SPECIAL ISSUE

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In-Ear Monitors
Digital Audio Players
Headphone Amps
Headphone Cables

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Bandon, Oregon

Long before she ran the family company, Angela Cardas was a radio DJ using Sennheiser
headphones. 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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Learn more about our personal audio products at your Cardas dealer, or visit cardas.com.

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 Ultimate Headphone Guide
SUMMER 2018

Contents
FEATURES EARPHONES & CIEMS

4
From the Editor: Welcome to
34
$199 and Below
Headphone Nation 34 1MORE Triple-Driver
Chris Martens on the rise 35 FiiO F9 Pro
of headphone culture in 36 iBasso IT01
high‑end audio 38 Final E3000

6
45 Periodic Audio Ti

Encyclopaedia Headphonica
A comprehensive glossary and
40
$200–$499
explanation of headphone 40 Cardas A8 30th Anniversary
and personal audio terms and 41 Final F7200
technology 42 Sennheiser AmbeoSmart

14
44 NuForce Primo 8
47 Etymotic ER4SR & ER4XR

In the Pipeline: Cool New

Products Coming Soon
Sneak previews of new earphones
45
$500–$999
and CIEMs, headphones, personal 47 Audeze iSINE 20
audio electronics, and cables 48 Noble Audio Sage
and accessories 49 Sennheiser IE 800 S

25
51 Ultimate Ears Reference Pro
Remastered

How to Choose Earphones

and Headphones
Robert Harley shows how to
53
Exotica: $1000 and Up
choose the right earphones and 53 Audeze LCDi4
headphones in this excerpt from 54 Campfire Audio Andromeda
The Complete Guide to High-End 55 EarSonics EM10
Audio, Fifth Edition. 57 Westone W80

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

Ultimate Headphone Guide – Summer 2018  1

Ultimate Headphone Guide
SUMMER 2018

HEADPHONES PERSONAL AUDIO

ELECTRONICS

59
$499 and Below
88
$1000–$1999 110
59 AudioQuest NightOwl Carbon 88 Focal Clear Digital Audio Players
60 1MORE Triple-Driver Over Ear 89 MrSpeakers ETHER Flow 110 Astell&Kern KANN
61 Beats Studio3 90 Oppo PM-1 112 Astell&Kern A&ultima SP1000
64 Beyerdynamic DT-990 91 Sennheiser HD 800 S 113 Echobox Explorer

92
65 Bose QuietComfort 35 II 114 FiiO X7 MkII
66 Dekoni Blue 115 iBasso DX200
68 Final Sonorous III 117 Questyle Audio QP2R
69 Grado SR60e
70 HiFiMAN Sundara High End: $2000–$3999
72 Meze 99 Classics 92 Abyss Diana
93 MrSpeakers VOCE PERSONAL AUDIO CABLES
74 Oppo PM-3

145
75 PSB M4U 8 96 Audeze LCD-MX4
76 Sennheiser HD 660 S 97 Final D8000
79 Advanced Alpha 98 Stax SR-009

98
86 Stax SR-L300 145 Introduction to Personal
Audio Cables

79
145 Audience Au24SE and Au24SX
146 Cardas Clear
Exotica: $4000 and Up
146 The Chord Company ShawCan
$500–$999 99 Abyss AB-1266 Phi Edition
147 Effect Audio Lionheart
80 Audeze LCD2 Classic 100 HiFiMAN Shangri-La Junior
147 Kimber Kable AXIOS AG
82 Campfire Audio Cascade system
148 Purist Audio Design Impresa
84 Focal Elear 102 LB-Acoustics MySphere 3.1/3.2
Silver Revision
85 MrSpeakers ÆON Flow Open 104 Sonoma Acoustics Model
148 Wireworld NanoEclipse
87 Stax SR-L700 One system
150 WyWires Platinum
…plus one follow-on review…
152 Nordost Blue Heaven and
Heimdall 2

HEADPHONE AMPS AND AMP/DACS

118
$199 and Below
123
$200–$499
132
High End: $1500–$2999
118 AudioQuest DragonFly Red 123 Arcam rHead 132 Ayre Codex
& Black 124 CEntrance BlueDAC 133 Chord Electronics Hugo 2
119 iFi Audio nano iDSD Black 125 iFi Audio xDSD 134 Feliks Audio Euforia MkII
Label 127 Schiit Audio Jotunheim 135 iFi Audio Pro iCAN

128
120 Meridian Explorer 2 136 Prism Sound Callia
121 Schiit Audio Magni 3 137 Schiit Audio Ragnarok
122 Ultrasone NAOS

$500–$1499
128 Chord Electronics Mojo/Poly
129 Questyle Audio CMA600i
130 RHA Dacamp L1
138
Exotica: $3000 and Up
138 Pass Labs HPA-1
139 Cayin HA-300
141 Trilogy SPD H1
142 XI (Eleven) Audio Formula S

2  Ultimate Headphone Guide – Summer 2018

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Ultimate Headphone Guide

From the Editor

L
Ultimate Headphone Guide –
ike many of you, I have been an avid audiophile Summer 2018
and music lover for my entire adult life (many Editor-in-Chief
Chris Martens
decades, now, and counting). With that said, let
Associate Editor
me tell you nothing has fired my imagination Arnold Williams
or stirred my enthusiasm in the way that Creative Director
headphones, earphones, and personal audio have done Jenny Watson
(Jenny Watson Design)
over the past 10 years or so. What drives this level of
Contributing Writers
inspiration? I would say the personal audio world offers Neil Gader, Jim Hannon, Robert Harley, Buzz Hughes,
Chris Martens, Tom Martin, Michael Mercer, Julie Mullins,
music lovers young and old three unbeatable benefits: Alan Sircom, Steven Stone, Alan Taffel
sonic performance, accessibility, and value. Publisher, North American Edition
Jim Hannon

If you’ve not been in touch with the explosive growth that’s taking Advertising Reps, North America 
place in the personal audio realm, then you might be astonished Scott Constantine (609) 275-9594,
to hear just how sophisticated and impressive the sound of today’s Marvin Lewis (718) 225-8803 (MTM Sales),
best headphones, earphones, and personal audio electronics Cheryl Smith (512) 891-7775
can truly be. In fact, you might find high-performance personal Publisher, European Edition
audio systems now offer sound quality competitive with (or better Pete Collingwood-Trewin,
than) loudspeaker-based systems costing 10, 20, or even 30 times pete@hifiplus.com
their price!
Advertising, UK and Europe
Next, I would point out that personal audio is the one form Tom Hackforth,
of the high-end audio sport that almost everybody can play. tom@hifiplus.com
Traditional speaker-based music systems are fine things, but
they entail serious commitments both in terms of money invested Ultimate Headphone Guide is a joint venture between
The Absolute Sound and Hi-Fi+ magazines.
and the space necessary to house those systems. But personal
audio makes no such demands; it’s a form of high-end audio The Absolute Sound is owned by:
that doesn’t require much space, that is comparatively reasonably Nextscreen, LLC
priced, and that—in some cases—is portable so that you can take 2500 McHale Court, Suite A,
your music system with you when you travel. Given these clear- Austin, Texas 78758 USA
cut advantages, is it any wonder people from all walks of life are Hi-Fi+ is owned by:
embracing personal audio systems in record numbers? Absolute Multimedia (UK), Ltd
Unit 3, Sandleheath Industrial Estate,
ABOUT THIS GUIDE Sandleheath, Hampshire SP6 1PA UK
From the start, Ultimate Headphone Guide has been envisioned as Absolute Multimedia (UK) Ltd
a personal audio almanac—that is, as a guidebook that could help is a subsidiary of:
introduce newcomers to the hobby, while also providing thought- TMM Holdings, LLC
provoking material to help inform, enlighten, and entertain veteran 2500 McHale Court, Suite A,
‘headphonistas’. With this thought in mind, our Summer 2018 Austin, Texas 78758 USA
edition provides several strong background articles but also places Nextscreen LLC and TMM Holdings
a renewed emphasis on product reviews (more than 85 of them!) In Chairman and CEO:
an effort to make our reviews more usable and relevant, we have Tom Martin
also started to experiment with graphical summaries that show
All Rights Reserved
how the products at hand perform (please let us know if you find
these summaries useful). © 2018, Ultimate Headphone Guide,
Most of all, we hope the Guide will inspire you to sample the Nextscreen LLC, Absolute Multimedia (UK) Ltd.
rich musical joys that fine headphones, earphones, and personal Not one word of Ultimate Headphone Guide
audio systems can bring. Welcome to Headphone Nation: join us! may be reproduced without the express
written consent of the Editor.
Chris Martens
Editor-in-Chief, Ultimate Headphone Guide

4  Ultimate Headphone Guide – Summer 2018

Responds Wireless adaptive Smart power with
naturally to you noise cancellation a 22-hour battery life bowers-wilkins.com
Encyclopaedia headphonica

Encyclopaedia Headphonica
Chris Martens

A
s 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 DRIVER
A 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
Note the multiple balanced output connectors on the front panel
wire coils and suspended within a magnetic field. As
of iFi Audio’s fully balanced Pro iCAN headphone amplifier.
audio signals are applied, the changes in the magnetic
field across the wire coil cause the armature to rock back
one of the conductors in the jack/plug serves as the “-” or
and forth, pivoting on its balance point or fulcrum. As one
ground connection, while the other two conductors serve,
end of the armature is driven upward, the other end goes
respectively, as the “+” connections for the left and right
downward (much like a child’s “seesaw” or “teeter-totter”).
audio channels.
In order to produce sound, one end of the armature drives
In balanced (sometimes called “differential”) amplifiers,
an actuator connected to an extremely small diaphragm,
internal circuitry is differently arranged so that in essence
which flexes inward and outward as the armature moves up
the amplifier has two equal but opposite halves; one
and down. Output from the diaphragm typically is routed
handling the positive-going side of the audio signal and
to the listener’s ears via a sound-outlet tube commonly
the other handling the negative-going side. Both the “+”
called a “bore.”
and “-” halves of the amplifier are referenced to electrical
ground. As a result, the outputs of each amplifier channel
BALANCED HEADPHONE AMPLIFIERS
will have three (rather than just two) connections for audio
In the world of headphones and earphones—as in
signals: a “+” connection, a “-” connection, and a dedicated
traditional audio—there are two distinct kinds of amplifiers:
“GND” or ground connection. In balanced headphone
single-ended and balanced. By convention, in a single-
amplifiers, outputs are often handled by two 3-pin XLR
ended amplifier the “-” output terminal is tied to electrical
connectors (one for the left channel and the other for the
ground, while the “+” terminal carries the active signal. In
right), where the 3-pins correspond to “+,” “-,” and “GND.”
single-ended headphone amplifiers, outputs are typically
delivered through a three-conductor jack sized to fit either
BORE
a 6.35mm phone plug or a 3.5mm mini-plug. In either case,
Many CIEM and some earphone manufacturers use the
term “bore” to describe the sound-outlet tubes associated
Crossovers
with balanced-armature drivers. Sometimes the outputs
of multiple drivers might be routed through a single bore
Acoustic Filters
High tube. Thus, one might read CIEM descriptions that state
Frequency something like this: “Ours is a four-driver, triple-bore in-
drivers
ear monitor design.”

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

6  Ultimate Headphone Guide – Summer 2018

 M4U 8
WIRELESS ACTIVE NOISE
CANCELLING HD HEADPHONES

“PSB’s M4U 8 is not only a

great performer, but a
spectacular value.”
— Robert Harley
TAS/Hi-Fi+
Ultimate Headphone Guide

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
Encyclopaedia headphonica
Dynamic headphone drivers like this one
CIEMs like the Noble Audio Kaiser 10 offer from Beyerdynamic’s T1 Tesla headphone
beautifully finished, user-specific, custom- are built much like miniaturized dynamic
molded earpieces.  drivers for loudspeakers.
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 HEADPHONES
Full-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 FORCE
The 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.
DIAPHRAGM
Regardless 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.
8  Ultimate Headphone Guide – Summer 2018
Closed-back headphones like this Audeze
EL-8 have earcups completely sealed on the
back side.
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

Earbuds such as this Urbanears Medis are Manufacturers go to great lengths to
meant to rest lightly in the wearer’s outer balance the demands of fit and functionality
ear—not inserted into the ear canal. in high-performance earpiece designs.
ear canal. Note, please, that earbuds typically are voiced
so that they sound normally balanced without requiring
an airtight seal.
EARCUPS
In 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.
EARPHONES
We 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
Encyclopaedia headphonica
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.
EARPADS
All 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.
EARTIPS
Almost 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
Ultimate Headphone Guide – Summer 2018  9
Encyclopaedia headphonica
HiFiMAN’s Sundara headphone uses a
The frame and yoke design of the Oppo PM-1 suspension strap system, as shown, to help
headphone allows earcups to swivel in both support the headphone’s weight for greater
horizontal and vertical axes. user comfort.
constructed of compressible foam materials—a concept
patented by the firm Comply Foam (which is a spin-off of
3M Corporation).
ELECTROSTATIC DRIVERS
Electrostatic 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 FRAME
In 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
10  Ultimate Headphone Guide – Summer 2018
The stator (or electrode) grid of the classic
Stax SR-009 electrostatic headphone driver.
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 PLUGS
There 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
 Encyclopaedia headphonica

(shared by both the left and right channels), plus two “+/-” 1 2 3
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. 4 5
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 DESIGNS
Headphone and earphone makers use the descriptor
“hybrid” to indicate that the product in question uses a
mixed (or “hybrid”) combination of technologies. One good
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.
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 EARPHONES
The 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 EARPHONES
Recognizing 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.

Ultimate Headphone Guide – Summer 2018  11

Encyclopaedia headphonica
PSB’s M4U 8 is one of the very few active noise-canceling
headphones that manages to offer serious, audiophile-grade
sound quality.
ON-EAR HEADPHONES
Unlike 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 HEADPHONES
Open-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 DRIVERS
The 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
12  Ultimate Headphone Guide – Summer 2018
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 DRIVERS
Ribbon 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 CABLES
As 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 HEADPHONES
Although 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
 EST.1983

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In the pipeline
SPONSORED BY CRYSTAL CABLE

In the Pipeline
Ultimate Headphone Guide
Chris Martens

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

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.
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

14  Ultimate Headphone Guide – Summer 2018

In the pipeline
SPONSORED BY CRYSTAL CABLE
($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
16  Ultimate Headphone Guide – Summer 2018
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

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

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.  ■

Ultimate Headphone Guide – Summer 2018  17

In the pipeline
SPONSORED BY CRYSTAL CABLE
HEADPHONES
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.
18  Ultimate Headphone Guide – Summer 2018
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-

Focal Clear Professional Meze Empyrean
Ultrasone Edition 15 Kilpsch Heritage HP-3
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
Meze-Rinaro driver Audeze Mobius
Beyerdynamic Amiron
Wireless E-Mu Teak
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.
Ultimate Headphone Guide – Summer 2018  19
In the pipeline
Sennheiser HD820 prototype
NAD HP70
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.”  ■
In the pipeline
SPONSORED BY CRYSTAL CABLE
AMPS, AMP/DACS & DAPS
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.
20  Ultimate Headphone Guide – Summer 2018
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

Astell Kern Acro L1000 Auris HA2 SE
iFi Pro iDSD closeup Massdrop – Cavalli CTH
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
Benchmark HPA4
Mytek Manhattan II
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
Ultimate Headphone Guide – Summer 2018  21
In the pipeline
FiiO family of DAPs
Periodic Nickel prototype
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.
In the pipeline
SPONSORED BY CRYSTAL CABLE
Pioneer XDP-02U Schiit Lyr 3 Multibit
Trafomatic Primavera Viva Egoista 845
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
22  Ultimate Headphone Guide – Summer 2018
Shanling MO
Wells Milo Reference
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
Stax SRM-D10
Woo 3ES
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

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.
PERSONAL AUDIO CABLES & ACCESSORIES
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
Caprice Audio Mosaic Crystal Cable Dream Duet
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
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
Dekoni ear pads on Focal JH Audio Signature Series
Ultimate Headphone Guide – Summer 2018  23
In the pipeline
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.  ■
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.  ■
Moon Cable suite
 UL T I M A T E P E R FO R M AN CE
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info @ vonschweikert.com VonSchweikert.com

How to Choose Headphones
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.
W
ith 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 MONITORS
Earbuds 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
Fig. 1 Earphones offer much better sound
quality than earbuds. (Courtesy Cardas Audio)
How to choose headphones
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
Ultimate Headphone Guide – Summer 2018  25
How to choose headphones

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— Fig. 2 Supra-aural headphones rest on your ears, and
one bass driver, two midrange drivers, and two tweeters, for example. are also called “on-ear” headphones.
Others rely on a single full-range driver. No matter their number, the (Courtesy Bowers & Wilkins)
drivers are usually miniature versions of the moving-coil cones found
Fig. 3 Circumaural headphones surround the entire
in freestanding loudspeakers. Another type of transducer used in in-ear
ear. (Courtesy Beyerdynamic)
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
(literally, “around the ear”)
armature, which creates a fluctuating magnetic field that magnetizes
headphone completely
the armature. The armature’s own magnetic field reacts with the
covers and encloses
fixed magnetic field created by the magnet, causing the armature to
the entire ear (Fig. 3).
oscillate and, with it, transmit those vibrations to a tiny diaphragm
Supra-aural headphones
connected to one end of the armature. An upper-end in-ear monitor
are generally lighter
may contain several balanced-armature transducers, each optimized for
and smaller, and fit more
reproducing a different range of frequencies. Balanced-armature drivers
easily in a travel bag. Their
are extremely efficient, requiring very little power to produce sound.
disadvantage is that they
Custom-fit in-ear monitors require a greater commitment of time and
allow outside sounds to intrude
money than off-the-shelf earphones, but their combination of comfort,
on the listening experience, which can be
noise isolation, and, most important, sound quality is unequaled among
distracting. (This also works in the other
in-ear listening devices
direction: Supra-aural headphones leak sound
from the headphones to the outside world,
HEADPHONES
potentially disturbing people nearby. Supra-
Many listeners prefer headphones to in-ear products, particularly those
aural headphones are thus not a good choice
for whom portability isn’t important. As good as high-quality custom
for subway commuters or airline passengers.)
in-ear monitors can sound, it’s headphones that provide a state-of-the-
By completely enclosing the ear, circumaural
art personal listening experience. In addition, some listeners find in-ear
headphones provide greater isolation from
monitors uncomfortable and prefer the feel of headphones.
outside sounds, and those nearby won’t
Which are the best headphones? There’s are as many right answers to
hear your music. If you plan to listen in the
this question as there are listeners and specific applications. Choosing
presence of people who may be bothered by
the right headphones for you begins with defining how you will use the
your music, choose circumaural over supra-
headphones, what combinations of sound and comfort you most value,
aural headphones.
and your budget. Let’s explore some of these criteria, keeping in mind
that many of them overlap. Open-back vs. closed-back: A second major
division in headphone design is open-back
Location and intended use: Where will you use the headphones? If you and closed-back headphones. In open-back
plan to listen in public places such as airplanes, trains, or subways, you’ll ’phones (Fig. 4), the side of the diaphragm
want the headphones to provide isolation from outside noise as well as facing away from the ear is open
prevent pedestrians nearby from hearing your music. Earphones that to the outside world. Conversely,
provide a good fit—and all custom in-ear monitors—provide excellent a closed-back design (Fig.  5)
isolation from ambient noise. (But remember that keeping outside noise completely seals the driver in an
from intruding on your listening experience can also prevent you from enclosure. Open-back headphones
hearing sounds that warn of danger.) provide less isolation from outside
Conversely, if you’re buying headphones because your home system noise and allow others nearby to
is headphone- rather than loudspeaker-based, or to enjoy music late at hear your music.
night without disturbing neighbors or family members, noise isolation Generally speaking, open-
and portability won’t be as important. For home listening, your top back headphones have a more
priorities should be sound quality and comfort. spacious soundstage and
better imaging, and closed-back
Supra-aural and circumaural: Headphones are classified by how they fit
on your head: supra-aural and circumaural. Supra-aural (literally, “over Fig. 4 Open-back headphones often sound better
the ear”) headphones have pads that rest on the ears (Fig. 2), which is than the closed-back variety, but offer less isola-
why they’re also called “on-ear” headphones. By contrast, a circumaural tion from outside sounds. (Courtesy Grado Labs)

