohms, 740mW; 8 ohms, 1050mWOutput impedance: 0.025 ohmsDimensions: 100mm × 21mm × 131mmWeight: 450gPrice: $2379/£1800

Chord Electronics Hugo 2



HIGH END: $1500–$2999

In the vacuum tube audio world, perhaps the most rarefied air is reserved for OTL or ‘output transformerless’) designs. As the name suggests, an OTL design directly couples the output from the tubes/valves to the transducer, avoiding the need for a transformer.

The problem for most OTL designs is that the high output impedance of valves is not a good match for the low impedance of most loudspeakers. This meant banks of valves were required to drive most loudspeakers, and that meant lots of heat, and lots and lots of tube replacements. All of which makes the Feliks Audio Euforia (made in Lubliniec, Poland) so remarkable.

The amplifier is a single-ended OTL design using two new old stock 6N13S/6AS7G power and a choice of 6SN7 driver tube pairs. These are fed by a custom-made toroidal power transformer. The circuit features solid-state ripple suppression and rectification, while all the internal wiring is hand-soldered Teflon-coated pure silver cable. The component roll-out is similarly high-spec, with a quality Alps volume pot, and Mundorfs and Nichicons under the hood.

The Euforia is small, light, and mostly basic in operation, and very well made. The ‘mostly basic’ nature of the amplifier means there is but one stereo RCA input, and a matching line output. There is a power switch next to the inlet on the rear, a central volume control, an indicator light, and a ¼” headphone jack on the front.

The one exception to its basic specification is a rear switch. This is a ‘Cross-Feed’ circuit, which deliberately injects a small amount of low-frequency crosstalk into the two channels. This sounds contra-clever, but it seems to draw images out from their ‘lateralised’ position inside the front of the listener’s head.

Although the Euforia comes on song inside of 15 minutes, the valves need a good 30-50 hours of playing to settle in. Those 50 hours pass slowly, because the Euforia gives you glimpses of what it will soon offer, coupled with a sense of veiling and dynamic limitation as the valves grow accustomed to their task in life. Then, you are presented with exactly the sound you heard when you heard good audio for the first time. It’s an ear-opening experience, with effortless dynamics; precise sounds within a focused stereo sound stage; detailed, extended

treble; deep, powerful bass; and exceptional ‘disappearing’ clarity to the midrange. Vocals stand out for being just right sounding and exceptionally articulate.

A good OTL design makes your transducers sound like they are direct-coupled to the music, and that is precisely what the Feliks Audio Euforia does to your headphones. For some, I can see that being too much of a good thing; they will want an amplifier with more guts, more drive, more volume, and more distortion. OK, at the limits, it goes for refinement rather than edginess, and this might not be my first choice for thrashing out old Guided By Voices albums. On the other hand, the sound of the system with the Euforia in place is so sophisticated and dynamic, I might not want to put those old GBV albums on the playlist; it won’t make ‘Hardcore UFOs’ from Bee Thousand [Scat] sound awful, but the lo-fi quality of the album is not enhanced by being played with refinement. And that’s what the Euforia does so well—make music sound refined.

I loved my time with the Feliks Audio Euforia. It’s not just a neutral performer with a quiet background; it’s nice to listen through. It’s not a top choice for those who want their music raucous and edgy or who want more than one input. As a solid, no-nonsense headphone amplifier that sounds wonderful and just happens to sport a few valves, it’s hard to think of better at the price, or even double. Music sounds honest through this amplifier. Even when that music is sharp-edged, the Euforia does its best to make that sound good. Alan Sircom

TECHNICAL SPECIFICATIONSInput Impedance: 100 kOhmsFrequency response: 8 Hz–75 kHz +/- 3 dB (300 ohms)Power output: 250mWTHD: 0.4 % (300 ohms, 20mW)Supported headphones impedance: 32–600 ohms including planar magneticsPrice: €1999 (including Premium PsVane CV-181 Mk2 “Gold” driver tubes)

MANUFACTURER INFORMATIONFeliks AudioURL: feliksaudio.pl

Feliks Audio Euforia Mk II



HIGH END: $1500–$2999

At a recent personal audio show an industry colleague told me he was considering purchasing a Pro iCAN. “I’ve searched all over the personal audio market space and I haven’t found any amp that offers the sound quality or versatility that the Pro iCAN does,” he said. “Have you found anything that tops it for

a around the same amount of money?” After scratching my head for a moment I had to admit my colleague was right. iFi’s Pro iCAN is that rare product that combines exceptionally high baseline performance plus an expansive set of useful features and functions unmatched at or even well above its price class.

The Pro iCAN is a powerful yet also quiet balanced headphone amplifier/preamp. Significantly, it offers three operating modes, each with separate circuit paths: Solid-State, employing a Class A discrete J-FET circuit; Tube, employing a Class A valve-powered circuit with moderate negative feedback; or Tube+, employing the same Tube circuit, but with feedback reduced “to a minimum.” Users can switch between modes on the fly to choose the mode(s) best suited toone’s headphones, earphones, or listening tastes. Pro iCAN also provides switch selectable gain settings of 0dB, 9dB, and 18dB.

The Pro iCAN incorporates sophisticated versions of two proprietary iFi circuits: namely, the firm’s XBass Bass Correction System and 3D Holographic System, both of which are switch selectable. The XBass Bass Correction System aims to compensate for low-frequency deficiencies found in some headphones and many loudspeakers, and can apply a maximum of 12dB of bass boost at 10Hz, 20Hz, or 40Hz. The 3D Holographic system addresses spatial aspects of playback with two ASP (Analogue Signal Processing) circuits—one for headphone listening the other for loudspeaker listening. iFi says the 3D Holographic System is neither a traditional “cross-feed” system nor a DSP-driven system that adds artificial reverb. Rather, the system aims to provide “out of head” sound source placement for headphone listeners while rendering “the whole 3D sound field in a manner that strongly parallels listening to loudspeakers in a normal room, all achieved without added reverb.”

I tried both systems at some length and found them admirably subtle and restrained in their effects and useful when applied in appropriate contexts. With that said, however, I left the circuits switched off for most of my headphone listening to better appreciate the rich, pure, and unprocessed sound of the Pro iCAN.

As you might expect, the sonic character of the Pro iCAN is determined by the operating mode chosen. As a rule, the Solid-State mode yields the most taut presentation with excellent linearity (that is, neutral tonal balance), quick and lively transient response, and crisp, sharp focus. Switching to the Tube mode gives similar linearity with a very slightly more softly focused sound, but with more vividly rendered tonal colours, superior harmonic richness, and even more expressive dynamics. Finally, the Tube+ setting is a bit like listening to the Tube mode on steroids, meaning that, on the right track and with the right headphones, the Tube+ setting can be positively enchanting.

One such combination revealed itself when I used the Pro iCAN with Tube+ mode engaged to play the title track of Mary Chapin Carpenter’s Come On Come On [SBME Special Markets, 16/44.1] through the ultra-revealing Focal Utopia headphones. The Utopia is one of those headphones some might accuse of being too accurate for its own

good, but on the track referenced the Pro iCAN helped draw forth the Focal’s more magical side. Chapin’s voice sounded downright luminous and seemed to float gracefully upon the air, while the backing instruments—most notably the piano and bass—sounded achingly beautiful with rich, deeply saturated tonal colours and expansive harmonics that made them sound almost breathtakingly realistic.