26  Ultimate Headphone Guide – Summer 2018


Fig. 5 Closed-back headphones are the best choice
when you don’t want to disturb those around you.
(Courtesy PSB Speakers)
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
How to choose headphones
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
Ultimate Headphone Guide – Summer 2018  27
How to choose headphones
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 TECHNOLOGIES
As 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,
Fig. 7 Planar-magnetic headphones can deliver state-of-the-art
sound quality. (Courtesy Audeze)
28  Ultimate Headphone Guide – Summer 2018
Fig. 6 Electrostatic headphones are prized for their
lifelike realism and resolution. (Courtesy Stax)
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

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
How to choose headphones
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)
Ultimate Headphone Guide – Summer 2018  29
How to choose headphones

Software for headphone listening: Finally, outside-the-head imaging can freestanding speakers. A loudspeaker’s nominal
be created in software running on a personal computer. The software impedance is typically between 4 and 8 ohms,
simulates the head-related transfer function of speakers in a room by but headphone impedances range from about
applying DSP filters to the music signal on playback. The software offers 15 to 600 ohms.
the simulation of a wide range of well-known high-end speakers in various The lower a speaker’s impedance, the more
rooms, allowing you to choose the one that sounds best to you. The HRTF robust the amplifier driving it needs to be. A
data was created by actually measuring those speakers in different rooms, low-impedance speaker forces the power
producing a remarkable facsimile of the loudspeaker experience through amplifier to deliver more current to the drivers.
headphones. The software package Out of Your Head from Darin Fong That’s why a low-impedance speaker is best
Audio allows you to audition the various speaker/room combinations driven with a powerful amplifier.
before you choose which to buy and download. Similarly, low-impedance headphones
sound best when powered by a high-quality
Multichannel headphones: Multichannel playback through stereo
amplifier. The inexpensive amplifiers built into
headphones can be achieved with less sophisticated technology than
smartphones, tablets, low-end portable music
Smyth Virtual Surround, though not nearly as convincingly. Often called
players, and even some A/V receivers can’t
“Dolby headphones,” this product category uses DSP to mimic the HRTF,
deliver much output current to headphones,
enabling the headphones to position sounds anywhere around the
and are therefore not well suited to driving
listener. Dolby headphones typically include a Dolby Digital decoder
low-impedance models. The sound will be
that takes a Dolby Digital bitstream from a TV, DVD Blu-ray Disc player,
weak and anemic, and the bass mushy. The
or other source, and outputs a signal to the headphones that creates a
best amplifiers for low-impedance headphones
facsimile of hearing surround sound through stereo ’phones. With Dolby
are dedicated outboard headphone amplifiers,
headphones, you hear dialogue from the center, music and effects at
or the headphone amplifiers built into high-
the left and right, and surround information from all around you. Dolby
quality DACs. High-impedance headphones
headphones, which are often wireless, are good for watching movies
are a better choice with inexpensive mass-
late at night and/or if you don’t want to disturb others. They can also
market electronics that include an integral
be useful for those who are hard of hearing; the greater clarity provided
headphone amplifier.
compared to listening to the tiny speakers built into a television can
Knowing the headphones’ impedance is
open up a new world. This is particularly true of dialogue, which often
crucial to matching them with the amplifier
gets lost when reproduced by television speakers but is much more
that will drive them, specifically the amplifier’s
intelligible when reproduced through headphones, largely because it’s
output impedance. The rule of thumb is that
spatially separated from the soundtrack’s music and effects.
the headphones’ impedance should be at least
ten times the amplifier’s output impedance.
HEADPHONE SPECIFICATIONS
If the amplifier’s output impedance is greater
As with loudspeakers, reading a headphone’s specification sheet won’t
than one-tenth the headphones’ impedance,
tell you how the headphones sound or how comfortable they are. But,
the headphones’ frequency response (tonal
as with speakers, some headphone specs are useful in selecting the
balance) will be affected. This is one reason
right model for your application.
the same headphones sound different when
The most common specification is frequency response, with which
driven by different amplifiers. In addition,
we’re all familiar. A headphone model’s frequency-response spec
an amplifier with a high output impedance
may read “20Hz–18kHz,” but this is misleading. Headphones don’t
will have a low damping factor; that is, its
have flat measured response; instead, they’re designed to sound flat
ability to control the motion of the drivers’
to listeners wearing them. It’s not unusual for headphones to have
diaphragms will be limited. Low damping
multiple amplitude peaks of as much as 10dB in the upper-midrange to
factor is associated with lack of tautness,
mid-treble region (roughly 3–8kHz). Such peaks in a loudspeaker would
weight, and precision in the bass. Headphones
make it unlistenable, but in headphones the peaks produce a more
driven by a headphone amplifier follow the
natural tonal balance. What’s more, frequency-response measurements
same electrical laws as speakers driven by a
of headphones are inconsistent compared with speaker measurements;
home stereo amplifier.
moving the headphone measurement microphone only 1⁄16” results in a
If the headphone amplifier’s output
radically different measured response. The measurement protocols for
impedance is less than 2 ohms, that
testing freestanding speakers are much more standardized and reliable.
amplifier should have no problem driving any
Finally, there’s no correlation between good speaker frequency response
headphones. But many headphone amplifiers
and “good” measured headphone frequency response, because there’s
have higher output impedances, especially
no consensus about which headphone frequency response produces the
those found in inexpensive portable devices.
most natural tonal balance. This is why you can’t tell much about how
The designers of those budget devices add a
a pair of headphones will sound based on looking at their frequency-
30-ohm resistor to the amplifier’s output to
response spec, or even their frequency-response curve.
protect the op-amp driving the headphones.
A more useful spec is of headphones’ impedance. Impedance is
Although this technique makes the amplifier
resistance to current flow (this is a simplified definition). The impedances
more reliable and stable, it virtually ensures
of headphones span a far wider range of values than do those of
that the device won’t sound good with most of

30  Ultimate Headphone Guide – Summer 2018


Fig. 9 A high-quality dedicated headphone amplifier.
(Courtesy Pass Labs).
Fig. 10 Unbalanced headphone drive
(Courtesy headphone.com)
Fig. 11 Balanced headphone drive
(Courtesy headphone.com)
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 AMPLIFIERS
Every 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
How to choose headphones
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 DRIVE
Most 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
Ultimate Headphone Guide – Summer 2018  31
How to choose headphones
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 PLAYERS
A 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 AUDIO
The 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
32  Ultimate Headphone Guide – Summer 2018
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)
Fig. 14 Some desktop
loudspeakers can
offer outstanding
performance.
(Courtesy Audience)
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
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Earphones & CIEMs
$199 AND BELOW
1MORE E1001 Triple-Driver
T
he 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
34  Ultimate Headphone Guide – Summer 2018
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 & PRICING
Type: Triple-driver universal-fit earphone
Driver complement: One dynamic woofer,
two balanced-armature tweeter/midranges
per earpiece
Frequency response: 20Hz–40kHz
Impedance: 32 ohms @ 1kHz
Sensitivity: 99dB SPL @ 1mW
Weight: 18g
Accessories: 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 guide
Price: $99/£99
 Earphones & CIEMs
$199 AND BELOW

FiiO F9 Pro

F
iiO 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 price (this is hardly fair, of course, but it’s a real testimony
silicone ear tips, and three pairs of compressible foam to the excellence on offer in the F9 Pro).
ear tips. These accessories would do justice to earphones A track that neatly reveals many of the F9 Pro’s strengths
several times the F9 Pro’s price, so they seem downright is “Nublado” from Será Una Noche’s eponymous album
sumptuous by the standards of this price class. [MA Recordings, 16/44.1]. “Nublado” is a deep, mysterious
From the beginning, the sheer quality of the F9 Pro’s Candombe (a dance form similar to a tango) that features
drive units shone through in a powerful way. Many guitar, cello, clarinet, bandoneon, and percussion—all
earphones in the sub-$200 range tend to sound at least captured in the richly reverberant confines of a small
somewhat congested, lacking in resolution, or dynamically church interior. The F9 Pro does a beautiful job of
constrained, but the F9 Pro proves the exception to the rule. delineating the voices of the individual instruments—
Starting from the bottom of the audio spectrum and especially the haunting and plaintive sound of the
working our way up, the bass of the F9 Pro is powerful bandoneon, the round and evocative voice of the clarinet,
(albeit slightly over-emphasized), but it also offers and the delicate shimmer of high percussion. If you listen
excellent low-frequency grip, transient attack, and pitch closely, the low percussion elements of the track sound
definition. The mids are smooth and suave, with good very clear but are just slightly over-powerful, although that
amounts of detail and an uncanny ability to capture subtle presentation actually complements the overall feel of the
sonic textures and spatial cues in the music. Finally, the track quite well.
highs are delicate, extended, and well delineated, but never FiiO’s F9 Pro is an excellent $140 earphone that invites
rough-edged, brittle, or raw sounding. Candidly, then, the comparisons with models selling for many multiples of its
biggest “problem” with the F9 Pro is that you may find you price. Though perhaps not the last word in strict neutrality
instinctively want to compare it to models several times its (owning to its touch of bass lift), the F9 Pro is nevertheless

Ultimate Headphone Guide – Summer 2018  35

Earphones & CIEMs
$199 AND BELOW

an unfailingly engaging, energetic, and musically evocative

performer. What’s more, its value for the money is off the
charts. Chris Martens
iBasso IT01
TECHNICAL SPECIFICATIONS
Type: Hybrid dynamics/dual balanced-armature-type
universal-fit earphone.
Driver complement: One dynamic bass driver, two
balanced‑armature-type midrange/treble drivers sourced
from Knowles
Frequency response: 15Hz–40kHz
Sensitivity: 106dB SPL/mW
Impedance: 28 ohms
Accessories: 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.

i
Weight: 21g
Price: $140 US, £139.99
Basso’s IT01 earphones retail for $99 and are the yin to
the iBasso DX200 digital audio player’s yang. The DX200
MANUFACTURER INFORMATION DAP is reviewed elsewhere in this edition of Ultimate
FiiO Electronics Technology Co., Ltd. Headphone Guide and when combined with the IT01
GuangZhou, China Postcode 510430 makes an impressive combination. However, as groovy
URL: www.fiio.net 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,
Summary iBasso intends the IT01 to make its own splash in the
Voicing: Fundamentally neutral with a noticeable degree of crowded world of $100 earphones.
mid-to-low bass emphasis. 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
Bass Upper bass Lower mids Mids Upper mids Presence Treble ultra thin 5μm sheets of carbon graphene material that,
(All ratings relative to comparably priced models.) at a microscopic level, are significantly stronger than steel.
The extreme thinness and strength of the diaphragm frees
Resolution/Focus: Soundstaging/Imaging: the IT01 driver from the need to be mechanically damped.
nnnnnnnnnn nnnnnnnnnn Relying instead on air-damping alone, the iBasso dynamic
Dynamics/Expression: Value: driver produces extremely low distortion. The second key
technology involves the driver motor’s extremely strong
nnnnnnnnnn nnnnnnnnnn customized magnets that are said to approach 1 Tesla
Pros of magnetic flux—an impressive figure of merit in any
llNotably high quality drivers make an obvious and headphone, but especially so in such a compact driver
welcome audible difference. assembly. The third key driver technology involves dual
llMids and highs are delicate and articulate, conveying Helmholtz resonators into which the drivers are loaded.
spatial information beautifully. These unique dual resonator units operate as a series of
llBass is somewhat emphasized, but offers great cylindrical neck and cavity connections and were designed
extension, transient attack, and pitch definition. to prohibit unwanted standing sound waves and thus
llSingle-ended and balanced cables are a welcome produce a clearer and more full-bodied sound.
high‑end touch at a not-so-high-end price. The IT01s can be purchased in two color options: one
Cons with a blue (left) and red (right) combo or a second option
llThe F9 Pro’s bass emphasis can make some tracks sound in all black. They come complete with a wide array of flexible
darker, more bottom heavy than they should. ear tips giving you several options to find a comfortable and
air-tight seal in your ear canals. A rather visually striking

36  Ultimate Headphone Guide – Summer 2018

 Earphones & CIEMs
$199 AND BELOW

TECHNICAL SPECIFICATIONS
Type: Dynamic driver universal-fit earphone
Driver complement: 10mm dynamic drivers with 5μm‑thick
multi-layer grapheme diaphragms, loaded into dual
Helmholtz enclosures
Frequency response: 10Hz–42kHz
Sensitivity: 108dB
Impedance: 16 ohms
Accessories: 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 INFORMATION
iBasso Audio
URL: www.iBasso.com
feature of the IT01s is a handmade braided 4-wire OFC cable,
UK DISTRIBUTOR INFORMATION
complete with MMCX earphone connectors. This handsome
DAD Ltd.
cable looks and feels like a high-quality speaker cable and
Musselburgh, EH21 6SY UK
has the added benefit of being designed to reduce any
Tel: +44 0131 665 8439
annoying microphonic transmittal of sound. I found that
the IT01s were initially a bit tricky to learn how to set in my US DISTRIBUTOR INFORMATION
ears so as to develop the proper seal, but once I got the Extreme Audio USA
hang of it, they proved to be a very comfortable earphone Tel: +1 (800) 978-2671
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 Summary
were well proportioned in relation to a spacious and Voicing: Neutral bass and treble with mildly elevated mids. 
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
Bass Upper bass Lower mids Mids Upper mids Presence Treble
for a pent up and congested sound. Apollo Sunshine’s
crown jewel “Phyliss” from their eponymous debut album (All ratings relative to comparably priced models.)

[spinART] is a sonic tour de force that shows what the

IT01 can do. The IT01s helped convey the artist’s intentions
Resolution/Focus: nnnnnnnnnn
by accurately allowing the track’s tempo to tell a story, nnnnnnnnnn Soundstaging/Imaging:
starting with a painfully slow bass line and then building Dynamics/Expression: nnnnnnnnnn
to a runaway freight train of fuzz guitar that concludes the
Pros
piece like a bomb exploding. Apollo Sunshine’s crescendo
llClassy looks.
of chaos can absolutely bury a weak earphone that can not
llOpen sound.
precisely organize sound, but the IT01 was able to keep the
llDetailed and dynamic sonic presentation.
complex wall of sound breathing and open in a manner on
a par with earphones in far higher price classes. Cons
For $99, the looks and build quality of the IT01 already llCan be tricky to adjust for a proper in-ear fit.
separate it from its competition, but when you take a listen llSome might consider the IT01’s slightly midrange-
you might agree these iBasso earphones are so good that forward presentation a bit bright.
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 During listening test the IT01s continually
value for your money no matter what playback device you surprised by opening up space in the music.
choose. Buzz Hughes

Ultimate Headphone Guide – Summer 2018  37

Earphones & CIEMs
$199 AND BELOW

Final E3000

F
or 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
listening experience that was in no way harsh
out of the gate. The stainless-steel finish is a bold choice on a low-cost
or fatiguing. The E3000s have a sensitivity of
earphone where most of us would expect the value to be focused inside
100db, so even if the E3000’s are riding solo
the housing. This point is key to Final’s philosophy that even its ‘budget’
with only your mobile device, they are so easy
products should be pleasant to look at and touch. As commanding as the
to drive that they can deliver you a high fidelity
housing finish is, the rest of the earphone assembly is designed to fall
fix anywhere. The E3000’s quality and attention
into the background. The E3000’s signal cable is a no frills black rubber
to detail will help redefine the performance
1.2m cord with a 3.5mm adapter. If anything, the plainness of the cord
standard for low-cost earphones. Buzz Hughes
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 TECHNICAL SPECIFICATIONS
onto the sound outlet tubes of the earphones. With the E3000, Final Type: Single dynamic driver equipped
has come up with a specially-shaped sound outlet tube with matching universal-fit earphone
E-type ear tips that together provide what the company calls a ‘swing-fit Drivers: 6.4mm dynamic
earpiece mechanism’. I found the E3000’s fit was the most comfortable Impedance: 16 ohms
I have experienced in the sub-£200 category. I was moving from album Sensitivity: 100dB/mw
to album without needing to take a break.
Accessories: Soft carry pouch, five pairs of Final
I did not have lofty sonic expectations for the Final E3000 going into
ear tips (sizes XXS, XS, S, M, and L), 1 pair of
my review. However, about 15 minutes into my first listening session, the
earhooks, manual and warranty card.
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 Weight: 14g
dynamic driver showed its ability to convey layers of detail without losing Price: £49/$54 US
the finesse of the music.
MANUFACTURER INFORMATION
I also auditioned Real Estate’s 2012 album Days [Domino]. Real Estate
Final/S’Next Co, Ltd.
has made their reputation on crafting a dreamy avalanche of sound that
URL: snext-final.com
hypnotizes and buries the listener alive, a perfect test for sonic resolution.
The E3000s knifed right through this anaesthetising wash of sound and US DISTRIBUTOR
separated out the players with such authority that I felt compelled to go RSM Communications
check the liner notes to re-associate players names with the instruments Tel: +1 800 506 0628
I was now hearing so clearly. Such detail enabled me to engage with the email: info@rsmcomm.com
music on a level I was unaccustomed to at this price point.
UK DISTRIBUTOR
Unfortunately, the E3000s lack a hard-driving bass element—a sonic
KS Distribution
characteristic some might find hard to overlook. However, I was able to
Tel: +44 (0) 1903 768 919
enhance usable bass response by pairing the E3000 earphones with my
URL: ksdistribution.co.uk
iFi iDAC2 headphone amp. The E3000s produced a tremendously detailed

38  Ultimate Headphone Guide – Summer 2018

 Earphones & CIEMs
$199 AND BELOW

PeriodicAudio Ti

I
n 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
If you like everything about the Ti’s except
they will not box your ears. The Ti also employs a large motor magnet
their sonic signature consider Periodic’s Mg or
assembly that, while not powerful enough to demagnetize your hotel
top-of-the-line Be. Both have far more neutral
room keys, does generate enough force that the earpieces sometimes
response curves.
exhibit attraction for each other.
But wouldn’t the world be boring if all
The Ti earphones arrive in an unadorned white box that holds a small
earphone manufacturers offered the exact
gold-tone screw-top metal container. Inside you’ll find the Ti’s along
same characteristic response curves? The
with three sizes of silicon, double flange, and foam ear tips along with
Ti purposely departs from a neutral voicing
a 3.5mm-to-6.35mm adapter and an airplane adapter.
curve in favor of one more geared to highlight
The Ti’s signal cables are not removable and do not provide
frequency extremes in the name of enhanced
smartphone controls. Even so, the cabling is long and light enough that
musical drama and excitement. So, if you seek
you can wear the Ti either as a straight drop from your ears or looped
earphones that follow the beat of a different
around your ears sports-style. Left/right channel markings leave much
bass player, Periodic’s Ti earphones might hit
to be desired as they take the form of muted red and black sound outlet
your personal sweet spot. Steven Stone
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, TECHNICAL SPECIFICATIONS
with enhanced bass and treble response. It tends to be preferred by Periodic Ti earphone
those who listen to electronica, dance, and bass-heavy music. Not our Type: Universal-fit earphone
most objectively accurate IEM, it is a lot of fun to listen to.” And, who Driver Complement: Dynamic driver with
am I to disagree? If your musical tastes lean toward genres that can use Titanium foil diaphragm
some bass and upper midrange emphasis, these earphones could be Frequency Response: 16Hz–30kHz
exactly what you want. Card-carrying audiophiles might reject products
Impedance: 32 ohms nominal
that stray from neutrality, but sonically these are exactly what they claim
to be—fun, not flat. Sensitivity: 96dB SPL at 1mW in ear
The Ti’ produce larger images than some earphones in their THD: Less than 1.5% THD at 1mW
class, but they do not offer as much image specificity or depth Price: $199 US
reproduction as top competitors. They also give a somewhat less
MANUFACTURER INFORMATION
three-dimensional presentation. One area where the Ti’s excelled,
Periodic Audio, Inc.
however, was in dynamic verve and transient speed. Even though their
Oxnard, CA 93035
response curve indicates mega midbass, on most of my preferred
Tel: +1 (307) 683-4151
music (which is not EDM or electronica) the Ti’s did not sound slow
URL: http://periodicaudio.com
or thick, merely “dramatic.”