In sum, the Pro iCAN is a versatile, powerful, and accomplished headphone amp/preamp that is ready to serve as the centrepiece of a very high-performance personal audio system. Chris Martens

TECHNICAL SPECIFICATIONSType: Fully balanced hybrid solid-state/valve-powered headphone amplifier/preamplifierValve Complement: Two NOS GE5670 valvesInputs: Three stereo single-ended (via RCA jacks), one stereo balanced (via dual 3-pin XLR jacks)Outputs: Preamplifier/DAC: One stereo single-ended (via RCA jacks), one stereo balanced (via dual 3-pin XLR connectors)Headphone: Three stereo single-end headphone output jacks (two via 6.35mm headphone jacks, one via 3.5mm mini headphone jack); three stereo balanced headphone output jacks (one via 4-pin XLR headphone jack, one via dual 3-pin XLR headphone jacks, one via 3.5mm balanced—TRRS type—headphone jack)Distortion (THD): Solid-State: <0.0004% balanced/<0.004% single-endedTube: <0.0005% balanced/<0.005% single-endedTube+: <0.1% balanced/<0.01% single-endedSignal-to-Noise Ratio: >147dB (A) balanced/>137dB (A) single-endedPower Output @ 16 ohms: >14,000mW balanced, >4,800mW single-endedAccessories: Remote control, interconnect cables, power cord adapterDimensions (H×W×D): 63.3 × 192.5 × 213mmWeight: Not specifiedPrice: £1,695 UK; $1,799 US

MANUFACTURER INFORMATIONiFi AudioURL: www.ifi-audio.com

iFi Audio Pro iCAN



HIGH END: $1500–$2999

Prism Sound has crossed the audio Rubicon with its first domestic product, the Callia DAC with built-in headphone amplifier and preamp.

Essentially Callia uses the form factor and some of the ergonomics of Prism’s Lyra USB interface; in the process it

gains domestic inputs and outputs but loses an A/D converter. Callia also supports RCA and Toslink S/PDIF; the RCA input can be used in a professional capacity as it supports AES3-ID. The Audio Class 2.0 USB input supports DSD over DoP to DSD128, and PCM to 32-bit word lengths and 384kHz sampling rates. S/PDIF supports PCM up to 24-bit word lengths, with multiples of 44.1kHz and 48kHz sampling rates up to 192kHz, and DSD64 within a DoP frame.

In terms of technology, Prism goes with an ARM Cortex digital processor but relies heavily on Prism Sound’s own circuit architecture and reclocking stages. The last, named CleverClox, is a hybrid phase-locked loop acting as clock recovery taken from either local or S/PDIF input. This gives a ±50ppm local clock accuracy and a greater than 60dB/decade above 100Hz jitter rejection.

Although the Callia is a fully digital preamp with no analogue inputs, it has both single-ended RCA and balanced XLR stereo outputs. These are variable output and controlled from the larger of the two front panel knobs. This can also be set to fixed output on the four-switch DIP panel on the rear of the Callia. This is more of a desktop digital ‘hub’ than direct replacement to an existing preamplifier, in part because of the absence of a remote option.

Prism Sound went for a high-current, low-impedance headphone amp, with a series of rear mounted DIP switches to match the impedance of your headphones. The options are relatively limited here—less than 32 ohms, 32–50 ohms, or greater than 50 ohms. Three of the four positions on the DIP switch panel mute the main output when a pair of headphones are connected, although one option allows both to play simultaneously, each with its own volume control. This DIP panel also supports legacy and current settings for DSD headroom (or line-up level) for all outputs.

The Prism Sound arrives in a well-made black with blue contrast clamshell box. Inside is stiff black foam insert with cut-outs for the Callia, a chunky USB and power cord, a printed quick-start guide, and a neat aluminium screw-top USB stick that contains the PDF of the full manual and the requisite drivers for Windows computers. The quick-start guide is relatively basic but will get you up and running. The PDF manual is comprehensive, not only in terms of installation and setup, but in specifications and the explanations behind those specifications.

This DAC gives an insight into the recording itself. You will hear into the mix, discovering the precision of panning, the amount of reverb, the position of microphones. Any limitations have more to do with the precision of the source and quality of loudspeakers than the DAC itself.

Callia is exceptionally detailed, with extremely precise leading edges. Listening to the difference between Ringo Starr’s playing on ‘All My Loving’ [With the Beatles, Parlophone 2009 Mono remaster] and Meg White playing ‘Seven Nation Army’ [Elephant, XL] is extremely easy to follow through the Callia—both have an ability to ‘occupy’ the record, but where Starr’s seemingly-effortless ‘windscreen wiper’ hi-hat is swampy and unique, White’s sloppy pounding away at the drum kit is easy to spot.

The headphone amplifier stage is very well ‘sorted’ too. You do need to take some time to experiment with the DIP switch block to get the best from the Callia.

There’s a lot to like here. The Prism Sound Callia is one of the most honest DACs you’ll hear. It’s an outstanding and powerful headphone amplifier, too, even if its lack of line level inputs, balance adjustment, and remote control probably limit its real-world practicality as a domestic preamplifier. Alan Sircom

TECHNICAL SPECIFICATIONSType: Digital to analogue converter with preamp and headphone amplifier functionsInputs: Coaxial RCA and Toslink S/PDIF inputs (AES3-ID on coaxial input), Class 2.0 Audio USB type B inputOutputs: ¼” TRS headphone jack (on front), RCA pseudo-balanced or XLR balanced stereo outputs (on rear), fixed or variableInput selection: Auto or manual w/LED indication in both casesPCM word length: 16bit–32bitSampling frequencies: 44.1-192kHz (384kHz supported through USB, but fed through decimation filter)DSD precision: DSD64 through S/PDIF, DSD128 through USB (DSD128 also fed through decimation filter)Headphone impedance ranges: < 32Ω, 32Ω-50Ω, >50ΩTHD+N: 0.0005%, -0.1dBFSDynamic range: 115dB (line), 113dB (headphone), -60dBFSLocal clock accuracy: ±50ppmJitter rejection: 60dB/decade above 100dBDimensions (W×H×D): 28.5 × 5 × 24.2cmWeight: 2.1kgPrice: £1795, $2750 US

MANUFACTURER INFORMATIONPrism Media Products LtdTel: +44 (0) 1353 648888bvURL: www.prismsound.com

Prism Sound Callia



HIGH END: $1500–$2999

Schiit Audio is the brainchild of two high-end audio veterans: Jason Stoddard, former design chief of Sumo Electronics, and Mike Moffat, founder of Theta Digital. As you might expect from their company’s unorthodox name (which is pronounced exactly the way you might think), both men share a cheeky,

iconoclastic sense of humor. Stoddard and Moffat are no-nonsense engineers who believe that

offering great value for money is not just a smart idea but also the right thing to do. As a result, Schiit Audio components tend to evince a certain purposeful, “beauty is as beauty does” vibe that many will find refreshing in a world overly full of hype and unfulfilled promises.

All of which brings us to the subject of this review: Schiit Audio’s Ragnarok fully balanced headphone/integrated amplifier. What’s up with the name? Schiit explains that “in Norse mythology, Ragnarok is the end of the world,” which by extension means that the Ragnarok aims to be “the living end” in top-tier headphone/integrated amplifier performance.

Ragnarok is not only a fully balanced high-end headphone amplifier; it is also a versatile “amp for all seasons” that can serve as a preamplifier or as a sophisticated integrated amplifier capable of delivering an impressive 100Wpc at 4 ohms into loudspeaker loads.

Obviously the Ragnarok is among the most powerful headphone amplifiers on the planet, but Schiit Audio claims that it is also quiet and refined enough for use with very sensitive CIEMs (custom-fit in-

ear monitors). Needless to say, it is muscular enough to drive any dynamic-type headphone we have ever encountered—and also many loudspeakers—with abundant headroom to spare.

Technical highlights of the Ragnarok’s circuit include its distinctive, direct-coupled, “Crossfet” Circlotron-style circuit topology, complete with microprocessor controls for operating parameters such as quiescent bias and DC offset. Ragnarok incorporates a 64-level, relay-switched, stepped attenuator volume control, and three, user-selectable levels of amplifier gain.

Sonically, Ragnarok has neutral voicing, an extremely low perceived noise floor, plus what appear to be essentially limitless reservoirs of resolution and inner detail. At its lowest gain setting, it proved to be extremely quiet, authoritative, and yet full of subtlety and nuance, delivering what was hands-down the best sound that I have ever heard from my reference Noble 4S CIEMs. At higher gain settings the Ragnarok offers what can only be called “bottomless pit” levels of power coupled, once again, with extraordinary sonic subtlety and nuance, making it much easier to grasp the relative strengths and sonic merits of any headphone.

Rarely have I been as favorably impressed by a headphone amplifier as I have been by the Ragnarok. It offers performance at or near the best levels possible, regardless of price. For that reason alone, the Ragnarok deserves the heartiest of recommendations. Chris Martens

SPECS & PRICINGType: Headphone amp/preamp/integrated amp Inputs: 3x single-ended pr. stereo analog RCA; 2x pr./ balanced stereo analog XLR Outputs: 1x single-ended 6.35mm TRS headphone, 1x balanced 4-pin XLR headphone, 1x pr single-ended RCA, 1x pr balanced XLR Power output: 4 ohms: 100Wpc RMS, 8 ohms: 60Wpc RMS, 32 ohms: 15Wpc RMS, 50 ohms: 10Wpc RMS, 300 ohms: 1.7Wpc RMS, 600 ohms: 850mWpc RMSDimensions: 40.6cm × 9.53cm × 30.5cmWeight: 14.52kgPrice: $1699/£1580

Schiit Audio Ragnarok

The Ragnarok offers performance at or near the best levels possible, regardless of price.



When I think of Pass Labs electronics, the last word that crosses my mind is “little.” Nelson Pass and his team think big, literally, as their line of Class A and high-power Class AB amplifiers attests. Even their INT-250 integrated amplifier—a component in a supposedly modest, smaller-

footprint category—tipped the scales northward of a hundred pounds. But that’s not to say that Pass Labs can’t think small or isn’t paying attention to trends, such as the surge in popularity of personal audio. The HPA-1 headphone amplifier is not only proof that the company is paying attention but also that it is strongly committed to competing at the highest levels in the headphone arena.

The HPA-1 is an all-analog amp that marks Pass Labs’ rookie effort in the headphone market. Outwardly, its brushed aluminum cosmetics are tasteful and bear a strong resemblance to Pass Labs’ stocky, full-sized components. The front panel is dominated by the single quarter-inch headphone jack and a large volume control (a potentiometer sourced from Alps with excellent tracking and a good feel). Tiny blue LEDs indicate which source has been selected or whether the signal is being directed to an outboard amplifier or powered loudspeaker. The HPA-1’s aluminum plate casework is classic Pass in that it’s built like a vault, albeit one the size of a cigar humidor. There are two unbalanced RCA source inputs and a set of preamp outs, also unbalanced.

Did someone just say preamp outputs? Yep. Lest you think that you’re stuck with just a fancy, desktop-dedicated, headphone amp, the HPA-1 is also a very capable dual-source line preamp that can be conscripted for general system duty as well. Of course, its feature set is minimalist, with two single-ended inputs and no remote control, but for many end users it offers all the flexibility needed.

Internally, the HPA-1 is designed more like a power amp than a headphone amp. The Pass team specified high bias to keep the transistors in Class A operation, and the circuit is capable of handling large voltage swings. (Pass amps always sound as if there are a couple of output tubes hidden away deep in the chassis, although there aren’t.) The low-feedback, wideband discrete design employs a JFET input stage and a direct-coupled MOSFET output stage.

Critical to its mission, the HPA-1 covers a wide range of headphone impedances—from 15–600 ohms. Why no internal DAC or at least the

option to add one? The answer lies in Pass’ philosophy to design amplifiers that stand the test of time—perhaps twenty years or more. DACs, on the other hand, continue to be a fickle segment, formats changing with the wind. Many will likely be obsolete or unsupported in five years or sooner. Maintaining this separation is a valid argument in my view.

In recent years I’ve reviewed two Pass integrated amps—the INT-150 (TAS 184) and its cousin the INT-250 (TAS 263). The HPA-1 sets the sonic table in ways remarkably similar to these amps. As a result, the trio of headphones I had on hand performed in much the same way that loudspeakers do when pushed by Pass’ big amps. Backgrounds were the personification of stillness, like staring into a bottomless pool of black water. Low-level symphonic dynamics were conveyed to the ear with an electric sense of surprise, as they emerged from the cushy stillness that the HPA-1 created. The amp delivered music with a distortion-free relaxation—a combination of midrange warmth and romanticism—that, coupled with its open soundstaging and airy presence, largely ameliorated the bothersome headphone-borne sense of confinement, as music converged between the ears rather than from a soundspace in front of your eyes. Long story short, I’ve never felt as relaxed and comfortable listening to headphones as I was with the HPA-1.

Pass Labs may have been late to the personal listening party, but the HPA-1 was more than worth the wait. Taken as a dedicated headphone amp or as a minimalist preamp-in-a-pinch, it offers performance at or near the head of its class. Neil Gader

SPECS & PRICINGInputs: Two single-ended RCA Outputs: One single-ended RCA (line), one ¼” TRS jack Input impedance: 50k ohms Gain: 8dB Power: 3500mW into 20 ohms (200mW into 300 ohms) Dimensions: 11” × 4” × 13.5” Weight: 14 lbsPrice: $3500/£3500

Pass Labs HPA-1EXOTICA: $3000 AND UP



Cayin HA-300

Founded in 1993, Cayin is a performance minded audio manufacturer from China whose reputation was initially built on building affordable, high performance tube amplification components. While the firm has since branched out to build many

solid-state products, including portable headphone amps, amp/DACs, digital audio players, DACs, and more, Cayin’s commitment to tube-powered amplification runs deep. When it came time to launch a statement class headphone amplifier, then, Cayin chose a class A, single-ended triode design whose roots go back over 20 years.

Cayin’s HA-300 ($4,000) is a beautifully made, two-chassis, tube-powered headphone amplifier. The amplifier relies upon a pair of 6SN7 driver tubes feeding 300B output tubes, which are legendary in audiophile circles; the 300B’s in turn drive a pair of proprietary Cayin-manufactured output transformers, which support both single-ended and balanced headphone outputs. These special output transformers provide, says Cayin, “three sets of impedance matched outputs for a very wide range of headphone impedance loading.” Moreover, the HA-300 is capable of serving as an 8Wpc stereo integrated amplifier suitable for driving high sensitivity loudspeakers.

The larger HA-300 chassis houses the main amplifier, while the smaller chassis houses the power supply; a

beefy ‘umbilical cable’ connects one to the other. Even the outboard power supply is tube-driven, with four NOS RCA 22DE4 rectifier tubes each feeding independent regulators for different gain stages within the voltage amplifier circuit. Completing the picture is a massive custom-made toroidal power transformer.