Ultimate Headphone Guide – Summer 2018  39

Earphones & CIEMs
$200–$499

Cardas A8
30th Anniversary Edition
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

T
a smidgeon better performance (a smidgeon
his is one of those reviews that writes itself in seconds. Cardas’ being equivalent to 0.5  metric tads). It was
excellent A8 earphone (reviewed in Hi-Fi+ Issue 134) has now good then, and it’s just as good now. Highly
morphed into the Cardas A8 30th Anniversary earphone. recommended! Alan Sircom
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 TECHNICAL SPECIFICATIONS
full range Ultra Linear, Contour Field, Dual Magnet driver and as before Type: Universal-fit earphone with dynamic
uses those two magnets to reduce eddy currents. It also retains the drivers
same brass enclosure of the original A8. But where the previous model Drive Complement: One 10.85mm dynamic
was coated in blue rubberised ABS, this new model is all shiny black driver per earpiece
chrome, with the Cardas nautilus shell outline in white relief. It looks Frequency Response: Not specified
great in the flesh, even if it is a pig to photograph! Impedance: 32 Ohms
The biggest change is in the cables. Although these are still helical
Sensitivity: 110dB
wound, fabric-wrapped copper cables that remain strong, flexible,
and practically immune from conduction noise, there are two main Weight: 31.2 g including cable
differences. The trivial one is the move from bright blue to a subtler Price: £349 UK, $349 US
grey/black palette. The more significant change is the cable no
MANUFACTURER INFORMATION
longer terminates in a 3.5mm socket, allowing for a range of different
Cardas Audio
connectors as optional extras. You can no longer ‘hot swap’ between
URL: www.cardasaudio.com
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; UK DISTRIBUTOR
had PonoPlayer been a success, this might have been a more popular Audiofreaks
option, but instead it just left an extra break in the cable between ear Tel: +44(0) 208 948 4253
and player. You can still get A8 30th Anniversary versions in balanced URL: audiofreaks.co.uk
operation, but as a special order from the factory.

40  Ultimate Headphone Guide – Summer 2018


Final F7200
T
he 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
Earphones & CIEMs
$200–$499
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
Ultimate Headphone Guide – Summer 2018  41
Earphones & CIEMs
$200–$499

Sennheiser
TECHNICAL SPECIFICATIONS
Type: Single balanced armature-type driver equipped
Ambeo Smart

S
universal-fit earphone.
Driver complement: One full-range balanced armature-type
ennheiser’s Ambeo Smart Headset is an Apple
driver.
Lightning powered, App-augmented earphone with
Frequency response: 20Hz–40kHz microphones at the ears for noise cancellation or
Sensitivity: 106dB SPL/mW binaural recordings without the need for a dummy
Impedance: 42 ohms head. The former is relatively commonplace, but
Accessories: Molded silicone clamshell-type carry care the latter is unique, and truly outstanding.
with an internal cable spooling bobbin, a shock-protected The earphone is a single driver design, though driver size
inner chamber for the earphones, and a separate lower is not specified. Sonically, it’s on a par with Sennheiser’s
chamber for the amplifier plug; slip-on “stoppers” to help sub-$100 earphones, which means good mid-band and
properly position ear tips on the earpieces; slip-on flexible high- frequency clarity and detail, but with a light touch
ear hooks, five pairs of Final silicone ear tips (sizes XS, S, M, to the bass. Three sets of ear tips are supplied and a
L, and XL) and three pairs of compressible foam tips (sizes good seal makes a big difference to bass performance.
S, M, and L), user replaceable MMCX connector-equipped The Ambeo Smarts are fitted with permanently attached
signal cables with OFC silver-coated conductors. ear hooks that are bendy enough to be comfortable and
Weight: 23g ensure a consistent fit, but not rigid enough for sport use.
Price: $479 US
The right-hand signal cable comes with a small in-line
mono microphone for phone use.
MANUFACTURER INFORMATION However, behind those little silver grilles on the outside
Final/S’Next Co., Ltd. of the Ambeo Smarts is where the fun begins; the grilles hide
Kawasaki-shi, Kanagawa 212-0057 Japan a pair of omnidirectional microphones. These can be used
Tel: +81 44 789 5795 to enable an extremely potent noise cancellation system.
URL: www.s-next-final.com 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
Summary around you without needing to remove the earphones).
Transparent Hearing is not simply a mute button; it boosts
Voicing: Fundamentally neutral with a hint of midrange the midrange to accent articulation of voices. This is useful
forwardness. 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
Bass Upper bass Lower mids Mids Upper mids Presence Treble from almost no augmentation to a marked amplification—
(All ratings relative to comparably priced models.) great for spies, travel, and the hard of hearing.
But it’s the binaural recording part where the Ambeo
Resolution/Focus: Soundstaging/Imaging: Smart Headset lives up to that ‘smart’ part of its name.
nnnnnnnnnn nnnnnnnnnn Working with recording experts Apogee, Sennheiser included
Dynamics/Expression: Value: built-in A/D and D/A conversion, ‘Soft Limit’ gain control,
and microphone preamps in the stick-of-gum sized inline
nnnnnnnnnn nnnnnnnnnn control pod that connects the headset to your iDevice. There
Pros are two level settings, the automatic gain control is free from
llOne of the smallest, lightest, most comfortable obvious ‘pumping’ effects, and the microphone preamps
earphones on the market. are effectively noise free. Note, however, that because of
llNear neutral tonal balance with a trace of midrange the processing power this recording circuit draws, you don’t
forwardness. get to monitor the sounds you make as you record them.
llVery good clarity, articulation, and nuance. Using the Ambeo Smart Headset in a video context
llFine build quality, fit, and finish. using the standard iOS camera app requires learning
Cons to always point your head in the same direction as the
llNo L/R channel markings on the earpieces. smartphone. Similarly for audio-only field recordings (on
llNeeds a good amount of run-in time to sound its best. Apogee’s MetaRecorder app), remember that it’s best that
you remain still and quiet; although the Ambeo Smart is

42  Ultimate Headphone Guide – Summer 2018

 Earphones & CIEMs
$200–$499

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
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

TECHNICAL SPECIFICATIONS
Summary
Type: Single-driver in-ear earphone with noise cancellation Voicing: Clear treble/lacking low-end impact.
and binaural recording
Driver Complement: Single-driver earphones, single-capsule
omnidirectional microphones.
Bass Upper bass Lower mids Mids Upper mids Presence Treble
Frequency Response: 15Hz–22kHz
(All ratings relative to comparably priced models.)
Impedance: Not Stated
Recommended Power: Not Stated Resolution/Focus: Soundstaging/Imaging:
Weight: 34 grams nnnnnnnnnn nnnnnnnnnn
Included Cables: With in-line microphone and Ambeo Smart Dynamics/Expression: Value:
Headset controller. Apple Lightning connection (Android nnnnnnnnnn nnnnnnnnnn
version to follow), 1.16m.
Pros
Accessories: S/M/L ear-tips, drawstring bag, Quick Start guide
llBinaural recording without tears!
Price: $299.99 US, £259.99 UK
llOutstanding noise cancellation system.
MANUFACTURER INFORMATION llDetailed treble and accurate midrange.
Sennheiser llExcellent microphones and preamps.
Wedemark, Germany Cons
Tel: +49 (0) 5130 600 0 llProvided cables are non-detachable.
Tel: +1 (877) 736 6434  llCurrently Apple Lightning only.
URL: sennheiser.com llBass could be more forthright.

Ultimate Headphone Guide – Summer 2018  43

Earphones & CIEMs
$200–$499

NuForce Primo 8
SPECS & PRICING
Type: Three-way, quad-driver, phase-coherent
earphone
Driver complement: Two balanced-armature
bass, one balanced-armature midrange, and
one balanced-armature tweeter, connected via
a linear-phase, first-order, Butterworth-type
crossover
Frequency response: 18Hz–22kHz
Sensitivity: 118dB
Impedance: 38 ohms
Weight: 19.3g
Price: $499/£299

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

R
of its own product category, meaning this is no
ecognizing that a growing number of music lovers are choosing
ordinary earphone.
earphone- and headphone-based personal-audio rigs as their
When I say that the Primo 8 offers neutral
hi-fi systems of choice, the California firm NuForce decided the
tonal balance, I mean that it offers smooth, even
time was right to release a new, premium-priced, ultra-high-
frequency response with excellent extension at
performance, universal-fit earphone called the Primo 8. From
both the high and low extremes. This is, first
the outset, NuForce envisioned the Primo 8 as a groundbreaking design
and foremost, an accurate transducer whose
that, it hoped, would redefine the state of the earphone-making art.
primary emphasis is on showing you exactly
The Primo 8 is a three-way, universal-fit earphone based on a
how your favorite recordings sound, with as
driver array comprising a quartet of balanced-armature drivers (one
few colorations as possible.
high-frequency, one midrange, and a pair of bass). While quad-driver-
Next, while today’s better high-end universal-
equipped earphones are relatively uncommon, at least a few competitors
fit earphones are very good in focus, top-tier
offer similar designs. What sets the Primo 8 apart and makes it truly
full-sized headphones are better still. The
unique is its claim to be the world’s first—and thus far only—earphone
Primo 8, however, proves a dramatic exception
to use a proprietary linear-phase crossover network, said to give the
to this rule in that its powers of resolution and
earphone perfectly phase-coherent response from the bottom to the
imaging quite seriously invite comparisons to
top of its operating range.
extremely expensive headphones.
User comfort was also a very high priority at NuForce, so the Primo 8
Finally, we come to what may well be
features relatively compact, oblong earpieces and an elaborate array
the Primo 8’s signature characteristic: its
of eartips. A dedicated (but detachable) high-end signal cable is also
overarching coherency. Coherency involves
part of the package.
knitting together various elements of sound
Obviously, the Primo 8 appears to be “dressed for success,” but how
to form a believable whole, and the Primo 8s
does it sound? To my ears, it offers three defining sonic characteristics:
are the most coherent-sounding universal-fit
neutral tonal balance, focus, and coherency. Indeed, the performance
earphones I’ve heard thus far.
of the Primo 8 is so compelling that these earphones not only fare well
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
We come to what may well be the Primo 8’s signature closer to the music we love best, which is all
characteristic: its overarching coherency one can ask of any fine audio component.
Chris Martens

44  Ultimate Headphone Guide – Summer 2018

$200–$499
Earphones & CIEMs
$200–$499

Etymotic Research
ER4SR & ER4XR

F Image
or 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
needed
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). not in a loose or overblown way. Both new
The ER4SR and XR both use a single full-range balanced-armature driver. models deliver larger and more precise sound
It can be challenging to make such drivers with even response across their stages and sharper imaging than the original.
entire range, but Etymotic addresses the problem by creating a tuned The SR and XRs provide a between-the-ears
enclosure with a specific volume, shape, and composition to minimize peaks sound stage that places each instrument with
and bumps in the frequency curve. Even the replaceable ACCU-Filters at the precision.
front of the ER4’s barrels do double duty, protecting the ER4’s innards from How listeners react to the ER4SR and XR has
moisture and debris, while serving as a high-frequency smoothing filter. everything to do with fit. Those comfortable
The ER4SR’s characteristic response curve was developed through with the ER4’s deep-insertion fit will be
in-house proprietary testing done in the late 1970s and further refined rewarded with balanced frequency response
in 1987. The ER4SR and XR are designed for a deep-insertion fit, which (with or without some bass lift), precise
necessitates an intentional boost at 2.7kHz and 5kHz (this recreates the imaging, and excellent depth recreation, plus
boost that the mouth of the ear canal would normally supply). category-leading isolation levels. Steven Stone
The test sheets accompanying the Etymotic earphones revealed that the
ER4SR had the best channel balance, but the ER4XR had the least amount
TECHNICAL SPECIFICATIONS
of total harmonic distortion, with one driver producing an astonishingly
Type: Universal-fit earphone
low .15% while one of the SR drivers had the highest THD at .81%.
Driver Complement: Single balanced armature-
One fundamental earphone truth is that if you can’t get the right
type driver
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 Frequency Response: 20Hz–16kHz “with 92%
earphones. Some audiophiles embrace the deep-insertion fit, while response accuracy”
others find it uncomfortable no matter what size or shape of ear tip Impedance: 45 ohms
they employ. Recognizing this, Etymotic offers compressible-foam tips Sensitivity: 98dB with 100 mV drive, 104dB with
for the ER4, which typically increase both comfort and noise isolation. 200 mV drive
Even so, the foam tips work better for some listeners than others (owing Weight: Not specified
to variations in ear shape and size). When fitted with triple-flange tips Price: $349 US, £359
the ER4SR and XR offered probably the best noise isolation of any
earphones, including custom-fit in-ear monitors, that I’ve experienced. MANUFACTURER INFORMATION
According to Etymotic the ER4SR and ER4XR have identical response Etymotic Research, Inc.
above about 200Hz. Below 200Hz the ER4SRs are flat until about 80Hz, Elk Grove Village, IL 60007 USA
with a 1–2dB roll-off by 20Hz. The ER4XRs are flat until about 150Hz, with Tel: +1 (888) 389-6684
a 3–4dB rise in their bass response at 25Hz. Whichever seems more URL: www.etymotic.com
correct will depend on your personal preferences and musical choices. Etymotic Direct UK
My own tastes pointed me more toward the ER4XR. London CR4 3TD United Kingdom
In practice, the ER4SR’s tonal balance is similar to that of the original URL: www.etymoticdirect.co.uk
ER4, whereas the ER4XR delivers some additional bass energy, though

46  Ultimate Headphone Guide – Summer 2018

 Earphones & CIEMs
$500–$999

Audeze iSINE20

A
udeze 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 Ah, but run the iSINE20 earphones from
trace widths to equalize drive forces across the working surface of the an iDevice with the Cipher cable in play, and
planar diaphragms. Fazor elements act as waveguides for extended high- the earphone’s voicing changes—in subtle
frequency response. Finally, the iSINE20 features light, responsive “nano- but pervasive ways—for the better. The net
scale diaphragms” made of a film-type aerospace material thinner than effect is of hearing the iSINE20 perfected, with
a human hair. voicing that is more than a little reminiscent of
The iSINE20 ships with an extensive set of accessories including Audeze’s well-loved LCD-3 headphones.
six pairs of silicone eartips, three pairs of ear hooks, and two pairs Audeze’s iSINE20 is a great mid-priced
of “earlocks.” Also included are two detachable 1.5m signal cables: a earphone, and one that’s capable of redefining
standard cable fitted with a 3.5mm mini-plug, and an iPod/iPhone/iPad- our expectations for what products of this type
compatible Cipher cable terminated with a Lightning-type plug. (The and price can do. Chris Martens
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
SPECS & PRICING
an integrated DSP engine. Importantly, the DSP engine applies Audeze-
Type: Semi-open-back, planar-magnetic
developed correction curves that help give the iSINE20 a subtly more
universal-fit earphone
full-bodied, weighty, and well-rounded voice.)
Driver complement: 30mm planar-magnetic
Unlike other in-ears, the iSINE20 has much the same wide-open,
drivers with Fluxor magnets, Uniforce voice coil,
spacious, airy, and transparent presentation of a top-shelf, full-sized,
open-back planar-magnetic headphone. In short, it sounds a lot like and Fazor waveguide control elements
Audeze’s upper-tier models, but in a smaller, lighter, more comfortable, Frequency response: 10Hz–50kHz
and far more affordable package. Impedance: 26 ohms
If you run the iSINE20 earphones as passive devices powered by a Sensitivity: Not specified, but maximum SPL is
high-quality amp/DAC, you’ll find the earphones offer excellent resolution rated at >120 dB while maximum power handling
and definition, lightning-fast transient speed, and a somewhat midrange- is rated at 3 watts
forward sound. Top-end extension is very good, while bass extension and Weight: 11g per side
pitch definition are also very fine. The catch, however, is that the bass is Dimensions: 31mm × 35mm
perhaps a little too lightly weighted relative to the more prominent mids,
Price: $599/£549
while the upper midrange and highs show just a hint of sonic “dryness.”