Let me come right out and say it: The HA-300 is drop dead gorgeous. Both chassis feature nearly 0.5-inch thick milled aluminum faceplates with inset gold Cayin logos, while the chassis enclosures and transformer housings are done in a lustrous metallic grey lacquer finish. Capping the tops of the transformers are thick milled aluminum cover plates engraved with Cayin logos, while the tube sections of both the amplifier and the power supply come with handsome, removable, black wire-frame tube cages. The real magic of the HA-300, however, has far more to do with its sound than its looks.

I listened to the HA-300 with three of the finest planar magnetic headphones I had one hand: the HiFiMAN Susvara, the Final D8000, and the Abyss AB-1266 Phi edition. The HA-300 proved to have enough output to do justice to all three top-tier headphones, even the extremely difficult-to-drive Susvara.

Through each of these headphones, the HA-300 delivered a big, highly expressive, and dynamically robust





SummarySonic character: Fundamentally neutral, but subtly shaded toward organic warmth and harmonic richness.




(All ratings are relative to comparably priced amplifiers)



Prosll The sound: powerful, revealing, nuanced, and musical.ll Impeccable build quality plus handsome good looks.ll A ‘statement-class’ amplifier at a reasonable price, given

the quality on offer.

Consll No remote control.ll Weight: Be careful when moving this two-chassis beast.

sound—one that in every case produced broad, deep soundstages with wonderfully precise placement of individual sounds within those stages. Stated simply, the HA-300 vividly shows exactly how individual instruments and voices sound, but also shows from whence those sounds are coming.

The amp delivers a slightly warmer than neutral sound coupled with excellent transient speeds, terrific dynamic agility, and disarmingly great rendition of low-level details in the music. In fact, on several occasions transient sounds seemed so real and convincing that I pulled the headphones from my head to look for the sound sources, only to realize with chagrin, “Oh, that sound was actually in the recording—not outside in my listening room.” Listen to Melody Gardot’s infectious laughter at the very end of “Who Will Comfort Me” from Worrisome Heart [Verve, 16/44.1] to hear what I mean.

The Cayin’s sound is much different from the almost hyper-focused, hyper-controlled, and hyper-analytical sound of some of today’s better solid-state amps. Instead, through the HA-300, the music breathes naturally and sounds harmonically rich and full of delicate, unforced details, but with an uncanny quality of being “illuminated” from within (a hallmark of fine 300B designs). This quality, for example, beautifully underscored the emotive power of Joan Armatrading’s voice on “Merchant of Love” from What’s Inside [Savoy Jazz, 16/44.1].

Cayin’s HA-300 is a wonderful, top-tier headphone amplifier that not only offers compelling technical strengths, but—more importantly—offers musical ones that constantly show how vital and alive recorded music truly can be. Chris Martens

TECHNICAL SPECIFICATIONSType: High performance, tube powered, balanced headphone amplifier/integrated amplifierTube complement: Power supply: four NOS RCA 22DE4 rectifier tubes Amplifier: Two 6SN7 driver tubes, two 300B power tubesInputs: One stereo single-ended analogue input (via RCA jacks), one stereo balanced input (via XLR jacks).Outputs: Integrated amplifier: One stereo set of loudspeaker binding posts Headphone amplifier: One balanced stereo headphone output via a 4-pin XLR jack, one single-ended stereo headphone output via a 6.35mm headphone jackControls: Speakers/headphones output switch, XLR/RCA input switch, L/M/H headphone impedance switch, STD (single-ended)/BAL headphone output switch, illuminated on/off switch, illuminated L/R VU meters, stepped volume controlFrequency response: Integrated amplifier: 10Hz–60kHz ± 3dB Headphone amplifier: 10Hz–50kHz ± 3dBDistortion: < 1% at rated output at 1kHzOutput power: Integrated amplifier: 8Wpc (Class A) Headphone amplifier: Low impedance (8-64 Ohms): Single ended: 1100mW/channel Balanced: 1800mW/channel Medium impedance (65-250 Ohms): Single ended: 2400mW/channel Balanced: 2200mW/channel High impedance (251-600 Ohms): Single ended: 5000mW/channel Balanced: 3700mW/channelAccessories: Main amplifier chassis with tubes and protective tube cage, power supply chassis with tubes and protective tube cage, AC power cord, “umbilical cord” to connect the power supply to the main chassis, Chinese language user guide, and linen gloves for handling tubes.Dimensions (H×W×D): Power Supply: 210 × 159 × 345mmAmplifier: 210 × 286 × 368mmWeight: Power Supply: 10kgAmplifier: 19kgPrice: $3,999 US; £UK price not yet announced

MANUFACTURER INFORMATIONCayinZhuhai Spark Electronics Equipment Co., Ltd.Zhuhai City, Guandong, China Postcode 519045+86 (0)756-3828711URL: www.cayin.cn




The SPD H1 is the first model in London based Trilogy Audio Systems’ new skunkworks Special Products Division—hence the ‘SPD’ prefix. These are models that fit outside of the company’s usual amplifier range. As the SPD H1 is designed

specifically as an upgrade on the electrostatic energiser/amplifiers used to drive Stax Earspeakers, it fits that skunkworks notion well (if London had skunks, of course—maybe a ‘hedgehogworks’ instead).

Trilogy designer Nic Poulson started out by basing his first prototype on a Stax 006/007 energiser circuit (solid-state input, tube output stage) as a core and built it to Trilogy’s standards. A month of prototyping later, and Nic realised that while this makes a better 007, that’s just gift-wrapping. Instead, Poulson went back to basics and made the SPD H1 from scratch, to better fit the requirements of an electrostatic design.

The SPD H1 features a pair of 6C3 triode input tubes and a 6H6 high conductance output triode per channel. It uses two toroidal transformers; one for the tube heaters, the other to power everything else. Tube life is projected at around 5000 hours, and the tubes themselves have been chosen for their linearity, their longevity, and their lack of self-noise. However, these tubes are not user replaceable, because the bias circuit requires fine-tuning. I don’t agree with that idea, but Poulson is adamant replacement and biasing is beyond the ken of the home user. Of course, this also means no tube rolling but given the variability of tube rolling ‘ improvements’, this may not be a bad thing.

The audio circuits are pure Class A, wide-bandwidth designs, designed from the outset to be a fully balanced symmetrical circuit with zero feedback. All wiring is point to point, using silver-plated copper wire with Teflon insulation. The output sockets for the Stax Earspeakers are made of Teflon, too, while its connectors are gold plated.

The amp features four inputs (two XLR balanced and two RCA single-ended) and there is a remote to control volume, balance, input, and mute. The Trilogy SPD H1 is also available in a similarly priced Direct Mode Version. This DMV version bypasses the remote for volume, balance, mute, and issues driving licenses. This last might not be entirely true. DMV allows the customer to connect directly to their amp or source, and all volume and adjustments are then made at that point.

Trilogy’s UK distributor—Symmetry—is also the distributor for Stax and loaned me a pair of flagship Stax SR-009 headphones for the duration, as these are likely candidates for use with the SPD H1. However, Symmetry also loaned a pair of SR-L700 earspeakers, the current top of the company’s long-standing Lambda range. Both made for fascinating listening.

There is an immediacy and substance to the sound that struggles to make it out of the standard issue Stax energisers. That’s not something you notice in the Stax designs, but the moment you play the Trilogy, it’s hard to go back. Everything just sounds that bit more earthy, gutsy, and real here. It’s not just about detail, or dynamic range—it’s about realism: visceral, solid realism.

Trilogy SPD H1



Swapping between the two Stax headphones shows the SPD H1 does not enhance the sound staging (on the S-009, it doesn’t need to), but also shows a potent underpinning of bass depth and slam that closes the gap between the two designs. I like the SR-L700 anyway; it sounds excellent in and of itself, and only really shows its limits when compared directly to the likes of the S-009. But through the SPD H1 it gets its full voice, and that voice is extremely entertaining and insightful.