Ultimate Headphone Guide – Summer 2018  47

Earphones & CIEMs
$500–$999
Noble Audio Sage
I
f 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
48  Ultimate Headphone Guide – Summer 2018
The Sage neatly splits the difference
between strict neutrality and the desirable
and engaging qualities of low-end warmth,
weight, and impact.
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
 Earphones & CIEMs
$500–$999

TECHNICAL SPECIFICATIONS
Type: Dual balanced armature-type driver equipped
universal-fit earphone
Sennheiser
Driver 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
IE800 S
port on the bass driver delivers increased low-end extension
with more texture with a slight lift in overall bass response.”
Frequency response: Not specified
Sensitivity: “Sensitive enough for use with smartphones as
well as portable amps and DAPs
Impedance: Not specified
Accessories: 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 specified
Price: $599 US, £549

MANUFACTURER INFORMATION
Noble Audio
Whitehouse, TX 78791 USA
Tel: +1 (805) 886-5255
URL: www.nobleaudio.com

Summary
Voicing: Fundamentally neutral with a slight degree of
bass emphasis.

Bass Upper bass Lower mids Mids Upper mids Presence Treble

(All ratings relative to comparably priced models.)

Resolution/Focus: Soundstaging/Imaging:

B
nnnnnnnnnn nnnnnnnnnn
Dynamics/Expression: Value: ack when the original Sennheiser IE800 was
launched in 2013, the idea of a $1000 earphone
nnnnnnnnnn nnnnnnnnnn was almost unheard of. Today, its IE800 S younger
Pros sibling seems reasonably priced compared to
llVery high-quality Noble/Knowles drivers offer superb some of the Unobtanium in the universal-fit
resolution of textural and transient detail. earphone world. The good news for Sennheiser is that
llUncommonly engaging sonic presentation. some have started to turn against CIEMs and where a top-
llSounds more expensive than it is. end universal-fit earphone was often dismissed unless
llSlight hint of bass lift complements many types of music. it was hand-made for your ears, now there is greater
Cons acceptance of such designs… if they live up to the hype!
llUses old-school two-pin signal cable connectors where The IE800 S seemingly shares several things in common
newer MMCX connectors would be preferable. with its older brother, which is still listed at $800. Both use
llSignal cables feature pre-formed, curved, over-the-ear a single 7mm XWB (‘eXtremely Wide Bandwidth’) dynamic
strain reliefs that are slightly too stiff and that tend to driver, both sit in an attenuated, dual chamber absorber
dislodge the earpieces over time. (D2CA) inside the ceramic ear piece, and both use a custom
silicone ear tip with an additional mesh alongside the one

Ultimate Headphone Guide – Summer 2018  49

Earphones & CIEMs
$500–$999

right fit and instead you have a powerful, foot-tappingly

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.
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 SPECIFICATIONS
Type: Dynamic, closed universal fit in-ear monitor with
in the driver cone itself. According to Sennheiser, the main cable options
change between IE800 and IE800 S is a reworking of that Driver Complement: 7mm dynamic linear-phase driver with
7mm driver, and aside from cosmetics (the ear piece is extremely wide bandwidth (XWB)
now matte black instead of high gloss), the main changes Frequency Response: 5Hz–46.5kHz
involve the included accessories. The IE800 S comes with Impedance: 16Ω
with three pairs each of silicone and Comply custom ear
Recommended Power: Not Stated
tips, plus three different sets of cables: one each with
4.4mm Pentaconn and 2.5mm balanced connectors, plus Weight: approx. 8g (without cable)
one with the standard 3.5mm jack. That’s it! Included Cables: Three 2.5m female to jack connector
The change in cable design means the IE800 S has cables: one terminating in 2.5mm balanced, one 3.5mm
a short set of cables running from each ear piece to a stereo, one 4.4mm Pentaconn, all 1m
Y-connector with a male 3.5mm jack, while the three cables Accessories: 2x S/M/L ear-tips (silicone, and Comply),
each run to almost a metre and have a simple female 2.5mm pleather case, clip, cleaning cloth, manual
socket at one end and whichever jack plug connector you Price: $999.95 US, £869.99 UK
select at the other. There’s also a little clip, the kind used to
MANUFACTURER INFORMATION
hold lavaliere microphones in place. The cable is a flexible
Sennheiser
low-tangle design in a rubberised sleeve and strain relief.
Wedemark, Germany
This arrangement is somewhat microphonic, especially at
Tel: +49 (0) 5130 6000
the upper end (from the Y connector to the ear pieces).
Tel: +1 (877) 736 6434 
Nevertheless, the additional connector in the cable
URL: sennheiser.com
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 Summary
than simply that of the amps in a smartphone, it’s more
Voicing: Exceptionally natural treble with effortless
than efficient enough to be used in practically any context.
deep bass
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
Bass Upper bass Lower mids Mids Upper mids Presence Treble
convenient Every Day Carry option.
(All ratings relative to comparably priced models.)
The IE800 S is the product of a company that has
nothing to prove. That could spell disaster, making a
Resolution/Focus: Soundstaging/Imaging:
mediocre product that is more an exercise in box-ticking
than anything substantive in performance terms. Instead, nnnnnnnnnn nnnnnnnnnn
the IE800 S has a rare and very sophisticated top-end Dynamics/Expression: Value:
refinement and grace, with midrange and treble that are nnnnnnnnnn nnnnnnnnnn
at once highly revealing, yet also smooth and enjoyable.
Pros
The surprising part is that the IE800 S manages to make
llClass-leading natural sounding treble.
many similarly detailed models sound ‘etched’ and brash
llExtremely detailed in treble and midrange.
in the treble, yet it wants for nothing at the top end. This
llVery light for long-term listening.
makes for an extraordinarily wide and out-of-the-head
llGood range of cable options.
soundstage, too.
How the lower midrange and the bass work depends Cons
entirely on how well you select your ear tips. Get the llCables can conduct noise.
process wrong and you hear good, but almost tuneless llCustom ear tips.
and listless bass with limited dynamic range. Get the llGood bass requires careful ear tip selection.

50  Ultimate Headphone Guide – Summer 2018


Ultimate Ears Pro Reference
Remastered
S
ince 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.
Earphones & CIEMs
$500–$999
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 & PRICING
Input sensitivity: 100dB at 1kHz, 1mW
Frequency response: 5Hz to 25kHz
Noise isolation: -26dB
Impedance: 35 ohms at 1kHz
Warranty: 1 year
Price: $999/from £870
Ultimate Headphone Guide – Summer 2018  51

Audeze LCDi4
E
ven 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
Earphones & CIEMs
EXOTICA ($1000 AND UP)
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
SPECS & PRICING
Type: In-ear, universal fit
Transducer type: Planar-magnetic (30mm),
semi-open
Sensitivity: 105dB/1mW
Frequency response: 5Hz–50kHz
THD: <0.2%, full spectrum @ 100dB
Impedance: 35 ohms +/-10%
Maximum power handling: 3W
Accessories included: 1.2m OCC silver-plated,
premium braided cable, Audeze Groovy and
smooth ear-tips in three sizes, ear hooks
(two sizes), leather case
Weight: 12g per side
Price: $2495/£TBA
Ultimate Headphone Guide – Summer 2018  53
Earphones & CIEMs
EXOTICA ($1000 AND UP)
Campfire Audio Andromeda
C
ampfire 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
54  Ultimate Headphone Guide – Summer 2018
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
EXOTICA ($1000 AND UP)

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
EarSonics
EM10
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 SPECIFICATIONS
Type: 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–28kHz
Sensitivity: 115dB SPL/mW
Impedance: 12.8 ohms
Accessories: Leather hard-shell case, MMCX signal cables
with silver-plated pure copper conductors, SPINFIT ear tips

T
(sizes XS, S, M, L), Campfire ear tips (sizes S, M, L), Silicone
ear tips (sizes S, M, L), cleaning tool, Campfire lapel pin. he EarSonics EM10 is EarSonics’ new flagship in-ear
Price: $1099 US model. Unlike the EM9, which I have also reviewed,
the EM10 is a custom-fit in-ear monitor instead of a
MANUFACTURER INFORMATION universal-fit earphone. It shares many similarities
Campfire Audio with the EM9, but has two major differences. First,
Portland, OR 97214 USA as just mentioned, the EM10 is a custom-fit product, which
Tel: +1 (503) 853-8606, +1 (855) 204-1492 expands not only its potential for a perfect fit, but also the
URL: www.campfireaudio.com 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
Summary a new owner. The second major difference between the
EM10 and the EM9 is that the EM10 has one additional
Voicing: Fundamentally neutral (perhaps with a barely woofer. Instead of the EM-9’s single bass, four midrange,
discernible touch of bass lift). 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
Bass Upper bass Lower mids Mids Upper mids Presence Treble exemplary, inquiring minds might wonder if the additional
(All ratings relative to comparably priced models.) woofer would prove to be a good thing.
EarSonics contracts Knowles to make custom balanced
Resolution/Focus: Soundstaging/Imaging: armatures used exclusively by EarSonics. No one else has
nnnnnnnnnn nnnnnnnnnn them. The EM10 is a triple bore design, with three separate
Dynamics/Expression: Value: tubes in its shell that carry the sound from the throats of
the balanced armature drivers to the EM10 tips.
nnnnnnnnnn nnnnnnnnnn Speaking of tips, this is a good place to explain that
Pros the EM10 sample sent to me for review was a universal-fit
llBuild quality. version. And while this made for a more even playing field
llNearly ideal neutral voicing. when compared to the EM9, it means that the fit was not
llVery good expressiveness. as individualized as I would have gotten from an actual,
llPlenty of resolution and nuance, especially for fitted by an audiologist, pair. I used the same type of tips
spatial cues. on the EM10 as I had been using with a pair of reference
Cons EM9, which were the Comply Foam Ts-200 medium, which
llSomewhat angular earpiece shape might not suit all are more rounded and shorter than the T-200 tips. One
listeners. detail that was critical—I needed to push back the Comply
Foam tips, so they were behind the lip of the front of the

Ultimate Headphone Guide – Summer 2018  55

Earphones & CIEMs
EXOTICA ($1000 AND UP)

as the soundstage created by some CIEMs, such as the

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
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 SPECIFICATIONS Summary

Type: Balanced armature, custom In Ear monitor
Voicing: Fundamentally neutral.
Drivers: 10 balanced armature-type drivers, HQ 3-way
passive crossover with impedance corrector
Frequency Response: 10Hz–20kHz Bass Upper bass Lower mids Mids Upper mids Presence Treble
Impedance: 26.6 ohms (All ratings relative to comparably priced models.)
Sensitivity: 119dB/1mW
Weight: Not listed, but similar to EM9 Resolution/Focus: nnnnnnnnnn
Price: €1990 nnnnnnnnnn Soundstaging/Imaging:

MANUFACTURER INFORMATION
Dynamics/Expression: nnnnnnnnnn
EarSonics SAS Pros
34160 Castries, France llCustom fit.
Tel: +33 (0) 467 72 22 12 llTight three-dimensional imaging.
URL: www.earsonics.com llExtended but controlled bass response.
llProprietary in-house manufactured balanced
US DISTRIBUTOR INFORMATION
armature drivers.
Audioplus Services
Tel: +1 (800) 663-9352 Cons
URL: www.audioplusservices.com llRequires custom molds done by an audiologist.
llTurn-around time after ear molds will be at least
two weeks.
llCustom fit means a re-shell will be needed if they
The EM10’s overall frequency response was are sold.
smooth with no noticeable peakiness.”

56  Ultimate Headphone Guide – Summer 2018


Westone W80
L
ong-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
Earphones & CIEMs
EXOTICA ($1000 AND UP)
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 & PRICING
Type: Multi-driver, universal-fit earphone
Driver complement: Eight balanced-armature
Frequency response: 5Hz–22kHz
Impedance: 5 ohms @ 1kHz
Sensitivity: 111dB SPL @ 1mW
Accessories: 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  cloth
Warranty: Two years
Weight: Not specified
Price: $1499/£1199
Ultimate Headphone Guide – Summer 2018  57
 Headphones
$499 AND BELOW

AudioQuest NightOwl

B
est known for high-performance audio cables, of the Hawks. But otherwise, the two have so
AudioQuest has recently diversified its range significantly, much in common, you can tell they are siblings.
to include headphones. The company first introduced They both have that same powerful bass
the NightHawk, followed by the NightHawk Carbon. underpinning, and the same tonal darkness.
The NightOwl, its newest offering, is a sealed Finally, the NightOwl is incredibly easy to
version of the open-backed NightHawk. The name is apt drive. This is not the kind of product that
because NightOwl doesn’t leak sound into the environment. demands a home rig or a powerful amp on
The NightOwl’s ear cups are made of ‘Liquid Wood’, an the back of a DAP. Run the NightOwls from
eco-friendly sustainable material that combines real tree a phone and the headphones are driven
with reclaimed plant fibre. The NightOwl ear cup housings effortlessly. There is another bonus to this:
are shaped like human ears, making for a comfortable fit. that dark sound limits the ill-effects of the
Inside, the earcup sports a series of radial ribs, the result compressed signals commonly streamed to
of Finite Element Analysis to find their optimum size, smartphones. NightOwl’s top-to-bottom
number, and placement. detail is extremely clean and clear, but
There are two sets of ear cups—Protein Leather that tonal darkness acts to counter the
for the best isolation and Ultra Suede for longer sound of data and signal compression.
listening—these are supplied in the textured Like the NightHawk before it, the
pleather case. NightOwl is technically innovative,
Earcups aside, the headphones are extremely beautifully made, and engaging to
similar in design and execution. The minimal, but listen through. Its ergonomic design
effective, single bar headphone with a stretchy offers excellent long-term comfort,
pleather headband makes the headphone light and meaning listeners can wear the
comfortable; these attach to the ear-cups through a headphones for hours on end without
microphone shock-mount. Both the supplied cables and a hint of fatigue. Highly Recommended.
the inside of the earpads are clearly marked for left and right Alan Sircom
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
TECHNICAL SPECIFICATIONS
at the source end is gently curved, too, making it equally suitable for
Type: Circumaural, dynamic driver-equipped
devices that prefer straight or 90° insertion.
headphone.
AudioQuest fits the NightOwl with a 50mm, high-excursion dynamic
Driver complement: 50mm dynamic driver with
driver equipped with a biocellulose diaphragm and a compliant rubber
biocellulose diaphragm and split-gap motor
surround. This provides a combination of rigidity and self-damping said
assembly
to offer a more “accurate and musically pleasing” sound than that of
today’s more common Mylar (or metal) diaphragms. Frequency response: Not specified
AudioQuest first recommended listeners give the NightHawk a 50+ Impedance: 25 ohms
hours break-in, but that has been revised up to 150 hours before critical Sensitivity: 100dB/mW
listening commences. Accessories: one 8-foot audiophile signal cable
The NightOwl is dark sounding. Its treble is the opposite of ‘exposed’ with solid Perfect Surface Copper+ conductors
and no matter how easy and satisfying it is to listen to, if that brooding in a Symmetric Star-Quad configuration,
midrange and top are discomforting to the listener, no amount of run- foamed polyethylene dielectric, AQ noise
in will overcome that. But, the more you listen, the more you listen into dissipations system and direct-silver plated
the music. red copper adapter plugs; one highly flexible
I stuck on ‘Take the Night Off’ by Laura Marling from Once I Was an rugged-use signal cable with gold-plated
Eagle [Virgin] because it seems so appropriate and was rewarded with adapter plugs; one heavily padded leatherette-
an outstanding rendition of female voice and guitar. Her Martin D28 can covered carry case; manual.
sometimes almost sound like a dulcimer thanks to the recording, but Weight: 346g
here it had all the richness of tone and resonance you should expect
Price: £349, $399 US
from the guitar. Yes, it was still dark: her voice was open and extended
but not screechy, not suddenly baritone. MANUFACTURER INFORMATION
What’s strange about the comparison between ‘Hawk and ‘Owl is AudioQuest
there is little to compare. The two headphones have almost the same Tel: +31 165 541404
voice and degree of openness. The closed ‘Owls never sound ‘shut in’ or URL: www.audioquest.com
oppressive, even if they don’t have quite the same ‘illuminated’ quality

Ultimate Headphone Guide – Summer 2018  59

Headphones
$499 AND BELOW

1MORE Triple Driver Over-Ear

1
MORE 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 in. The cable is removable and uses the same connection
than an over-ear design, so the earpads will rest on, not hardware as the Sennheiser HD-700.
around, your ears. But as with an over-ear design, the The overall harmonic balance of the 1MORE Triple Driver
Triple Drivers still need to make a good seal on your ears is v-shaped—there is noticeable boost of not only the mid
for proper frequency response, which they did. The pivot and low bass, but also a point in the upper midrange and
points on the headband and enclosure of Triple Drivers lower treble that is emphasized. When I listened to pop
are well designed to provide a comfortable fit for any head music featuring a female vocalist, such as Dua Lipa’s “New
shape. Side-pressure was sufficient to feel secure without Rules” [Dua Lipa Deluxe, Warner Bros.], the Triple Drivers
creating a vise-grip around your head. I ended up using tended to “lighten” vocal timbres, making voices sound
the Triple drivers with their headband extensions retracted, thinner and lighter. On the other end of the spectrum,
but for those individuals with big heads or lots of hair the Triple Driver’s bass boost makes all low-frequency
the headband has almost two inches of extension built information more prominent. Listen to any video program

60  Ultimate Headphone Guide – Summer 2018

 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.
Beats Studio3
Unlike many headphones, even efficient ones, the

B
1MORE Triple Drivers do not require separate or even
moderately powerful amplifiers to power them adequately. eats has a rather dubious reputation for harmonic
The 1MORE’s built-in bass punch means even an iPhone neutrality (or lack thereof ) among long-time
playing Tidal can sound dynamic. While an iPhone doesn’t audiophiles due primarily to the products
generate as large a soundstage as a high-quality standalone produced during the first couple of years when it
headphone amplifier/DAC like Mytek’s Manhattan II, it does was a Monster-owned entity. That was then. If you
deliver acceptable sonics for portable use. are in the market for a wireless Bluetooth headphone with
If you are looking for a well-made, cleverly designed, noise canceling, enjoy a harmonically natural but energetic
lively sounding on-ear headphone for use on the road sound signature, and use Apple-based products, you would
or at home, the 1MORE Triple Driver might just be ideal. be doing yourself a grave disservice to pass over the Beats
Steven Stone Studio3 Wireless just because the early Beats were not any
audiophile’s cup of tea.
The Studio3 Wireless, even with active noise cancelling
TECHNICAL SPECIFICATIONS
(ANC) activated, delivers a balanced and far from boring
Type: Three driver, hybrid dynamic/ceramic driver-equipped
musical experience. The Studio3 offers 22 hours of battery
on-ear headphone with passive bass radiator.
life when used wirelessly with ANC employed, plus the ability
Driver complement: Ceramic tweeter, graphene mid/bass
to “fast fuel” so that a 10-minute charge returns three hours
driver, passive bass reflector.
of playing time to an exhausted battery. The Beats battery
Frequency Response: 20Hz–40kHz life specifications mean the Studio3 should serve well as
Impedance: 32 ohms a road-warrior’s go-to headphones. For extremely long
Sensitivity: 104dB sojourns away from power you can tether the Studio3 to
Connector: 3.5mm gold plated your player or smartphone via the supplied analog cable
Weight: 293 grams and get 40 hours of ANC-enabled playing time, which should
Price: $249 US, £259 UK
be long enough to get you wherever you may be going.
Other ergonomic niceties include the ability, once paired
MANUFACTURER INFORMATION to an iPhone, to take calls, control music, and activate Siri.
1MORE UK 1MORE USA With my iPhone 6SE, the Studio3’s paired the first time I
Tel: +44 (0) 203 637 9650 Tel: +1 855-551-6673 tried. Other functions performed as advertised when I went
URL: 1moreuk.com URL: usa.1more.com 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
Summary glasses on the Studio3’s thick earpads insured a complete
seal around my ears. They are definitely a closed rather
Voicing: Elevated bass and highs with neutral mids.
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
Bass Upper bass Lower mids Mids Upper mids Presence Treble your own little sonic world. And, yes, like every ANC circuit
(All ratings relative to comparably priced headphones.) I’ve heard recently, there is a slight continuous hiss when
there was nothing playing.
Resolution/Focus: Soundstaging/Imaging: For me the biggest surprise was the Studio3’s sound.
nnnnnnnnnn nnnnnnnnnn Unlike Beats of yore the harmonic balance was far
Dynamics/Expression: Value: more neutral, still a bit warm, but in a friendly way that
complements all music rather than favoring bass-heavy
nnnnnnnnnn nnnnnnnnnn stuff. The sound stage isn’t huge, but it is large enough
Pros so that on well-recorded material the image placement
llSturdy, well made and well designed. remains uncongested. And the bass is there when the
llCompact—folds for travel. music demands it—on Arcade Fire’s “Everything Now” via
llEfficient and sensitive. Tidal the bass was bouncy, clean, and fast.
Cons For best performance I recommend using the Studio3
llOn-ear fit can be uncomfortable for some wearers. via its wired connection. The Bluetooth 4.1 interface isn’t
llCan sound harsh on poorly recorded music. the last word in transparency. And while the Apple W1 chip
llSpectacular rather than neutral sound. is a wonder of efficiency, the addition of a better Bluetooth
codex such as AptX or AptX HD would have upped the

Ultimate Headphone Guide – Summer 2018  61

Headphones
$499 AND BELOW

headphone’s sonic game. When wired the Studio3’s had Studio3 Wireless should not be struck off your list if you
more precise imaging and faster, cleaner, bass. Hooking need a headphone that can handle almost every sonic
the Studio3 to a serious portable player, such as the contingency that might arise, even while you are out and
Astell&Kern KANN, upped the Studio 3’s sonics even more. about, visiting grandma. Steven Stone
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 Summary
their smart phone (wirelessly) and their premium portable
Voicing: Fundamentally neutral
player (wired).
I’ll admit that I did not have great expectations for the
Beats Studio3 Wireless, but it proved to be an ergonomically
Bass Upper bass Lower mids Mids Upper mids Presence Treble
elegant (if perhaps Apple-centric), legitimate headphone
(All ratings relative to comparably priced headphones.)
that gets right the vast majority of physical, sonic, and
ergonomic details that make for a good headphone.
Resolution/Focus: Soundstaging/Imaging:
Even if urban pop has never been your thing, the Beats
nnnnnnnnnn nnnnnnnnnn
Dynamics/Expression:
TECHNICAL SPECIFICATIONS nnnnnnnnnn
Type: Dynamic, closed-back headphone
Pros
Driver Complement: Not specified
llNatural/neutral tonal balance.
Frequency Response: Not specified llExtremely comfortable.
Impedance: Not specified ll22 hours of active battery life with Apple devices.
Sensitivity: Not specified llClever folding design.
Connector: Bluetooth 4.1, stereo mini plug Cons
Weight: 9.17 oz./260g llNoise cancelling circuitry has noticeable hiss
Price: $349.95 US, £299.95 when active.
llNo specifications for frequency response, sensitivity,
MANUFACTURER INFORMATION impedance, or driver type.
Beats by Dre llBlack Plastic used throughout outer shells.
URL: www.beatsbydre.com llApple-centric design.

62  Ultimate Headphone Guide – Summer 2018

 The Multi-Award-Winning Sonoma™ Model One

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

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

AUDITION THE SONOMA ™ MODEL ONE ELECTROSTATIC HEADPHONE SYSTEM TODAY.

TO FIND AN AUTHORISED DISTRIBUTOR / DEALER NEAR YOU, VISIT WWW.SONOMAACOUSTICS.COM
Headphones
$499 AND BELOW
Beyerdynamic DT-990
D
uring 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
64  Ultimate Headphone Guide – Summer 2018
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 & PRICING
Type: Open-back dynamic
Impedance: 600 ohms (reviewed); 250 ohms and
32 ohms also available
Sensitivity: 96dB at 1mW
Weight: 290g
Price: $299/£120, Pro/250 ohms Pro

Bose QuietComfort 35 II
T
he 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
Headphones
$499 AND BELOW
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
Ultimate Headphone Guide – Summer 2018  65
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,
Dekoni Blue
especially when connected via Bluetooth with active noise

W
cancellation switched on. The noise-cancelling function
did alter the headphone’s frequency response. When it was ho doesn’t love a good synergy story—a
activated there was less lower midrange energy and the story of two renowned audio manufacturers
sound was slightly harmonically thinner, especially when combining forces to make something
the wired connection was used. In Bluetooth mode this greater than the sum of its parts? The Blue
harmonic shift was almost unnoticeable. headphone marks headphone accessories
All headphones are tools: Some are designed for use in specialist Dekoni’s debut into the headphone market
studios while others are for connecting to a smartphone. and the firm astutely enlisted the help of Fostex behind
The Bose QuietComfort 35 II is successfully designed to be the scenes to add expertise. The Dekoni Blue is happy
one of the latter. Steven Stone 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
TECHNICAL SPECIFICATIONS
respect sonically.
Type: Dynamic, closed-back, noise canceling,
Until now, Dekoni has been best known for its
Bluetooth headphone
aftermarket ear tips and ear pads that offer what many
Drivers: Not specified
consider to be best-in-class quality, comfort, and sound
Frequency Response: Not specified isolation. Accordingly, Dekoni developed a new hybrid
Impedance: Not specified ear pad for the Blue headphone that features a sound
Sensitivity: Not specified isolating sheepskin outer ring, an ultra soft velour face,
Connector: Bluetooth and wired stereo mini plug and fenestrated sheepskin interior. As for the rest of the
Weight: 8.3 oz headphone, the Dekoni Blue is a planar magnetic, semi-
Price: $349.95, £329.95
closed back headphone that borrows much from Fostex’s
T50RP MKIII starting with its retro shape and using Fostex’s
MANUFACTURER INFORMATION proprietary 38mm orthodynamic driver units.
Bose Corporation The Fostex drivers incorporate “regular phase”
Framingham, MA USA technology and are said to achieve the comparatively sharp,
Tel: +1 (800) 999-2673 precise audio reproduction so prized in the pro audio
URL: www.bose.com market where Fostex made its reputation. The RP drivers
use copper foil etched polyamide film diaphragms driven
by powerful neodymium magnets. Combined with newly
Summary designed inner baffles, detachable 2m signal cables fitted
Voicing: Fundamentally neutral. 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
Bass Upper bass Lower mids Mids Upper mids Presence Treble proverbial brick house. The hard plastic ear cups, the no
(All ratings relative to comparably priced headphones.) frills headband, and the locking cable attachment inspire
confidence and give the impression they can stand up to
Resolution/Focus: Soundstaging/Imaging: occasional accidental drops or inadvertent rough handling.
nnnnnnnnnn nnnnnnnnnn The Dekoni Blue has a unique sonic signature that takes
Dynamics/Expression: a moment or two to get adjusted to and a new listener will
be well served to allow multiple hours of break-in time
nnnnnnnnnn before drawing any conclusions. I found the Dekoni Blue’s
Pros really didn’t even start to get their sea legs under them
llTwo-levels of noise reduction. until they were given a more than 48-hour-long run-in
llWired and wireless capabilities. session. However, once they were ready it was quite eye
llLightweight. (and ear) opening to hear how much the Dekoni Blue’s
llGood phone integration. sound blossomed as compared to their initially closed-
Cons in sound straight out of the box. After run-in, an initially
llCan’t change the settings for noise cancelling when clunky bottom end mellowed out nicely, the sound stage
using wired connection. widened considerably, and detail resolution improved to
llPlastic finish. a remarkable degree.
llPolite sonic character. After satisfying myself the Blues were ready for a proper
llNoticeable hiss when noise reduction is in use. audition, I tried out Anna Burch’s new 2018 album Quit the
Curse [Polyvinyl] which has been on heavy rotation lately

66  Ultimate Headphone Guide – Summer 2018

 Headphones
$499 AND BELOW

around my house. “Asking 4 a Friend” chugs along like a sonic signature offers elevated bass, neutral mids, and
steam engine throwing in some perfect ’90s throwback somewhat downturned highs. Even so, there is no doubt
pedal effects at every bend. It presents sumptuous in my mind that the Dekoni Blue offers excellent value
midrange textures and details, which the Dekoni Blue for money for those wishing to keep their headphone
knocked out of the park. The Blue’s did an excellent job with investment under $300. Buzz Hughes
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. Summary
On subsequent forays into some classical favorites, Voicing: Downward tilt: Elevated bass, neutral mids,
however, I found that the treble response of the Dekoni recessed or downturned highs.
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. Bass Upper bass Lower mids Mids Upper mids Presence Treble

Given the Dekoni Blue’s moderate price, though, (All ratings relative to comparably priced headphones.)
we should not be unrealistically critical. The Blue is an
enjoyable all around performer whose easy-to-like sound Resolution/Focus: Soundstaging/Imaging:
never caused ear fatigue. Just be aware that the Blue’s nnnnnnnnnn nnnnnnnnnn
Dynamics/Expression: Value:
TECHNICAL SPECIFICATIONS nnnnnnnnnn nnnnnnnnnn
Type: Planar Magnetic
Pros
Frequency response: 15Hz–35kHz llBuild quality.
Sensitivity: 92dB/mW llSpacious midrange.
Impedance: 50 ohms llExtremely comfortable; no fussy adjustments needed.
Accessories: No Additional Accessories Supplied llPriced fairly.
Price: $299 Cons
llLoose bass might detract from listening experience
MANUFACTURER INFORMATION for some.
Dekoni Audio llTreble gets lost in presentation.
Tel: +1 (201) 870-1654 llBuyer cannot choose colors; styling might not be for
URL: www.dekoniaudio.com everyone.

Ultimate Headphone Guide – Summer 2018  67

Headphones
$499 AND BELOW
Final Sonorous III
F
inal 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’ve yearned for top-tier headphones, the
Sonorus III can take you a substantial way there at
an accessible price.
68  Ultimate Headphone Guide – Summer 2018
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 & PRICING
Type: Dynamic-driver-equipped, closed-back,
circumaural headphone
Driver complement: 50mm dynamic full-range
with titanium diaphragm
Maximum SPL: 105dB
Impedance: 16 ohms
Weight: 410g
Price: $399/£299
 Headphones
$499 AND BELOW

Grado SR60e

T
he 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

Ultimate Headphone Guide – Summer 2018  69

Headphones
$499 AND BELOW

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.
HiFiMAN
Sundara
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

M
sits on your ears, rather than wrapping the pads around
your outer ears. Some people like this set up, while others any enthusiasts associate the name HiFiMAN
find it less comfortable. Finally, while the Grados are not with ultra high-end headphones such as
very hard to drive (a phone can generate medium-high the electrostatic Shangri-La or the planar
volume), you may want a better DAC/amp than your phone magnetic Susvara, both of which are superb,
offers to hear what they can do. but also expensive. However, the fact is that
But if the practical limitations are not an issue, and if a good part of the firm’s reputation was built on models
you’re the kind of music-lover who just likes to enjoy the offering unexpectedly high levels of performance at down-
music rather than thinking about the details of the sound, to-earth prices, including the HE400, HE400i, and HE400S.
the Grado SR60e might well be the best headphones on In keeping with this tradition, HiFiMAN has now created
earth, cost accounted for. Tom Martin 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
TECHNICAL SPECIFICATIONS
meaning “beautiful”.)
Type: Dynamic, on-ear headphone
To this end, HiFiMAN has given the Sundara all-
Driver complement: single dynamic driver per earcup
new frame, ear cup, and driver designs. The frame is a
Frequency response: 20Hz–20kHz streamlined variation on the Carol Catalano Design frame
Impedance: 32 ohms used on most modern HiFiMAN headphones, but with
Sensitivity: 99.8 db@1mW significant changes. Specifically, the new frame features
Connector: gold 3.5mm and phone plug adapter a fixed-position strap and allows height adjustments via
Weight: Not specified adjustable ear cup yokes that slide up and down within the
Price: $79 US, £89.95 UK
arms of frame. As a result, the new frame allows a greater
range of vertical travel than any previous HiFiMAN model
MANUFACTURER INFORMATION in our memory. Another change is that the ear cup yokes
Grado Labs deliberately forego horizontal swivelling hinges; instead,
Tel: +1 718-435-5340 the yokes and frame assembly have just enough side-to-
URL: www.gradolabs.com 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
Summary fitted with metal mesh protective grilles and underlying
black fabric dust covers. Overall, the new cups seem more
Voicing: Neutral bass and treble with elevated mids.
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
Bass Upper bass Lower mids Mids Upper mids Presence Treble featuring pleather outer surfaces, fabric touch surfaces,
(All ratings relative to comparably priced headphones.) and perforated pleather inner rims.
The biggest change involves the Sundara driver
Resolution/Focus: Soundstaging/Imaging: diaphragm, which is said to be fully 80% thinner than
nnnnnnnnnn nnnnnnnnnn the diaphragms used in the HE400 series headphones.
Dynamics/Expression: Value: HiFiMAN says the low-mass diaphragms deliver “much
wider frequency response, faster response time, and a
nnnnnnnnnn nnnnnnnnnn more lush and detailed sonic signature.” Sensitivity is a
Pros modest 94dB, meaning owners will want to use either
llBrings essence of music to life. desktop or portable headphone amplifiers or DAPs to hear
llLow price. the headphones at their best.
Cons Here’s an important tip for prospective buyers: the
llTreble lacks smoothness. Sundara’s require a lot of run-in time for their sonic
llLimited bass depth. character to develop fully. Straight out of the box, they can
llNot ideal for eyeglass wearers. sound overly muted or tightly constrained, but somewhere
between 150–200 hours in, the headphone arrives at its

70  Ultimate Headphone Guide – Summer 2018

 Headphones
$499 AND BELOW

Its resolution, transient speed, and

dynamic agility provide sonic qualities
you might expect from mid-four-figure
headphones

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.
Summary
Sundara embodies the best qualities of its forebears Voicing: Fundamentally neutral.
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 Bass Upper bass Lower mids Mids Upper mids Presence Treble

(All ratings relative to comparably priced headphones.)

Resolution/Focus: Soundstaging/Imaging:
TECHNICAL SPECIFICATIONS
Type: Full-size, open-back planar magnetic headphone nnnnnnnnnn nnnnnnnnnn
Driver complement: One full-range planar magnetic driver Dynamics/Expression: Value:
with ultra-thin diaphragm nnnnnnnnnn nnnnnnnnnn
Frequency response: 6Hz–75kHz Pros
Sensitivity: 94dB llAn unusually accomplished and well-rounded performer
Impedance: 37 ohms in its price class.
Accessories: One 1.5m single-ended headphone signal llSound is quite revealing, but not oppressively so.
cable with 3.5mm headphone plug, and “crystalline copper” llSuperb, high-definition bass (once run-in is complete,
conductors, bevelled headphone pads (installed on that is).
headphones), and Owner’s Guide. llErgonomic design updates work really well.
Weight: 372g Cons
Price: $499 US, £449 llNeeds a substantial amount of run-in time (150 hours
plus) to sound its best.
MANUFACTURER INFORMATION llSundara should ideally come with a protective travel
HiFiMAN case or bag.
Tel: +1 (201) 443-4626 llThe name Sundara is easily confused with that of the
URL: www.hifiman.com flagship Susvara.

Ultimate Headphone Guide – Summer 2018  71

Headphones
$499 AND BELOW

Meze 99 Classics
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

J
predominate. This is coupled to an extremely
ust looking at the complete Meze 99 Classics walnut gold package clear midrange, and the kind of easy, unforced
gives one a perfect idea of how competitive the headphone world treble you can spend hours with.
has become. In the traditional hi-fi market, a package of this The Meze 99 is an unexpected joy. It has
elegance and completeness simply wouldn’t happen for $309, sensational musical performance, even when
or even $3090. played with very humble audio equipment, and
Part of a range comprising two earphones and these over-ear, closed- is comfortable enough in wear and sound to
back designs, the Meze headphones from Romania (named after designer allow the listener to spend many hours at a
Antonio Meze, and not a selection of Levantine appetizers) arrive in a stretch in its company without a care. Very
nicely finished box, with a hard-shell case, with the headphones and a highly recommended. Alan Sircom
little free-floating pouch of detachable headphone cables, jacks, etc.,
inside. There are two sets of Kevlar-wrapped OFC cables—one with and
SPECS & PRICING
one without an in-line microphone/media controller. The cables slot
Type: Closed-back headphone
into neat little gold or silver insets in the walnut or maple earcup. These
Transducer size: 40mm
cables are prone to rustle a little against clothing, however.
Inside the earcup is a 40mm full-range Mylar transducer with a Frequency response: 15Hz–25kHz
neodymium magnet system. The earcups themselves are solid blocks of Sensitivity: 103dB at 1KHz, 1mW
walnut, CNC-milled and then hand-finished and polished in an artisanal Impedance: 32 ohms
matte finish. Rated input power: 30mW
Maximum input power: 50mW
Detachable Kevlar OFC cable plug:
3.5mm gold‑plated
It is comfortable to wear, comfortable to listen to, Weight: 260g (9.2 oz.) without cable
and plays at comfortable levels with ease. Price: $309/£309

72  Ultimate Headphone Guide – Summer 2018

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Headphones
$499 AND BELOW

Oppo PM-3

Y
ou 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
Upper-midrange and treble energy through the
see that the PM-3 yoke and pivot had fewer parts than the PM-1, but in
PM-3 was a bit truncated when compared to
overall fit and potential longevity both headphones were equal.
the PM-1.
There are two big differences between the PM-3 and Oppo’s
If you’re looking for a pair of headphones
other headphones. The first is size. The PM-3 has a slightly smaller
for situations in which you still need to hear
circumference than the PM-1 and PM-2, which means for some
some outside sounds but don’t want to bother
prospective users the PM-3 headphones will be an on-ear rather than
others with your music, the PM-3 would be a
an over-ear fit. The other major difference between the PM-3 and Oppo’s
savvy option. It’s comfortable, extremely well
other headphones is that the PM-3 is a closed- rather than an open-back
made, and cleverly designed. Couple it with
design. This means that the PM-3 should provide more isolation from
one of the new generation of portable players,
outside sounds. The disadvantage is that the PM-3 has to attenuate the
and you have a portable rig that will keep you
sound reflected off its closed back, so that the reflected sound does not
enthralled for as long as the batteries last.
interfere with the direct sound coming from the headphones. This is a
Steven Stone
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. SPECS & PRICING
While it might seem presumptuous to assume that a manufacturer Type: Closed-back, planar-magnetic, over-
with just three products in one category can already have a “house the‑ear headphone
sound,” the PM-3 does sound more similar to the PM-1 than different. I Impedance: 26 ohms
hesitate to call the PM-3 a “PM-1 lite,” but it does have much the same Frequency response: 10Hz–50kHz
sonic character as its big brother, albeit in slightly lesser quantities. Sensitivity: 102dB/1mW
The overall harmonic balance of the PM-3 is what I would call
Max input power: 500mW
natural as opposed to razor-flat neutral, tipped-up, or bass-centric.
The harmonic balance is relaxed without being dark or murky. The PM- Pulse max input power: 2W
3s are more forgiving of recordings with excess energy in the 2kHz to Cables: 3m detachable cable (3.5mm with
4kHz regions than the PM-1s, but that also translates into slightly less 6.35 mm adapter); 1.2m detachable cable (3.5mm)
sparkle and dynamic energy. I found the PM-3s were also less revealing Output: 3.5mm stereo jack, 3.5mm stereo jack
than the PM-1s because they have less energy in the presence range. Input: 6.35mm stereo jack, 3.5mm stereo jack
Although I wouldn’t call the PM-3 a bass monster, it did an excellent Weight: 320g (without cable)
job of keeping the low end clean yet warm. In comparison the PM-1 Price: $399/£349
had greater bass extension, but the PM-3 was its equal in the midbass.