The Trilogy SPD H1 takes the already excellent performance of a Stax Earspeaker and improves it significantly. If you have a pair of Stax and you want to know what they really sound like, the SPD H1 is one of the best options available right now. Alan Sircom

TECHNICAL SPECIFICATIONSType: Direct coupled tube amplifier for Stax electrostatic EarspeakersTube Complement: 2× 6C3 input tubes, 1× 6H6 output tube per channel. Non-user replaceableFrequency Response: Not specifiedPower output: Not specifiedWeight: Not specifiedFinishes: Natural or Stealth Black. The component can be finished in any car paint of the buyer’s choice, at an additional costOptions: Direct Mode Version, for systems with existing amplifier or source with variable outputsPrice: From £4995 UK depending on finish (US pricing not yet established)

MANUFACTURER INFORMATIONTrilogy Audio Systems London, UKTel: +44 (0)20 8856 0616URL: trilogyaudio.com

SummaryVoicing: Detailed and dynamic with detailed, deep bass.







Prosll Great upgrade for all Stax users.ll Powerful sound with excellent treble slam.ll Excellent dynamic range.ll Outstanding instrument solidity.

Consll Tubes are not user-replaceable.


XI Audio (Eleven Audio) is a new personal audio company based in Beijing, China. Founded in 2017, the outfit is the brainchild of lead designer Michael Xiao, formerly of Lotoo, manufacturer of portable digital audio players (DAPs). XI is

distributed by The Evolution of Sound in the United States. Interestingly, Joe Skubinski of Abyss Headphones is the founder of The Evolution of Sound, and he worked closely with Xiao on the voicing of the flagship Formula S amplifier (earlier, Skubinski and Xiao had also collaborated on a special edition Lotoo DAP geared specifically for use with Abyss’ new Diana headphone).

The Formula S is an amplifier designed and built for dedicated headphone enthusiasts. This 10.5-pound amplifier is a stout-looking piece of industrial design, with a large, all-aluminum black chassis flanked on both sides by beefy heat sinks. The front-panel has one 4-pin XLR and dual 3-pin XLR balanced headphone outputs as well as two 6.35mm single-ended outputs. The S uses a high-performance ALPS volume control potentiometer renowned for its low-noise and precision and that the distributor states “goes from zero to eleven” (for Spinal Tap fans). The back panel features a set of RCA inputs wired directly to the volume control using JPS Labs Alumiloy wire. XLR/balanced inputs are also available. There is a toggle switch for high and low gain, and a 115/230 VAC power input with standard IEC ground. In addition, there’s an umbilical output plate for future use with XI Audio’s Powerman external power-supply.

The Formula S is rated at a staggering 6-watts output! Have no fear: this powerhouse will drive even your most demanding low-impedance headphones with ease and poise. Its sound is incredibly dynamic and crisp, with extended, open highs and a luscious midrange. The S sounds a bit dark at first, but that impression gives way to an appreciation of its silky-smooth lower-midrange. There’s a textural quality to that band that’s almost suede-like, so the texture might be mistaken for darkness, but the Formula S’s resolving capabilities at that lower frequency range gives it a milky (but never murky or “thick”) feel and sound. The bass punches with intense velocity and speed, matched by its exquisite control of the lower frequency spectrum. The

XI Audio Formula S

Its sound is incredibly dynamic and crisp, with extended, open highs and a luscious midrange.”



gain stage is also dead quiet, allowing the listener to hear the smallest micro-details and dynamics.

You can always rely on Jamie xx’s “All Under One Roof Raving” [XL/Young Turks] to give your headphone amplifier a work-out. The Formula S’s handling of this track is stellar. The low-end rumble and thump slams with authority, disappearing quickly with little to no over-hang. The humming, rippling bassline moves like water, its level ebbing and flowing with no audible distortion mucking up the image. Tin drums ping with vibrancy and clarity. Turntable scratches peer in-and-out of this darkened, club-like atmosphere, with vocals panning across the sound stage with samples encircling various stabs and synthesized sounds. The S handled the track with control and finesse, delivering a visceral and immediate sound complete with powerful, lightning fast transient edges that engulf the listener in a cacophony of fast-moving, multi-dimensional sonic imagery.

Radioheads’ “Lift” (XL Recordings) showed what the Formula S could do with the slower-moving atmospheres of Thom Yorke and company. Its layering is exquisitely airy. That keen sense of spaciousness lends itself beautifully to the cosmic sounds of Radiohead. The guitars float, but

SummaryVoicing: Neutral-leaning/slightly dark/exceptional low-end reproduction




(All rating relative to comparably priced headphone amplifiers.)



Prosll Stoutly-built.ll Clean industrial design.ll Fantastic low-bass extension/midrange detail.ll Multiple output configurations.

Consll Only one input.ll Large heavy box.


TECHNICAL SPECIFICATIONSType: headphone amplifierPower Output: 6 watts @16 ohmsInput Z: 10K ohmsInput Sensitivity: 1000mVGain: Selectable 10dB (low) /16dB (high)THD: 0.0006% @ 300 mW, distortion character compensated for high-end music playbackNoise-Floor: -10dBVDimensions: 24 cm × 29.3 cm × 13 cmWeight: 4.8kg (10.5 lbs.)Other: 100–115VAC/230 VAC, 50/60Hz, CE certifiedPrice: $3499 US, UK pricing not yet announced

MANUFACTURER INFORMATIONXI AudioBeijing, ChinaURL: http://xiaudio.net

DISTRIBUTORThe Evolution of SoundLancaster, NY 14086Tel: +1 (716) 288-9304URL: www.theevolutionofsound.com

the strings are taut and vividly detailed. The rendering of Yorke’s lead vocals are wonderfully lifelike and natural. The sound staging is wide, but not exaggerated. Sometimes a system can amplify these effects in a way that sounds artificial and glassy: No such concern with the Formula S. Its reproduction of this song was masterful.

The XI Audio Formula S is a fine, reference-quality headphone amplifier that can handle your most difficult, power-hungry headphones with elegance, speed, and precision. Its incredible power, grace, and spectacular detail make it a serious contender for top-tier honors. Michael Mercer


Personal Audio Cable Survey

Audience Au24SE and Au24SX

John McDonald has been designing and building top-quality high end audio components and cables for many years. His zeal for innovation and passion for music have garnered praise from industry peers and audiophiles alike. McDonald met the late Richard

Smith (fellow designer and music lover) in 1972, and the two formed Sidereal Akustic Audio Systems in 1979. In 1997 they teamed up with design engineer Roger Sheker and founded Audience. McDonald has also gained a reputation for bucking trends and resisting features serving only as marketing fodder, opting instead for highly researched scientific methodologies.

The Au24SE is the upgrade to Audience’s acclaimed Au24e cable series. The cable uses continuous cast high-purity OCC copper and Audience’s proprietary geometry configuration, which seemingly aides in its remarkable detail retrieval capabilities. Au24SX offers further advancements over SE, and “represents the biggest transformation in cable performance ever achieved by Audience.” These are strong words, which SX’s sonic performance backs up with gusto. SX incorporates purer OCC copper, “now six nines” according to Audience, as well as higher quality insulation, via an XLPE dielectric. Additionally, SX is cryogenically treated in Audience’s in-house cryo lab.

Both cables are fantastically resolving and fast. Transients ping across the soundstage with speed and precision. Their handling of harmonic subtleties and sense of finesse is exquisite. SX outshines SE in this regard, producing a level of transparency that is absolutely window-like (and large windows at that). Musical details, both micro and macro, are clearly rendered and remarkably colorful. SE and SX both reproduce natural, believable timbres and tonalities, with SX going a step further, offering an even more organic presentation. There’s warmth here, but not so much that it masks or overly shades the audio signal. Audience has two winners on its hands with its Au24SE and SX headphone cables. Bravo. Michael Mercer

Price: Au24SE starting at $990 / Au24SX starting at $2000

MANUFACTURER INFORMATIONAudience120 N. Pacific Street, #K-9San Marcos, CA 92069

Introduction to Personal Audio Cables

Once upon a time most people regarded wires as the simplest of components. Back then, conductors were conductors, insulators were insulators, and plugs were plugs. As long as wires were suitably sized, properly terminated, and

flexible enough for a particular application, and provided electricity flowed as and when expected, everything was good—end of discussion, period. Or so we once believed.These days, however, most audiophiles and a fair number of laymen have discovered through first-hand listening tests that the geometries, materials, and construction processes used in building audio cables can and do have substantial impact on sound quality. Naturally, this goes for personal audio cables, too—especially the signal cables used to connect headphones to our chosen amplification devices.

Still, this leaves open several questions. What kinds of sonic differences can we expect to hear if we install upgraded cables? Do all upgraded cables sound similar or are there notable sonic differences between them? Is there a correlation between price and performance?

Seeking answers we have prepared mini-reviews of signal cables from eight reputable manufacturers: Audience, Cardas, The Chord Company, Effect Audio, Kimber Kable, Purist Audio Design, Wireworld Cable Technology, and WyWires. To level the playing field, we asked each manufacturer to prepare cables terminated to fit a reference set of Audeze LCD-2F planar magnetic headphones used as a ‘control’ in our listening tests. We hope you find the results of our survey both entertaining and illuminating.

One last item: We initially planned to include a ninth cable manufacturer, Nordost, in our survey. Unfortunately, a shipping error meant the review cables went to the opposite end of the country from where they were needed. To compensate for this, we have included a separate review I wrote a about a year ago covering Nordost’s headphone cable offerings. Enjoy. Chris Martens



Cardas Audio Clear

George Cardas is one of the most respected engineers/designers in high end audio today. He’s been designing and building audio cables and parts for stereo components for over 30 years. Cardas’ products serve audiophiles and

musicians alike, and his passion for music also extends into the recording/studio world. Perhaps the most intriguing aspect of Cardas designs is that everything is based around the Golden Ratio, a geometric pattern often found in nature that mathematicians have studied since the time of Euclid.

Cardas Clear is the firm’s top-of-the-line headphone cable, and its design is a miniaturized version of their award-winning Clear speaker cable. Cardas says the design actually incorporates two separate cables, “one going to each ear.” The cable uses eight 26.6 gauge Cardas copper conductors (litz) and features “Matched Propagation”, “Golden Section”, and “Crossfield” technologies (see detail descriptions at cardas.com). Clear uses a PFA and cotton dielectric, with a TPE inner jacket and a braided braided nylon outer jacket.

Effortless neutrality is what differentiates Cardas Clear from most other headphone cables and is why it deserves a “reference-level” classification. Harmonics are rich and full-bodied without any sense of bloating or haze. Clear is so resolving it sometimes gives the illusion the gain knob got turned up. Tonality and timbre are so natural that sounds become at once fascinating and pleasurable. Dynamics have intense slam and pop. Spatial cues across the musical and frequency spectrum are vividly rendered, creating wide, deep soundstages. Drums, keyboards, strings, and especially vocals, float in their own three-dimensional spaces, but also interweave and connect to each other in a wonderfully organic presentation.

This cable has the magical quality of making you think you are hearing familiar recordings for the very first time. Clear is a clear choice for those looking to get closer to their music. Michael Mercer

Price: $600 - 1.5 meter

MANUFACTURER INFORMATIONCardas Audio, Ltd.480 11th St SEBandon, Oregon 97411

The Chord Company ShawCan

The Chord Company’s has been around since 1984. An interesting story: The company was founded following a dinner meeting between NAIM Audio USA retailers and NAIM Audio UK. The USA representatives needed a DIN-to-RCA interconnect.

Sally Gibb (the companys’ lead designer) attended the dinner with her husband, then a NAIM Audio executive. He suggested that Sally make the cables for the USA reps and launch her own business. As a result, The Chord Company was born and has built a growing reputation for producing sonically superior cables ever since.

The ShawCan headphone cable is the newest addition to Chord Company’s Shawline range. The cable features “high-quality” silver-plated conductors and the firm’s own “Super ARAY conductor geometry”. It uses a PTFE dielectric and a carbon composite shield that “minimizes unwanted mechanical noise”. It’s all too easy for headphone cables to produce noise from rubbing aginst desks, clothes, or equipment, so its important for cables to minimize mechanical artefacts where possible. The conductors are housed in a black outer-jacket that feels like techflex. Chord Company states it’s “more than just a braid to tidy the conductors,” but also is “designed to assist with acoustic damping.” ShawCan cables are extremely light, making them ideal for use with heavier headphones.

Chord Company’s focus on mechanical details is matched by their attention to musical detail retrieval. The ShawCan cable is strikingly resolute, especially considering its comparatively modest price. The ShawCan is neutral leaning, with a slight tilt towards darker harmonics. The overall sound isn’t dark however; perhaps saying it’s the antithesis of bright might work. Its handling of percussive elements is tight and hard-hitting. Guitars and strings are colorful and airy. Vocals are lifelike and very realistic in tonality and scale. In short, ShawCan offers more performance than it has a right to at its price. Michael Mercer

Price: £275 - 1.5 meter

MANUFACTURER INFORMATIONThe Chord Company LtdChord Company House, Millsway Centre, Amesbury,Wiltshire SP4 7RX, UKURL: www.chord.co.uk



Kimber Kable AXIOS AG

Ray Kimber is a pillar of the high end audio community and his cables are beloved by audiophiles across the globe. He founded Kimber Kable in 1979, and his designs have garnered praise from such high end pioneers as the late Harry Pearson and many

others. Kimber got his start in hi-fi after working for a sound and lighting company in the mid-seventies during the birth of the discoteque. He discovered various issues with the signal cables feeding club sound-systems (which were close to the lighting systems). He devised innovative ways to deal with noise issues and get better audible performance out of the audio cables as well. His initial, (now globally-renowned) braided speaker cable designs were introduced and Kimber has been serving up high quality sound ever since.

Kimber’s AXIOS headphone cable was acclaimed by high-end headphone devotees and critics upon its introduction in 2015. The company has since been improving upon the design, offering three different configurations, all hand-braided. AXIOS CU features 16 OFHC copper conductors, AXIOS HB has eight OFHC copper and eight pure silver conductors, while the top-of-the-line AXIOS AG features 16 pure silver conductors. The AG carries a high price-tag of $3000, but its performance proves it’s truly the cream-of-the-crop.

AG’s precision and speed are staggering. Transients smack and slap with velocity and weight. Harmonics are richly textured and vivid, delivering cascades of tonal color and detail. Everything from synths to guitars are exquisitely rendered. Rhythmic elements are fantastically dimensional, seemingly existing in their own spaces yet interacting organically to create a harmonious splash of sound. Timbre and tone are remarkably natural, meaning instruments and vocals sound as lifelike and engaging as possible. This is a true reference cable suitable for use with today’ most demanding and revealing headphones. Try AXIOS AG; it never disappoints. Michael Mercer

Price: $3000 - 1.2 meter

MANUFACTURER INFORMATIONKimber Kable, 2752 South 1900 WestOgden, UT, 84401URL: www.kimber.com

Effect Audio Lionheart

Effect Audio is an enterprising headphone cable company located in Singapore and launched in 2009. Company founder Suyang apparently did some work for Crystal Cables that was well-received, so he decided to dedicate all his time to Effect Audio.