74  Ultimate Headphone Guide – Summer 2018

 Headphones
$499 AND BELOW

PSB M4U 8

F
amed 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 midrange and treble (notably better than the M4U 2)
voicing, which mimics the warmer, richer tonal balance of that gives the headphone a relaxed, engaging character.
loudspeakers in a room. Barton’s created RoomFeel voicing The 8’s tonal balance is not only more relaxed, but its
for the M4U 2, which was a good move because the M4U 2’s rendering of midrange and treble timbres is far better,
full tonal balance was one of its greatest attributes. with less hardness, grain, and “bite.” Despite its heightened
The M4U 8 sounds very different when operated in smoothness, the M4U 8 gives up nothing in terms of
passive vs. active mode. In passive mode, the 8 has a much openness, resolution, transient speed, and detail. In fact,
darker tonal balance than the 2, with very weighty bass and what makes the M4U 8 so compelling is its combination
an almost closed in midrange and treble balance yielding a of an easy-going top end with its excellent resolution of
murky sound without much openness and detail. But slide detail and transient information. While the PSB doesn’t
the switch on the right earcup to active mode, or active match planar headphones in detail and snap, neither does
noise cancelling, and the M4U 8 takes on a whole new it have the threadbare “skeletal” character that plagues
personality. The midrange and treble open up, the bass some “ruthlessly revealing” planar models. Concomitantly,
balance is more in line with the rest of the spectrum, and the M4U 8’s bass continues the tradition of the 2, with a
dynamics improve. warm, rich, and full balance.
Comparing the M4U 2 and the M4U 8 (in active mode), The new PSB also resolves space and depth quite well,
the new model is significantly better than its predecessor. although not to the degree of some other contenders.
The 8’s most notable attribute is an ultra-smooth upper- Listeners who value smoothness, ease, textural body,

Ultimate Headphone Guide – Summer 2018  75

Headphones
$499 AND BELOW

Sennheiser
weight, and a general sense of engaging musicality rather
HD 660 S

T
than the last word in resolution will find the M4U 8 right
up their alley. he Sennheiser HD 660 S is the current pinnacle
Overall, PSB’s M4U 8 is not only a great performer, but a of the company’s long-lived core HD 600 line. The
spectacular value. The addition of Bluetooth connectivity, Sennheiser HD 660 S is a scaled-down version of
more luxurious look and feel, and the tremendous the flagship HD 800 S. The Sennheiser HD 660 S is
improvement in smoothness and musical involvement a damn good headphone in and of itself. In fact,
make the M4U 8 a “can’t miss” winner. Robert Harley 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
TECHNICAL SPECIFICATIONS
technology derived and trickled down from the top HD
Type: Closed-back dynamic headphone with active
700, HD 800, and HD 800 S models. It uses an incredibly
noise canceling
thin, precision crafted stainless steel fabric diaphragm,
Wireless pairing: Bluetooth aptX (2.4GHz), NFC
coupled to a lightweight aluminium voice coil. These are
Driver complement: One 40mm dynamic driver pair-matched to extremely tight tolerances (±1dB).
Frequency response: 20Hz–20kHz, +/–1.5dB Supplied in a stiff card presentation case, this is every
Impedance: 32 ohms (passive mode) bit an HD 600 model, with its oval over-ear cups, plush
Accessories: Hard-shell travel case, dual 3.5mm adapter, ear pads and solid plastic construction. Aside from the
3.5mm cable, micro USB cable all-black ABS finish, a slightly smaller logo-free Senneiser
Battery life between charges: 15 hours name across the headband and the logo set into the
Weight: 322 grams (12.8 oz)
outer grilles of both ear cups, you could be looking at a
model made in the last century. And there’s absolutely
Price: $399 US, £299
nothing wrong with that because the design is extremely
MANUFACTURER INFORMATION comfortable, very light, and clamps to your head well
PSB SPEAKERS (possibly too well for some).
633 Granite Court, Pickering, Ontario L1W 3K1, Canada The HD 660 S is supplied with two and a half sets of
Tel: (905) 831-6555 cable. A 6.35mm TRS jack plug is fitted as standard, but the
URL: www.psbspeakers.com 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
Summary all well-made, noise and tangle-free, of relatively basic
construction—and almost absurdly long.
Voicing: Neutral with somewhat elevated bass
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
Bass Upper bass Lower mids Mids Upper mids Presence Treble easy to drive. The 4.4mm Pentaconn balanced input cable
(All ratings relative to comparably priced models.) helps make this a great partner with a good balanced-output
DAP, of course, although the headphone is too open backed
Resolution/Focus: Soundstaging/Imaging: to be the ideal on-the-move partner for an iPhone. But for
nnnnnnnnnn nnnnnnnnnn home use, they can be fed quite comfortably from a tablet.
Dynamics/Expression: Value: This is by far the most detailed headphone in the HD
600 range, and that makes it one of the most detailed
nnnnnnnnnn nnnnnnnnnn headphones in its class. That’s why the HD 660 S cries out
Pros for a good DAC and amp: quality, not quantity. There is a
llWarm and rich tonal balance. wealth of musical information on offer, not quite the detail
llVery smooth and engaging mids and treble. delivery of the original HD 800, but more like a mastering
llCan listen for hours without fatigue. suite fitted to your head that affords you hours of insight
llActive design with noise canceling. into the music. It also shares with its bigger HD 700 and HD
Cons 800 S brothers that intrinsically uncoloured sound, albeit
llLess resolving than similarly priced planars. with a touch of granularity in the midband.
llNot as light and comfortable as some competitors. I’m something of a part-time supporter of the HD 600
line. I vacillate between loving the precision of the sound

76  Ultimate Headphone Guide – Summer 2018

 Headphones
$499 AND BELOW

This is by far the most detailed headphone

in the HD 600 range, making it one of the
most detailed headphones in its class.

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

Summary
Voicing: Plenty of detail and soundstaging.

TECHNICAL SPECIFICATIONS
Type: Single-driver open-backed, circumaural headphone.
Bass Upper bass Lower mids Mids Upper mids Presence Treble
Driver Complement: 44.1mm dynamic driver
(All ratings relative to comparably priced models.)
Frequency Response: 10Hz–41kHz (-10dB)
Impedance: 150Ω Resolution/Focus: Soundstaging/Imaging:
Sensitivity: 104dB/V nnnnnnnnnn nnnnnnnnnn
Weight: 260g (Without cable) Dynamics/Expression: Value:
Accessories: One 3m single-ended headphone cable with nnnnnnnnnn nnnnnnnnnn
6.35mm TRS plug, one balanced headphone cable with
4.4mm Pentaconn plug, one 6.35-to-3.5mm adaptor, stiff Pros
card case, instruction manual. llSuperb detail, especially in the treble.
llExcellent sound staging, especially in context of
Price: $499.95 US, £429.99 UK
the design.
MANUFACTURER INFORMATION llEasy to drive.
Sennheiser llStudio-like accurac
Wedemark, Germany Cons
Tel: +49 (0) 5130 600 0 llHead clamping pressure too tight for some.
Tel: +1 (877) 736 6434  llBass could have more impact.
URL: sennheiser.com llVery mild grain effect in the midrange.

Ultimate Headphone Guide – Summer 2018  77

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MrSpeakers

Advanced Alpha
A
dvanced 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.”
Headphones
$499 AND BELOW
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
Ultimate Headphone Guide – Summer 2018  79
Headphones
$499 AND BELOW

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
Audeze
LCD-2 Classic
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

A
ergonomic achievement. Its sound is well balanced
and tight, drawing the listener deep into the music. Its udeze’s LCD series of over-ear headphones
lightweight and comfortable design enables the user to established the firm as a serious player in the
get lost in the music for hours without giving their neck a premium headphone market. The least expensive
workout. The sensible $499 price also makes the Alpha a model in the LCD line used to be the first model
legitimate bargain. Michael Mercer 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
TECHNICAL SPECIFICATIONS
universe. On their product page Audeze claims the new
Type: Open-back planar magnetic headphones
LCD2 Classic “features the slightly warm sound signature
Driver Type: 96mm single-sided n48 planar magnetic driver
of the original LCD-2.” Let’s slip on a pair and find out if
with silicone composite diaphragm
that’s true.
Frequency Response: 20Hz–40kHz Like other LCD headphones the LCD2 Classic uses
Max input power/Rated input power: 20mw/50mw large ultra-thin film diaphragm planar magnetic drivers
Provided cable composition: Silver-plated copper with a double-sided magnetic structure. It differs from
Provided cable type: Detachable gold-plated 2.5mm the original LCD2 in several ways. The most immediately
input/3.5mm output noticeable difference is that instead of bamboo wood end
Accessories: One pair memory foam protein leather “deep” caps the LCD2 Classic uses a glass-infused plastic with a
ear pads, one pair memory foam breathable/sweat resistant finish that resembles a powder-coated metal. The biggest
“shallow” ear pads, one silver-plated 8-way braided difference that will have an effect on sonics is that the
headphone cable, and one leather cable tie. LCD2 Classic lacks the Fazor elements that were developed
Price: $499.99
after several generations of LCD2s were released. I own an
original pair of LCD-2 Bamboo (a generation before the
MANUFACTURER INFORMATION Fazor change-over), so I had an opportunity to compare a
ADVSOUND, Inc. new LCD2 Classic with this earlier generation version that
Great Neck, NY 11021 USA the LCD2 Classic is modeled upon.
URL: www.adv-sound.com 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
Summary seal around your ears, but depending on your head size
and shape, you may find, as I did, that you will need to
Voicing: Neutral-leaning/midrange-focused 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-
Bass Upper bass Lower mids Mids Upper mids Presence Treble gen LCD-2 but is different from the original headband on
(All ratings relative to comparably priced headphones.) the LCD-2, which was padded lambskin leather. The current
band is spring steel with a suspended vegan protein
Resolution/Focus: Soundstaging/Imaging: “leather” band positioned below it. As to relative comfort,
nnnnnnnnnn nnnnnnnnnn I found the two headbands similar.
Dynamics/Expression: Value: With a sensitivity of 101dB/1mW the LCD2 Classic was
easy to drive. Out in the world I used it mainly with the
nnnnnnnnnn nnnnnnnnnn Ear Studio amplifier, which is a small battery-powered 4.2
Pros Bluetooth DAC/headphone amp connected to my iPhone
llExtremely lightweight. 6SE. Tethered to a less portable rig, like the Sony TA-ZH1ES
llFantastic ergonomics. DAC/amp, the LCD2 Classic demonstrated an equally
llDetailed and dynamic sound. synergistic connection, with more gain than anyone would
llA serious bargain. ever need and a completely silent background.
Cons If Audeze’s primary goal was to duplicate the sound of
llHigh clamping force out-of-the-box. the original LCD-2, pre-Fazor, they certainly succeeded. In
llProvided signal cable is prone to tangles/knots. fact, except for 3dB more sensitivity on the Classics and
slightly more bass prominence and clarity on the original

80  Ultimate Headphone Guide – Summer 2018

 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
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
Summary
Voicing: Neutral with elevated bass.

Bass Upper bass Lower mids Mids Upper mids Presence Treble

TECHNICAL SPECIFICATIONS (All ratings relative to comparably priced headphones.)

Type: Planar magnetic, open back

Resolution/Focus: Soundstaging/Imaging:
Drivers: Planar magnetic driver with Neodymium magnets
nnnnnnnnnn nnnnnnnnnn
Frequency Response: 10Hz–50kHz
Dynamics/Expression:
Impedance: 70 ohms
Sensitivity: 101dB/1mW
nnnnnnnnnn
Connector: Standard 6.35mm stereo plug with Pros
supplied cable llMore efficient than early Audeze LCD-2 headphones.
Weight: 550 grams llLeather-free headband and ear pads.
llRemovable, replaceable signal cables.
Price: $799, £599
llOriginal LCD-2 sonics at a lower price.
MANUFACTURER INFORMATION Cons
Audeze LLC llModerately heavy.
Santa Ana, CA 92704 USA llStrong side-pressure from headband.
+1 (714) 581-8010 llDoes not fold flat for travel.
URL: www.audeze.com llNo 3.5mm mini stereo adapter included.

Ultimate Headphone Guide – Summer 2018  81

Headphones
$500–$999
Campfire Audio Cascade
C
ampfire 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
82  Ultimate Headphone Guide – Summer 2018
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
 Headphones
$500–$999

for performance. The Cascade has the style, build quality,

Campfire does not sacrifice sound quality and sonics to compete with any closed back headphone
in its price class. Buzz Hughes
for the sake of portability… Cascade seems
equally at home whether driven by DAPs or TECHNICAL SPECIFICATIONS
high-end headphone amplifiers. Type: Closed back, over-ear headphones with
dynamic drivers
Driver complement: Beryllium PVD dynamic drivers
Frequency response: 5Hz–33kHz
carrying case is appropriately slim, and in practice the Sensitivity: 100dB SPL/mW
sound isolation is incredible. Make sure you look both ways Impedance: 38 ohms
before you cross the street because it’s not going to be Accessories: Zipper-closure case, Litz-wire signal cables
easy to hear that bus coming with these headphones on! with cloth jackets, four custom fit acoustic dampers,
The most excellent news, however, is that Campfire does Campfire lapel pin
not sacrifice sound quality for the sake of portability. On Price: $799, UK pricing not yet finalized
the contrary, the Cascade seems equally at home whether
driven by your mobile DAP or plugged into a high-end MANUFACTURER INFORMATION
headphone amplifier on your desktop. Campfire Audio
The Cascade is largely a neutral performer through the Portland, OR 97214 USA
midrange and highs, while bass response, though tight Tel: +1 (503) 853-8606, +1 (855) 204-1492
and cohesive, tends to be just slightly elevated. What URL: www.campfireaudio.com
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,
Summary
16/44.1]. It’s funny that you can listen to a track like this Voicing: Fundamentally neutral.
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 Bass Upper bass Lower mids Mids Upper mids Presence Treble

on through (and that’s a funk lover’s compliment people, (All ratings relative to comparably priced headphones.)
trust me).
I found the Cascade allowed the music to speak for Resolution/Focus: Soundstaging/Imaging:
itself. While offering a fundamentally neutral sound, nnnnnnnnnn nnnnnnnnnn
the Cascades include four sets of thin, microscopically Dynamics/Expression: Value:
perforated acoustic dampers that can be placed inside
the ear cups to fine-tune voicing. The particular dampers
nnnnnnnnnn nnnnnnnnnn
I chose were able to rein in potentially overly hearty bass Pros
while balancing out the sound nicely. The key point is that llIntimate presentation with excellent upper mids.
Campfire gives users voicing options. llNear total sound isolation from exterior sounds.
The  Cascades come with a standard set of Litz-wire llCompact size and folding frame makes for great
signal cables, but the Campfire  team also sent along a portability.
set of premium ALO SXC8 signal cables ($349) for the llTuning dampers are not gimmicks; they produce
headphones. The SXC8 cables offered quite a sonic substantial (and useful) results.
enhancement, preserving the headphone’s compelling Cons
neutrality while unlocking far greater levels of resolution llSomewhat small and snug earpads might not be
and tightening up bass response. In short, the SXC8 cables comfortable for all listeners; very tight fit.
seemed to bolster all the things the Cascade already did llBass might be a bit too forward or over-prominent for
well and helped fill in the very few sonic omissions I had some listeners.
observed with the stock Litz cable. llEar pads can become quite hot after extended listening
Whether with or without the ALO cable upgrade, sessions.
Campfire’s Cascade is undoubtedly an upper tier llSupplied Litz signal cables could be longer.
performer that further enhances Campfire’s reputation

Ultimate Headphone Guide – Summer 2018  83

Headphones
$500–$999

Focal Elear

I
n 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 of the sound stage were shattered as the Elear
impedance so you should not have a tough time matching it with any was able to effortlessly shift into a new top
modestly powered headphone amplifier. The Elear’s successful focus gear of horsepower to handle the tracks final
on dynamics is further bolstered with a lighter 25mm diameter x 5mm push towards infinity.
deep voice coil; it also sports an 80-micron thick suspension. All of these If you were considering a £799 headphone
choices drive home Focal’s key design tenet yet again: a headphone purchase I would tell you with a straight face
is enabled to excel when it can produce the highest frequencies and that the Elear simply must be on your short
producing the truest frequencies comes down to light weight parts and list and that an audition is required before
engineering with minimal mass to move. any serious purchase. Elear is far ahead of its
When auditioning music it would stand to reason that the Elear’s competition. Buzz Hughes
rigorous focus on frequency perfection and dynamics would manifest
itself during music playback in the ability to reproduce the tiniest
TECHNICAL SPECIFICATIONS
nuances of a well-crafted musical recording. Aimee Mann’s album Lost
Focal Elear
in Space [SuperEgo Records] showcases what the liner notes refer to as
Type: Circumaural
“space loops.” These celestial space echoes wind their way through a
melancholy palette at wonderfully unpredictable intervals and are tailor Drivers: Full-range
made for a nuanced headphone to bring them to life and make them pop. Frequency response: 5Hz–23kHz
The track ‘Real Bad News’ proves to be a sonic rabbit hole that rewards Impedance: 80 ohms
well-made equipment with continued visions into just how deep the Sensitivity: 104dB
tunnel can drop. The track’s climaxing “da-da-da” layered vocal finale Distortion: <0.3%@1kHz /100dB SPL
ties together quite a few elements: a shimmering cymbal cloud cover
Weight: 450g
on the top end, a tar-like sticky bass foundation, and a gloriously well
Price: £1000
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 MANUFACURER INFORMATION
this dense mash of information and keep expanding the sound stage Focal-JMlab
further and further away from my ears was nothing short of jaw dropping. URL: www.focal.com
What I had perceived on previous tracks of the album to be the limits