The Lionheart headphone cable is the latest addition to Effect’s Heritage headphone cable series. Effect says they “went back to the drawing board” to create Lionheart: they tested numerous “non-audio industry specific” coppers and the Lionheart is the result of their research.

Lionheart is a finely braided headphone cable. It features seven “multi-bundled” conductors made up of “EAGold plated copper” and “EASilver plated copper”. It’s insulated via “EA UltraFlexi.” The cable has a carbon fiber splitter, a nice touch. Its connectors are made by the highly-respected cable terminations specialist Furutech, whose connectors are used in some of the best high end cables around the world.

The Effect Audio Lionheart serves the music well. Its sound is well-balanced and articulate. Its sonic signature leans towards neutral, with a bit of a nudge in the upper midrange and high frequencies. This effect is not overly exaggerated, which is a nice sonic trick, as the highs achieve greater extension without sounding too bright or brittle. The low-end seems to lack punch at first, but that’s not the case. Bass is well-defined and accurate. The slight accentuation of the highs leads to an initial impression that the low-end may be lacking in weight and depth, but its fluidity and speed remedy that quickly. Drums are snappy and tight. Lead and bass guitars (as well as other strings) are full-bodied and airy. Soundstaging is spacious and dimensional. The Effect Audio Lionheart lends itself to pop and electronic music, but it’s also capable with jazz and ambient sounds. Lionheart is a solid performer, especially at this price. Michael Mercer

Price: $490 - 1 meter

MANUFACTURER INFORMATIONEffect Audio110 Lorong 23 Geylang, #06-01 Victor Center Singapore 388410URL: www.effectaudio.com



Wireworld Nano-Eclipse

Wireworld is a veteran high end audio cable company. David Salz has been designing cables since the nineties, and his passion for music is evidenced by his products. Salz and company at Wireworld have won themselves a stellar

reputation for delivering cables that usually outperform vis-a-vis their offered price, and the Nano-Eclipse is no exception. Based on a “DNA Helix”, the cable utilizes two 27 gauge conductors (with a total of eight strands) and is made up of OCC-7N copper wiring. It’s insulated via Composilex 2, and its terminations are silver clad.

The Nano-Eclipse seems a bit reserved upon early listening tests, but that impression quickly fades. It’s actually quite resolving. That initial impression may have been the result of the cables abilities to render micro and details without goosing things up or seemingly EQing as some cables can do with their handling of capacitance and inductance. Wireworld claims to be most passionate about serving the music, and innovation. The Nano-Eclipse is a sonic looking-glass into their dedication to both pursuits.

The cable is also remarkably neutral, allowing for superb rendering of subtle nuances. It’s also masterful in its handling of macro-dynamics. The signature here does seem to lean slightly towards a warmer sound, like going from solid-state to tube gear, or, if flat response is like a clear blue sky, then the Nano-Eclipse is more like the beginning of a fantastic sunset (on a clear day of course).

This cable is a jazz and classical lovers delight. It’s detail retrieval capabilities make it a solid choice for devotees of those classic audiophile genres. Highly recommended. Michael Mercer

Price: $450 per meter

MANUFACTURER INFORMATIONWireworld Cable Technology6545 Nova Dr., Suite 204Davie, FL 33317 USAURL: www.wireworldcable.com

Purist Audio Design Impresa Silver Revision

Jim Aud has been building top-notch audio cables for over 30 years. Aud’s passion for high-end audio began during his time in the US Air Force, where he worked as an electronic technician and was exposed to the engineering brilliance of early pioneering audio

companies like Marantz and Dynaco. He has built a loyal, dedicated following in the audiophile community over the last three decades, and the Impresa Silver Revision headphone cable shows why so many devotees love Purist Audio Design.

The Impresa Silver Revision is the latest version of Auds’ Impresa headphone cable line. The design incorporates two 28 gauge Ag metal conductors with “twin proprietary silver alloys” engineered with Nano technology. Purist states that, “Nano technology improves the conductivity of the wire and strengthens the conductors.” The cables materials are also treated with Triple Cryomag. Sounds impressive! The resulting sonic renderings are equally impressive.

The first thing that stands out about the Impresa Silver Revision is its handling of the leading edge transient attack. The smack of a snare drum, or the immediacy and velocity of a deep kick drum thump are delivered in spectacular fashion. This is a dynamite sonic attribute, as its sets the pace for the rest of the musical spectrum. Impresa is tight and fast, lending itself to everything from underground electronic music to piano-driven pop. The Impresa’s speed and precision are matched by its coherence, which might be a better defining term than neutral in this case. Not to say the Impresa Silver is not neutral, it’s highly resolute and transparent, but the word “neutral” sometimes suggests sound that is slightly lean, at times, or “flat”, as in lacking dynamic punch (as opposed to describing frequency response). Purist Audio Design has crafted an exceptional reference-level cable with the Impresa! An all-around contender. Michael Mercer

Price: Starting at $685 - depending on configuration

MANUFACTURER INFORMATIONPurist Audio Design1606 Old Angleton RoadClute, Texas, 77531 USAURL: www.puristaaudiodesign.com

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Price: $599 (additional lengths, $75 per foot)Note: Sennheiser HD 700 and 800 models and Focal Utopia models are priced at $649 (owing to more costly proprietary plugs).Adaptors/Extension Cables: $120 for 8-inch headphone cable-to-amplifier/portable device adaptor (any headphone cable used with any amplifier, DAP, DAC, Apple music product, Pono, etc.). $400 for 10-foot extension cable, for any headphone cable (extends length of any headphone cable)

MANUFACTURER INFORMATIONWywires16501 Sherman Way, Suite 120, Van Nuys, CA 91406 USAURL: www.wywires.com

Wywires Platinum

Alex Sventitsky of WyWires has been hand crafting high-end cables for audiophiles for many years. They took the personal audio world by storm in 2014 with their RED series headphone cables. At a mere three hundred dollars, RED set a

new standard for high performance headphone leads in that price bracket. RED was (is) resolute, lightweight, and probably still one of the best bang-for-the-buck cables on the market today. Platinum picks up where RED left off. It’s listed as the “upgrade to the RED Series.” Its design is based around the concept for RED, offering even lower inductance, therefore filtering less of the audio signal. As RED became known for incredible neutrality at its bargain price, sans a slight accentuation of the low-end, Platinum takes that cue even further as an upgraded design should.