84  Ultimate Headphone Guide – Summer 2018

 Headphones
$500–$999

MrSpeakers AEON Flow

A
lways proud to be swimming against The ÆON Flow Open showed remarkable
the current, Southern California-based sonic horsepower unpacking the varied
MrSpeakers has introduced two versions of and complex mix of sounds. The mid-
their $799 ÆON Flow series headphones— range was clear and well defined, and
one in closed-back form and the other the bottom end was again satisfyingly
an open-back model. The ÆON Flow closed-back fast and tight. The ÆON Flow Open
version, reviewed in Hi-Fi+ Issue 147, received our edition handled the spectrum so well
2017 Hi-Fi+ award for High Value Headphone of the that upon repeat listens I found that I
Year. The ÆON Flow Open headphone may be an was able to concentrate on different
even better performer. musical aspects every time with equal
The first thing that grabbed me upon unboxing enjoyment. A connoisseur could
the ÆON Flow Open was the distinctive “tear argue the midrange was coloured
drop” shaped ear cup, which is constructed of slightly towards the warm end of
an opaque thermoplastic polymer known as the spectrum, but to my ears the little
acrylonitrile butadiene styrene (ABS) and artfully colouration I heard ultimately enhanced
finished with a deep metallic blue lacquer giving the presentation of digital tracks, making
the headphones an understated and confident them feel more accessible than if played
pop. ABS is only used in the painted plastic part that through a rigidly neutral headphone.
holds the grille. The comfort and fit are due to the gimballed The ÆON Flow Open is an extremely well
NiTinol-memory metal headband, which is a remarkably simple arc- built and good-sounding headphone. Across
shaped and hinge-free design with a dyed through-leather headband genres the ÆON Flow Open edition consistently
strap. The final noteworthy design element is the visually arresting seems to find new eye-opening ways to shake
hexagon-shaped powder coated stainless steel grill on the exterior of listeners out of complacency and reinvent
the ear cup. This hexagonal grill gives the headphone a sophisticated the music anew with artistic intentions intact.
and sharp look that again belies its price point. Buzz Hughes
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 TECHNICAL SPECIFICATIONS
helped MrSpeakers’ Dan Clark design around the reality that any inelastic Type: Circumaural, open back, planar magnetic
driver is not a flat surface but rather a bowed one. Confronting this fact, headphones
V-planar knurling or “pleating” was developed, which seeks to crease Drivers: Planar magnetic drivers with Trueflow
the driver surface enabling it to expand and contract like an accordion motor magnet technology and V-Planar
without stretching the material, while also allowing the entire diaphragm diaphragms
to move forward and backward in a linear way and without bowing in the Frequency response: Not specified
centre. Dynamics again are said to be the beneficiary here, but notably Impedance: 13 ohms
this knurled V-planar diaphragm can push more air at low frequencies
Sensitivity: 95dB
also bettering bass response.
For this review the ÆON Flow Open was auditioned using Tidal hi‑fi Distortion: Not specified
FLAC 16/44.1kHz source files via an Audirvana-based music server running Weight: 321g
through a Chord Electronics Hugo TT headphone amp/DAC. Price: £799 (VAT included), $799 US
MOFRO’s debut Blackwater [Fog City Records] was an excellent choice
MANUFACTURER INFORMATION
to get the party started. Blackwater’s long and spooky lead-off title track
MrSpeakers Headphone Products
has a break at about 3:45, at which point JJ Grey and the boys relentlessly
San Diego, CA 92110 USA
start to hammer the keyboard bass while attempting to command total
+1 (619) 501-6313
submission to their deep backwoods groove. This scary low bass easily
URL: mrspeakers.com
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 UK DISTRIBUTOR
a focal point in the audition and added a new mystique to an album I Electromod
had previously underappreciated. Beech Road, High Wycombe,
The ÆON Flow Open continued to show its dynamic chops on Buckinghamshire HP11 1RY UK
Blackwater’s third track appropriately titled “Air.” A silky reverbed electric +44 (0) 1494 956558
piano is thrown like a well-placed curve-ball at the bass lines, all the URL: electromod.co.uk
while maintaining a spacious pocket for the midrange to squeeze into.

Ultimate Headphone Guide – Summer 2018  85

Headphones
$500–$999

Stax SR-L300/
SRS-3100 System

S
tax 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 revelatory midrange and treble and conclude
it also makes the overall headphone/earspeaker feel flimsier. That being that they still need that powerful grip and
said, the new slide-type adjustment for the headband is a boon, and weighty physicality of a dynamic, but there are
should be seen on later iterations of the pricier designs, in my opinion. more who will be reaching for their credit card
The SRM-252S also shows its inexpensiveness in a wall-wart power within minutes. For many, the SRS-3100 will be
supply with a very small form factor. Where most Stax energizers look their first time with electrostatic headphones,
like someone cut an integrated amplifier in half, the SRM-252S is small or “earspeakers” in Staxlish, and for some it
enough to be hidden by a decent-sized paperback book. Nevertheless, will be the gateway to a world of electrostats,
despite its size, it houses a solid-state Class A amplifier. and for others it will be the beginning and end
The earphones and power supply are designed to act as a complete point for that electrostatic musical exploration.
package, and there is no provision for a DAC. Just the one input, in fact. The Stax SRS-3100 system is all about getting
Power and volume are combined in a single volume pot, and a little new people to experience its electrostatic
green LED tells you when the power is being fed to the headphones. headphone (sorry, “earspeaker”) sound, and it
There isn’t much in the way of run-in required here. They just work out achieves that goal brilliantly! People erroneously
of the box without fuss. discount ’stat headphone systems because “they
Sonically, if you view the SRS-3100 in the light of “My First Electrostatic,” are too expensive,” and then spend thousands
then for many the reaction will be “Oh my God! Where have you been all on their dynamic ’phone system, and never
my life?” But if you have tried several seriously upscale electrostatics, look back. This setup really offers a “My First
you’ll think it a fine inexpensive unit with some understandable Electrostatic” experience, and if that fits your
limitations in absolute clarity and bass due to the structural design of place in listening, it is a joy to try. Alan Sircom
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.
SPECS & PRICING
The fascinating thing about the SRS-3100 from that newbie’s position
Type: Push-pull electrostatic, oval sound
is just how good it is. I mean, really, ear-openingly, “Oh-now-I-get-it”
element, rear  open-air type earspeaker
good. If you are used to dynamic headphones—even really good ones
Frequency response: 7Hz–41kHz
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 Electrostatic capacitance: 110pF
Impedance: 145k ohms
Sound pressure sensitivity: 101dB/100V /1kHz
Maximum SPL: 118dB/400Hz
The fascinating thing about the SRS-3100 is just how Weight : 448g (including attached cable)
good it is—really ear-openingly, oh-now-I-get-it good. Price : $999/£795

86  Ultimate Headphone Guide – Summer 2018

 Headphones
$1000–$1999

Stax SR-L700

I
t 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
that these earspeakers “scale up” nicely. When
“super-engineering plastics.” This Stax transducer also uses a special
you tether them to a better-performing amp,
electrode scheme, which Stax named MLER (multilayer electrodes). The
the SR-L700’s overall fidelity improves.
company’s intention was to create a thinner, lighter, stronger diaphragm
Mike Longworth, Martin Guitar’s longtime
material coupled with a thinner, lighter, and more powerful electrode
historian and A&R head, wrote, “The main
array, and it has succeeded on both counts.
competition of a new Martin guitar is an old
Where the SR-L700 differs from the SR-009 is that instead of
Martin guitar.” The same can be said about
the round enclosure featured on that model, the SR-L700 uses the
Stax earspeakers. The Stax SR-L700 is the least
traditionally shaped Stax Lambda Pro rectangular enclosure, headband,
expensive offering that uses Stax’s latest stator
yoke, and earpads. A manufacturer could assemble the finest-sounding
technology. As such, it is the first new design
personal transducer ever made but if it doesn’t fit well, it’s sure to be
from Stax that could lure longtime Stax owners
a failure. The Stax Lambda Series has long been considered among the
to replace their older Stax models. Whether the
most comfortable headphone designs ever devised, and the SR-L700
SR-L700 will also attract first-time Stax buyers
continues this tradition.
is yet to be seen. But for those audiophiles
The SR-L700, like almost all Stax earspeakers, is an open-back unit.
who want to experience the company’s latest
That means it is intended for private listening at home in a quiet
technology, the SR-L700 is simply the most
environment. If you need isolation and portability, the SR-L700 is not
cost-effective way to arrive at a new level of
your best option.
uncolored Stax sound. Steven Stone
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 SPECS & PRICING
of a Stax electrostatic design, when compared to a more conventional Type: Push-pull, open-back, oval
dynamic driver design, seems “faster,” with less additive distortion electrostatic headphone
stemming from the mechanical action of the driver itself. With its lower Frequency response: 7Hz–41kHz
mass, an electrostatic diaphragm moves with less physical impedance Electrostatic capacitance: 110pF (including cable)
and once in motion can stop with less electronic damping because it Impedance: 145k ohms (including cable, at 10kHz)
has lower mass than a comparable dynamic driver.
Sound pressure sensitivity: 101dB/100V
The second thing that many will notice is the headphones’ unique
RMS, 1kHz
bass character. The Stax low-frequency presentation has always been
airier and faster than other headphone technologies, but many of the Maximum sound pressure: 118dB/400Hz
earlier Lambda models lacked impact in what I refer to as “the meat Earpads: Genuine lamb leather (direct skin
and potatoes” upper-bass and lower-midrange region. While it still may contact), high-quality synthetic leather
not deliver enough low-end impact for serious bassheads, the SR-L700 (surrounding portion)
definitely offers enough low end to keep anyone who prefers a balanced Cable: Silver-coated 6N (99.9999%) OFC parallel
harmonic presentation happy. 6-strand, low-capacity special wide cable,
The size and image specificity of the Stax SR-L700 soundstage is 2.5m full length
dependent on the energizer/amplifier that is attached to it. The tube- Weight: 0.8 lbs. w/o cable (1.1 lbs. with cable)
based SRM-007tII produced the largest and most precisely imaged Price: $1400/£1195 ($3650/£TBA with
soundstage, followed closely by the older SRM-007t, which is also tube- SRM-007tII amp)
based. Using different electrostatic amplifiers with the SR-L700 shows

Ultimate Headphone Guide – Summer 2018  87

Headphones
$1000–$1999

Focal Clear

D
esigning 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
music fan, you may not miss that added kick
a well-made protective carry case and comes with three sets of user-
below 30Hz. But if you listen to a lot of pop, you
replaceable signal cables.
may yearn for that satisfying rumble that wells
The sensitive and easy-to-drive Clear can be powered to satisfying
up from just below the threshold of audibility.
levels by modest desktop headphone amplifiers or even smartphones.
Mid-line components are often the most
The Clear’s fit is similar to the Utopia’s, owing to their similar weights and
neglected in reviews and in consumer interest.
physical designs. While the Clear does not “disappear” on my head, it
Flagships get the raves, while entry-level
remained comfortable during multi-hour listening sessions—even when
models get approving nods for their value
I had eyeglasses on. While the Clear headphones are an open-back
and economy. But when it comes to pure value
design, they do offer some attenuation of outside noise (principally at
for the money, those overshadowed mid-line
higher frequencies). Even so, others may hear your music if they are
models are often the best options. That’s
within a couple of feet of you.
exactly what you get from the Clear—a well
Sonically, the Clear does everything you would expect a premium
designed, beautifully made, high-performance
headphone to do well. With the right recordings it can project a
earphone that can deliver an exceptional
remarkably three-dimensional image with a level of specificity and
musical experience. Steven Stone
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 TECHNICAL SPECIFICATIONS
well enough to fool my ear/brain—and probably yours. When you couple Type: Dynamic, open-back headphone
the Clear’s wraparound imaging specificity with its warm yet natural Driver Complement: 40mm full-range dynamic
tonal balance, you have the makings of an easy-to-listen-to (and listen driver with copper voice coil and an “M”-shaped
into) headphone. Even on aggressive pop mixes such as the Cheat Codes aluminum/magnesium diaphragm
“Feels Great,” the grouped male voices (and auto-tuned back-up voices) Frequency Response: 5Hz–28kHz
remained decipherable without being overly soft or mushy. Impedance: 55 ohms
The Clear offers a level of dynamic acuity and dynamic ‘slam’ that
Sensitivity: 104dB/1mW
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 Weight: 450g
track comes in at 1:08, the sound will lay you flat out. The Clear handles Price: $1499 US, €1500
micro-dynamics impressively too, meaning it has sufficient speed to
MANUFACTURER INFORMATION
handle and define even the subtlest changes in dynamics and emphasis.
Focal-JMLab
The Clear’s low-level detail retrieval was exemplary, as was its overall
Saint-Etienne, France
midrange performance. “Angel from Montgomery” performed by Buddy
URL: www.focal.com
Miller, Brandi Carlile, and The Lone Bellow on the Cayamo Sessions at
Sea album is a wonderful “live-to-tape” recording with no overdubs. DISTRIBUTOR INFORMATION
The midrange has a high level of purity with a lack of additive grain Audio Plus Services (U.S. Distributor)
or electronic texture that was immediately obvious through the Clear. Champlain, NY 12919 USA
While the Clear’s bass is well controlled with fine pitch definition, Tel: +1 (800) 663-9352
speed, and detail, it is not quite as impressive at the extreme bottom as URL: audioplusservices.com
some current reference headphones. If you’re not a Dubstep or dance

88  Ultimate Headphone Guide – Summer 2018

 Headphones
$1000–$1999

MrSpeakers
ETHER Flow

I
n 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 and always invigorating to hear, yet that is so
the diaphragm to drive soundwaves through the magnet arrays more smooth-sounding, comfortable, and relaxing
smoothly and with less turbulence. that it makes you want to listen for hours
Does TrueFlow technology noticeably affect the sound of the ETHER on end. In sum, it is everything that a great
Flow? In a word, yes! Like the original ETHER, the ETHER Flow is strongly transducer should be. Chris Martens
clarity- and detail-oriented and offers neutral, but by no means
astringently neutral, voicing. The ETHER Flow, like its progenitors, is a
SPECS & PRICING
thoroughly honest-sounding headphone that is, above all, transparent to
Type: Open-back planar-magnetic headphones
the sources with which it is used. But what the ETHER Flow brings to the
Drivers: Single-ended 70x44.5mm planar-
party is a remarkably relaxing, wide-open, and fluid sound that appears,
magnetic driver using patented V-Planar
in myriad small but collectively important ways, to be almost completely
technology, and patent-applied-for TrueFlow
free of even the tiniest, vestigial traces of edginess, overshoot, or low-
magnet array  technology
level distortion. Moreover, the TrueFlow-equipped drivers also exhibit
enhanced low-frequency power, definition, and transient impact. Impedance: 23 ohms
When I first heard MrSpeakers’ original ETHER headphones, they Sensitivity: ~96dB/mW
seemed so accomplished that I could scarcely have imagined a new Weight: 1.36 kg, with packaging; headphone
ETHER-derived model would soon come along offering even higher weight approx. 400g (without cables)
levels of performance, but that is precisely what the ETHER Flow does. Price: $1799/£1695 with 2m DUM premium cables
The ETHER Flow is at once a headphone that is endlessly engaging

Ultimate Headphone Guide – Summer 2018  89

Headphones
$1000–$1999

Oppo PM-1

O
ppo’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 What are the Oppo PM-1’s sonic short­
external dedicated headphone amplifier. comings? Compared to many premium
The circumaural (around the ear) PM-1 utilizes an open-back design headphones, the PM-1 has less top-end air
created with optimum sound quality and comfort as primary objectives. and treble extension. This manifests itself
A closed-back headphone enclosure would have added both weight and as a slightly smaller overall soundstage, as
the inevitable “cabinet resonances” that reduce comfort and fidelity. well as slightly less top-end sparkle and less
But an open-back design has certain universal characteristics: For the precise image localization. However, these
listener it does not provide much isolation from outside noise; for shortcomings only become apparent in direct
people nearby you it does not provide much shielding of your music comparison to reference-level phones.
being played back. If your primary purpose for using headphones is Oppo’s PM-1 headphones take the prize
privacy and isolation from outside noise, a closed-back headphone as the best general-purpose headphones
or in-ear monitor will serve you better than any open-back design, I’ve ever used, even though they are not the
including the PM-1. best performers in any particular category.
Right from the top, I must state that the Oppo PM-1s are not the best- The cliché “jack-of-all-trades” is appropriate.
sounding headphones I’ve heard. Actually they aren’t even on my Top Oppo has come up with a great “all-arounder”
Five best-performing headphone list. However, just because they aren’t that will certainly appeal to any audiophile.
ranked in the top tier doesn’t mean that many prospective owners won’t Steven Stone
think they are the most enjoyable headphones they’ve owned.
What makes the Oppo PM-1 so enjoyable? First, they are extremely
SPECS & PRICING
comfortable. Combine that comfort with their lack of any major sonic
Driver type: Planar-magnetic

or ergonomic flaws, and you have a device that rarely disappoints. The
Driver size: (Oval) 85 × 69mm

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. Magnet system: Symmetric push-pull
You’ll be too busy enjoying the music. neodymium

The PM-1’s low end is excellent with good detail, speed, and resolution, Driver response: 10Hz–50kHz (in free-field)

though it is not quite as airy or extended as the Audeze LCD-2 or Stax Max input power: 500mW according to
Lambda Nova Pro headphones. The PM-1’s midbass is just a bit on the IEC 60268-7

warm side of neutral, and reminds me very much of the Sennheiser Pulse max input power: 2W

HD-600, but with better resolution and lower coloration. Nominal impedance: 32 ohms

The PM-1’s midrange clarity is easily its best sonic characteristic.
Sensitivity: 102dB/1mW

The lack of electronic grain or noise, due most likely to the PM-1
Input: 6.35mm stereo jack, 3.5mm stereo jack
design’s emphasis on reducing intermodulation distortion, gives every
track a particular “rightness” that makes music sound more natural. Cable connectors output: 2.5mm mono mini jacks

In this respect the PM-1 is very un-hi-fi-like—it doesn’t have even the Weight: 395g (without cable)
faintest trace of the edginess or hyper-articulation present with many Price: $1099/£1099
premium headphones.