The Platinum, in addition to incorporating the original design benefits of RED, offers a “proprietary carbon/graphine compound”. WyWires states this “absorbs and dissipates high frequency electromagnetic interference.” It’s also wonderfully thin and bendable, making it a pleasure to deal with physically and harmonically. Whatever their proprietary design encompasses, the sonic benefits are immediately recognizable. Where RED, as stated above, slightly accentuated the low bass, Platinum is far more neutral. There’s an emphasis on the mid-to-lower midrange as opposed to the bass. However, as that’s where most of music lies, it’s a welcomed upgrade. WyWires has done a terrific job expanding on their successful RED Series with Platinum. The cable offers reference level performance in a more affordable package. Michael Mercer

Ultimate Guide to Headphones Advertisers IndexThe Absolute Sound, 39, 95, 109 theabsolutesound.com

Astell & Kern, 52 AstellnKern.com

Audeze, Cover III audeze.com

AudioQuest, Cover IV audioquest.com

B&W Loudspeakers, 5 bowers-wilkins.com

Cardas Audio, Cover II cardas.com

Complete Guide to High End Audio, 144 hifibooks.com

Crystal Cable, 3 crystalcable.com

Enjoy the Music, 109 enjoythemusic.com

Hi-Fi+, 33, 73, 149, 151 hifiplus.com

HiFiMan, 58 hifiman.com

Kimber Kable, 105 kimber.com

Mr Speakers, 78, 95 mrspeakers.com

Nordost Corp., 15 nordost.com

PSB Speakers, 7 psbspeakers.com

Purist Audio Design, 78 puristaudiodesign.com

Schiit Audio, 111 schiit.com

Siltech, 13 siltechcable.com

Sonoma Acoustics, 63 sonomaacoustics.com

TAS Illustrated History of High-End Audio, 131 store.theabsolutesound.com

Von Schweikert Audio, 24 vonschweikert.com

Download your FREE digital guide to Audio Components now!

GUIDE TO AUDIO SOURCE COMPONENTS 2018

www.hifiplus.com/buyers_guides/HIFI+ AudioComponentsBuyersGuide_2018_UGH.indd 1 24/05/2018 18:47



Nordost Blue Heaven and Heimdall 2

Nordost needs no introduction in the high-end audio world, but enthusiasts whose interests center on loudspeaker-based hi-fi systems may be surprised to learn that the Holliston, Massachusetts, company is now offering two ranges of specialized

headphone signal cables. The top offering is the Heimdall 2 headphone cable (or headphone cable system), while at a somewhat lower price/performance point is the firm’s Blue Heaven headphone cable.

The Blue Heaven features a seven-strand litz configuration where each strand consists of four 34AWG 7/42 conductors formed from 99.9999% pure “solid core OFC” (oxygen-free copper). Each conductor is treated to the firm’s signature Micro Mono-Filament technology—a process that involves “wrapping each conductor with a strand of FEP (fluorinated ethylene polypropylene) material before the finished strand is encased in an extruded FEP insulator.” To increase cable strength and control unwanted resonance, an Aramid “strength member” is also added. The amplifier ends of all Blue Heaven cables are terminated with a gold-plated 3.5mm stereo mini-plug fitted with a threaded 6.35mm stereo phono adapter, meaning the cables will work with most any amp offering traditional single-ended outputs.

Like the Blue Heaven cables, the Heimdall 2 headphone cables feature a seven-strand litz configuration. A key difference, however, is that the Heimdall 2 headphone cable uses heavier-gauge 32AWG 7/40 conductors formed from an even purer (99.99999% pure) grade of oxygen-free copper. The Heimdall 2 cables also use Nordost’s Micro Mono-Filament technology.

Nordost’s Heimdall 2 headphone offering is a multi-part cable system that consists of a 2m-long main cable (terminated with a 4-pin male XLR connector on the amplifier end), plus two shorter adapter cables. One adapter cable is terminated with a 6.35mm stereo phono plug while the other is terminated with a 3.5mm stereo mini-plug. In practice, this means the Heimdall 2 headphone cable system will work with virtually any single-ended or balanced output headphone amplifier on the market.

The defining sonic characteristics of the Blue Heaven headphone cables are an open and airy-sounding midrange presentation with plenty of transient “snap” and definition coupled with detailed and extended highs. The Blue Heaven’s bass is solid and taut with both good transient speed and pitch definition, but there is no added bass “lift,” weight, or warmth (meaning these probably are not cables you would choose in order to “warm up’” your headphones). Happily, though, the HiFiMan Edition X V2 has thoroughly adequate low-end weight and warmth of its own. What the Edition X V2 headphones do need, however, turns out to be exactly the qualities the Blue Heaven cables have on offer: an added touch of midrange transparency and definition, coupled with heightened high-frequency detail and extension. As a result,

when you put a set of Blue Heaven cables on the Edition X V2 headphones, their sound pulls noticeably closer to that of the very revealing flagship HE1000 V2.

Frankly, the Heimdall 2 cables had two tough acts to follow, partly because of how good the Blue Heaven cables are, but also because the standard cables that ship with the HiFiMan HE1000 V2 are excellent. Even so, the Heimdall 2 cables yielded several worthwhile sonic improvements, including more tautly defined but no less impactful bass, an across-the-board and evenly balanced increase in resolution, and a really impressive quality of top-to-bottom harmonic integrity.

Nordost’s Blue Heaven and Heimdall 2 headphone cables have taken up residence on my HiFiMan Edition X V2 and HE1000 V2 headphones, and both sound all the better for it. Try these cables with your favorite headphones and see if you don’t get similar results. Highly recommended. Chris Martens

SPECS & PRICINGNORDOST BLUE HEAVENType: Headphone signal cableCable construction: Seven-strand litz-type configuration, 99.9999% pure OFCHeadphone side: Various termination options availableAmplifier side: Gold-plated 3.5mm stereo mini plug fitted with screw-on, gold-plated 6.35mm stereo headphone plugAvailable lengths: 1.25m or 2m Pricing: $399/£334 1.25m

NORDOST HEIMDALL 2Type: Top-tier headphone signal cableCable construction: Seven-strand litz-type configuration, 99.99999% pure OFCHeadphone side connector: Various termination options availableAmplifier side, main cable: 4-pin male XLRAmplifier side, adapter cable no. 1: Gold-plated 3.5mm mini-plugAmplifier side, adapter cable no. 2: Gold-plated 6.35mm stereo phono plug Available lengths: 2m, main cablePricing: $799/£649

Now available with an innovative 15 ohm voice coil, the new LCD-4z is very,

very easy to drive! Use any amp, DAP, or even a mobile device! It keeps the

rave-reviewed sound signature of the original LCD-4, while offering a

lightweight magnesium housing.

Effortless.

www.audeze.com

INTRODUCING

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“If I were now forced to live with just one set of headphones, they

would be AudioQuest’s NightOwl Carbons.”

– Herb Reichert, Stereophile

one set of headphones, they would be AudioQuest’s

NightOwl Carbons.”– Herb Reichert,

“If I were now forced to live with just one set of headphones, they one set of headphones, they

would be AudioQuest’s NightOwl Carbons.”

In a world of competing extremes, the truth in-between can sometimes look like a com-promise that doesn’t please anyone. AudioQuest headphones prove the opposite.

Compared to some popular boomy-bass headphones, AQ headphones can seem too mild mannered. Compared to some popular audiophile headphones with their brightly illuminated studio-monitor sound, AQ head-phones can seem too mild-mannered.

Hmmm, turns out that AudioQuest NightHawks and NightOwls are mild-mannered in the very best most truthful way. They have less ‘voice’ and make better music than those di erently hyped headphones on the ends of the spectrum — the AQ headphones

actually have more emotionally stimulating bass, and more delicately nessed and trans-parent treble than those highly-revealing monitor type models.

NightHawk and NightOwl headphones o er compelling music that can be enjoyed for hours — thanks to honest sound and being incredibly comfortable.

As I’ve been fond of saying since before founding AudioQuest 37 years ago: “The di erence between good and bad audio is how long it takes before fatigue sets in.”

Please put a pair on and listen for yourself.

Thanks,

CARBONAROUND-THE-EAR

CLOSED-BACK HEADPHONES

SPECIAL ISSUE TODAY'S BEST PERSONAL AUDIO GEAR

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