90  Ultimate Headphone Guide – Summer 2018

 Headphones
$1000–$2000

Sennheiser HD 800 S

S
ennheiser’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 that can be used in company, because you’ll
studio for the home, but in a wholly good way. hear that company and that company will be
This is coupled to a mild improvement to the bass. The HD 800 S able to listen to your music.
manages to tease out a more energetic and more accurate bass line. The Sennheiser HD 800S is one of the most
Everything else is classic HD 800, unchanged as it should be. I did feel satisfying headphone experiences I’ve had.
the HD 800’s uncompromising detail at the top end was replaced with a Alan Sircom
better overall sound at the expense of some separation of instruments
in the high frequencies, but once again this is mostly splitting hairs; the
TECHNICAL SPECIFICATIONS
‘better’ more than makes up for that.
Type: Circumaural open headphone
Playing ‘The New Cobweb Summer’ by Lambchop [Is A Woman, Merge],
Frequency response: 4Hz–51kHz (-10dB)
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, Transducer principle: Dynamic
it’s like peeling back the layers of a musical onion to get to its core. The Impedance: 300Ω
overall performance is musically satisfying as much as it is analytical. THD (1kHz, 1Vrms): < 0.02 %
It’s amazing how just a small change in the design, resulting in small Connectors: 6.3mm, XLR4
changes in the sound, can muster large changes in the perception of Cable length: 3m
that sound. I’ve often thought there can be too much detail in high-end
Weight: 330g
audio, but the HD 800 S shows how you can get to that detail and present
Price: £1399.99, $1699.95 US
it in a way that isn’t harsh or aggressive sounding.
The HD 800 S redefines the notion of ‘open backed’ headphones. The MANUFACTURER INFORMATION
sound of the outside world is virtually unattenuated by the construction Sennheiser Electronic GmbH & Co. KG
of the headphone, and the sound of the headphone doesn’t just ‘leak’, it URL: en-uk.sennheiser.com
positively floods out of the HD 800 S. That means, this is not a headphone

Ultimate Headphone Guide – Summer 2018  91

Headphones
HIGH END: $2000–$3999

Abyss Diana

A
byss 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” The masterfully textured roll and pound of bass line
headband features leather wrapped over a high-grade crescendos in Massive Attack’s “Angel” [Angel/EMI/
aluminum frame and adjusts magnetically, creating a Universal/Virgin] is enrapturing. The echoing vocals
comfortable fit. Diana is available in “black onyx”, “arctic pierce through the ebbing crunch of the guitars and jump
white,” and “coffee” colors. Different leathers and custom out at you. Diana renders the transient click and knock
“soft Alcantra” skins are available upon request. The of the drums with precision and speed, while delivering
Diana sports impressively large 63mm single-sided planar the overall volume of a much larger headphone. Diana’s
magnetic drivers—a pleasant surprise in such a compact superbly executed soundstages are wide and dimensional.
headphone. The Diana is semi-open back, for “directional Diana isn’t scared of a challenging sonic workout; she
limited interference.” This design feature also aides in relishes it.
Diana’s wicked low-end reproduction. Jose Gonzalez’s “Crosses” [Crosses, Imperial Records/
Having an Abyss-style headphone in such a small, sleek Mute/Peacefrog] offers an engaging look into Diana’s
package is a serious sonic treat, though Diana’s looks rock/pop sensibilities and her flare for nuance. Gonzalez’s
might prove deceiving to the untrained eye (in a good vocals are clear and coherent, but also possess a difficult-
way). The Diana’s slender, minimalist design might give to-render, smoky, glass-like quality—a quality the Diana
the impression that it can’t throw a thumping kick drum captures in a believable, organic presentation. “Crosses” is
or bass line, but that’s not the case at all. Instead, Diana minimal in composition, but its sound is huge with plenty
capably and forcibly handles everything from the low-end of space between notes and an intricate sense of air. Diana
crash of house music and techno to the soft voices of reproduces this song with fantastic transparency, detail,
folk. Its resolving capabilities are evidenced through its and dimensionality—especially on Gonzalez’s velvety,
fine handling of complexities in classical and jazz. Diana’s clean, glacial vocals.
dynamic prowess shines through its rumbling bass on Abyss has managed to squeeze a stunning amount of
electronic dance music (EDM) and its exquisite layering of dynamics and oomph into a stylishly compact headphone.
atmospheric synths in ambient and trap music. Diana is a beautiful lady with an attitude. She’ll please

92  Ultimate Headphone Guide – Summer 2018

 Headphones
HIGH END: $2000–$3999

MrSpeakers
demanding headphone fanatics and draw personal audio
VOCE
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 SPECIFICATIONS
Type: Open-back planar magnetic headphone with
single‑sided drivers
Driver Complement: Patent-pending 63mm, single-sided
planar magnetic drivers
Frequency Response: 7Hz–28kHz
Impedance: 40 ohms
Recommended Power: 300mw/2 watts
Weight: 330 grams
Included Cables: JPS Labs w/3.5mm/6.3mm adapter
(4-pin XLR or 4.4mm plug optional) 1.5m
Accessories: Made-in-USA dual-zipper canvas carry bag with
leather accents and accessory pockets
Price: $2995 US, £3450 UK

MANUFACTURER INFORMATION
Abyss Headphones
Lancaster, NY 14086
Tel: +1 (716) 288-9112
URL: https://abyss-headphones.com

Summary
Voicing: Midrange-rich/extreme low-end extension.

M
Bass Upper bass Lower mids Mids Upper mids Presence Treble

(All ratings relative to comparably priced headphones.) rSpeakers is led by its headmaster Dan Clark,
a keen-eared headphone enthusiast and
Resolution/Focus: Soundstaging/Imaging: an engineer’s engineer. The company takes
nnnnnnnnnn nnnnnnnnnn its name from an earlier phase in Clark’s
Dynamics/Expression: Value: career where he served as an accomplished
loudspeaker design specialist for hire. More recently,
nnnnnnnnnn nnnnnnnnnn his efforts have centered on creating a growing range
Pros of full-size headphones, all of which have had planar
llStylish and stoutly built. magnetic designs—until now. For the past three years,
llErgonomics. Clark methodically has been developing a new flagship
llIncredible low-bass extension and weight. electrostatic headphone called the VOCE, priced at $2999.
llWarm, silky midrange. Why an electrostatic? The answer is that Clark always
Cons loved the clarity and resolution of electrostatics, but
llProvided cables are non-detachable. felt they needed “a more extended bottom end with a
llA bit heavy for such a sleek design. more relaxed high-end delivery.” To this end, the VOCE’s
electrostatic driver diaphragms are larger than most (88mm

Ultimate Headphone Guide – Summer 2018  93

Headphones
HIGH END: $2000–$3999

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
TECHNICAL SPECIFICATIONS
Type: Open back electrostatic headphone
Driver complement: One 88mm dust shielded, full-range
electrostatic driver with a 2.4 micron-thick diaphragm
Frequency response: Bass response extends to 10Hz -3dB;
upper frequency limit not specified
Sensitivity: Not specified
Impedance: Not specified
Bias voltage: Requires 580V “Pro-bias”, compatible with
electrostatic headphone amplifiers or energizers that
support “Stax-Pro” bias voltages
Accessories: 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: <330g
Price: £2,600 UK; $2,999 US
MANUFACTURER INFORMATION
MrSpeakers Headphone Products
3366 Kurtz Street, Suite 200, San Diego, CA 92110 USA
Tel: +1 (619) 501-6313
URL: www.mrspeakers.com
UK DISTRIBUTOR
Electromod
Summary
Voicing: Fundamentally neutral (although some perceive
the VOCE to be slightly midrange forward).
Bass Upper bass Lower mids Mids Upper mids Presence Treble

[Asylum, 24/192], the VOCE made child’s play of presenting (All ratings relative to comparably priced headphones.)
the deep, potent punch of Leland Sklar’s electric bass and
the soulful wail of Danny Kortchmar’s electric guitar, not Resolution/Focus: Soundstaging/Imaging:
to mention Russ Kunkel’s exuberant drumming. In short, nnnnnnnnnn nnnnnnnnnn
the VOCE can rock with the best of them and with layers of Dynamics/Expression: Value:
nuance one might not have thought possible. Similarly, on
Mark O’Connor’s Fanfare for the Volunteer [Sony, 16/44.1],
nnnnnnnnnn nnnnnnnnnn
the VOCE effortlessly transitioned from producing the Pros
sound of an orchestra at full song to the softer, subtler llLight and comfortable design with superb build quality,
sound of O’Connor’s folk-inflected violin solos, always with fit, and finish.
composure intact. llExceptionally low distortion and coloration.
The question of whether to use the supplied tuning llExtremely high-resolution, but without trace elements of
filters is a personal one, so experimentation is encouraged. brightness or glare.
(I preferred the VOCE with the subtlest of the included llGreat dynamics (including bass dynamics).
filters, but you might choose differently.) Either way, the Cons
VOCE stands as one of the finest electrostatic headphones llAs revealing as the day is long, the VOCE can expose
ever created and one that provides stiff competition for shortcomings in ancillary gear or recordings.
Stax’s legendary SR-009. Chris Martens

94  Ultimate Headphone Guide – Summer 2018

MrSpeakers
ÆON and ETHER
Award-winning sound and comfort.
Made in San Diego.
Headphones
HIGH END: $2000–$3999

Audeze LCD-MX4

M
any 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
dance-step-like recurrent cello theme. There is
extremely demanding of amplifier quality.
something about the contrast between Obel’s
This is where the new LCD‑MX4 model comes in, priced at £2799
upward-reaching vocals and the rhythmic,
(or $2995 in the US). It is an open-back, circumaural planar magnetic
woody voice of the cello anchoring the track
headphone that uses an extremely low-mass 106mm Uniforce diaphragm
that makes it both mesmerising and endlessly
patterned after the diaphragm of the LCD-4. It is fitted with an extremely
fascinating.
powerful Double Fluxor™ magnet array that is essentially a more
The LCD-MX4’s bass is deeply extended and
powerful version of the LCD-X magnet array. The LCD-MX4 forgoes the
appropriately weighted, though perhaps not
Fazor™ waveguide elements used in both the LCD-4 and the LCD-X.
quite the last word in tautness and definition.
The LCD-MX4 uses a more streamlined and lightweight one-piece ear
Still, its low end provides solid foundational
cup and vented rear cover made of magnesium. This new structure not
underpinnings for any music you might choose
only looks lighter and more svelte than the ear cups and rear covers of
to play.
other LCD models, it feels noticeably lighter. The LCD-MX4 uses a sturdy
Audeze’s LCD-MX4 is a different and very
but light carbon fibre headband frame, beneath which is suspended a
satisfying kind of high-end headphone. It
nicely made leather headband support strap.
offers much of the resolution and finesse of
Like other LCD models, the LCD-MX4 uses height-adjustable metal
the firm’s top LCD-4, but in a lighter and more
ear cup yokes that allow the ear cups to swivel from side to side and
comfortable package that is more tolerant of
to tilt upward and downward until a comfortable fit is achieved. The
source and amplification components. Well
MX4s feature Audeze’s bevelled, leather-clad ear cup pads, which are
done! Chris Martens
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 TECHNICAL SPECIFICATIONS
massive than those found on the earlier LCD headphones. Type: Open-back, circumaural, planar magnetic
The headphones ship with a high-quality set of braided signal cables headphones.
with mini-XLR fittings on the headphone end and a 6.35mm headphone Driver complement: Full-range planar magnetic
plug on the amplifier end. In addition, the headphones come with a drivers with 106mm thin-film diaphragms and
short 6.35mm-to-3.5mm mini-plug adapter cable that is handy for users Double Fluxor™ premium-grade Neodymium
whose headphone amplifiers only provide 3.5mm mini-jack outputs. The magnets delivering 1.5 Tesla of magnetic flux
headphones arrive in a large, thickly padded, moulded thermoplastic Frequency Response: 5Hz–20kHz, with usable
flight case. frequency extension to 50kHz
I used the LCD-MX4 in a system comprising a Windows-based Lenovo/ Sensitivity: 10dB
JRiver Media Center music server feeding a Chord Hugo 2, which in turn
Impedance: 20 ohms
drove a versatile hybrid valve/solid-state iFi Audio Pro iCAN headphone
amplifier. Weight: Not specified, but said to be
From the outset, the MX4 just felt right; its overall size, shape, and “significantly lighter than the LCD‑4 model”
relatively low mass make it comfortable to wear for hours on end. Warranty: Not specified
Sonically, the LCD-MX4 comes across as son of the LCD-4 in many Price: £2799, or $2995 USD
respects, in particular showing an energetic, and very revealing midrange
MANFACTURER INFORMATION
that sounds positively luminous and that is highly reminiscent of the
Audeze Incorporated
sound of Audeze’s top model. Upper midrange and treble articulacy
URL: audeze.com
and resolution are very good. Most importantly, the LCD-MX4 offers a
well-integrated and all-of-a-piece sonic presentation from the lower UK DISTRIBUTOR
midrange right on up to the highest treble frequencies. Decent Audio
The MX4’s holistic quality made itself felt on Agnes Obel’s ‘The Curse’ +44 56 0205 4669
[Aventine, Pias America, 16/44.1], where her wispy and reverb-drenched URL: decentaudio.co.uk
voice stands counterpoised against the song’s measured and almost

96  Ultimate Headphone Guide – Summer 2018

 Headphones
HIGH END: $2000–$3999

Final D8000

F
inal 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 SPECIFICATIONS
Type: Planar magnetic headphone with air film
damping system
Driver complement: Full range AFDS planar
magnetic driver
Maximum SPL: 98dB
Impedance: 60 ohms
Frequency response: Not specified
Weight: 523g
Accessories: High quality single-ended signal
cables, metal headphone stand
Warranty: 2 years
Price: £2999 UK, or $3799 US
MANUFACTURER INFORMATION
Final/S’Next Co., Ltd.
Kawasaki-shi, Kanagawa 212-0057 Japan
+81 44 789 5795
URL: www.s-next-final.com
DISTRIBUTOR
KS Distributor
URL: www.ksdistribution.co.uk

Ultimate Headphone Guide – Summer 2018  97

Headphones
HIGH END: $2000–$3999

Stax SR-009/
SRM-007tII “Kimik”

T
here’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, theme, and it’s the Stax busily re-writing just
to one of a range of energizers—high-voltage amplifiers designed what you think of as “good.” There is nothing
specifically to drive those stator ear panels. We used the Stax flagship intrinsically impressive about the SR-009, and
energizer, the SRM-007tII. This has two pairs of 6FQ7 tubes in the output that is paradoxically what is so impressive
stage, and an FET input stage, running pure balanced and in full Class A. about the SR-009. You begin to realize (and
The company Symmetry “hot rods” the SRM-007tII slightly in its “Kimik” pretty quickly) that what appears good about
version, with a spot of cryo treatment for the tubes, gold-plated pins, and other transducers is a sham; a smoke-and-
EAT tube dampers, adding at least an extra $260/£200 to the base price. mirrors trick to make music “showy”-sounding,
Those 6FQ7s are not there for show, or to soften or warm up the whereas the Stax combo is the real deal.
sound. They are there because high-voltage electronics was more of a Perhaps the best praise I can lay at the
“thing” in the golden age of tubes, and although solid-state can also be door of Stax is the day after these headphones
used for high voltage, this is one place where hollow-state technology went back, I mourned their loss, and stopped
has indisputable benefits that do not just fall into the category of listening to music for a week (which in my
“sounding nice.” job is practically a resignation letter). These
The SRM-007tII can take balanced or single-ended audio inputs, but headphones aren’t just “good”; they are
it is distinctly balanced in design, and this perfectly fits the inherently tantamount to a life-changing experience for
balanced SR-009. Dedicated headphone enthusiasts could use it in place the open-minded audiophile. They are the last
of an amplifier entirely, and simply connect it to a line or tape output. It’s loudspeakers you will ever own. Alan Sircom
not inherently cable fussy or platform sensitive, and despite having four
glowing bottles inside, isn’t particularly microphonic. That being said,
SPECS & PRICING
the SR-009s can show up the difference between good-, better-, and
Type: Push-pull circumaural, open-back,
best-quality sources with ease, and if you are wanting to show off how
electrostatic headphone
good your new cables sound, you’ll hear everything through the SR-009s.
Frequency response: 5Hz–42kHz
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 Electrostatic capacitance: 110pF (including cable)
that album sounds on these?” In fact, these are variations on the same Impedance: 145k ohms (including cable)
Sensitivity: 101dB/100V RMS @ 1kHz
Maximum sound pressure: 118dB/400Hz
Bias voltage: 580V DC
These headphones aren’t just “good”; they are a life-
Weight: 590g (with signal cables)
changing experience for the open-minded audiophile. Price: $3825/£3495

98  Ultimate Headphone Guide – Summer 2018

 Headphones
EXOTICA: $4000 AND UP

Abyss AB-1266 Phi Edition

H
i-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 Phi’s midrange frequencies—exhibit an across-
extremely rigid and stable mounting platform for the Phi drivers. the-board improvement in resolution and focus.
Internally, those drivers use a very thin, very low mass diaphragm Finally, the Phi model is significantly easier to
with a patent-pending, single-sided “high-power neodymium magnet drive than the original was, which means the
with (an) optimized slot pattern.” The front side (or ear side) of the headphone no longer requires a hyper-powerful,
driver features what Abyss describes as a “low carbon steel front baffle hyper-expensive, unobtaninum-level amplifier.
with integrated resonance control,” while the rear side of the driver With the AB-1266 Phi, Abyss has taken an
uses “unique foamed aluminum sides acoustically tuned to the planar already superb headphone design and made
diaphragm for complete open sound.” it markedly better. For those looking to step
In the interest of comfort, the AB-1266 Phi headphones provide an beyond traditional excellence to get at the
elastically tensioned leather headband, which supports the weight of very heart of their favorite pieces of music,
the headphone, plus a set of soft, beveled, lambskin-covered earpads the AB-1266 Phi stands as a must-audition
which are attached magnetically and positioned via locating pins. headphone. Chris Martens
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
SPECS & PRICING
AB-1266, is even better, retaining all the depth and power of the original, but
Type: Open-back, circumaural planar-magnetic
tightening up on pitch definition while also improving transient speed and
headphone
correcting an occasional tendency toward slightly overly ample midbass.
Second, midrange frequencies in the Phi model are pulled forward in the Driver complement: One low-mass, single-sided
mix just slightly, making for more neutral voicing, while also exhibiting a big magnet, planar-magnetic driver
step up in resolution and generally sharper (though by no means “edgy”) Frequency response: 5Hz–28kHz
focus. Third, highs sound even more extended than before and—like the Sensitivity: 88dB
Impedance: 42 ohms nominal (non-reactive)
Distortion: Less than 1%: less than 0.2%
through (the) ears’ most sensitive range
Abyss has made an already superb headphone Weight: 620g
design markedly better. Price: $ 5495/£5200

Ultimate Headphone Guide – Summer 2018  99

Headphones
EXOTICA: $4000 AND UP
HiFiMAN Shangri-La Jr.
M
any 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
It reproduces wide dynamic changes so
quickly it can send chills down your spine.
100  Ultimate Headphone Guide – Summer 2018
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

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
Headphones
EXOTICA: $4000 AND UP
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
Ultimate Headphone Guide – Summer 2018  101
Headphones
EXOTICA: $4000 AND UP

LB Acoustics
TECHNICAL SPECIFICATIONS
MySphere 3.1
Type: Open-back electrostatic headphone system
Valve Complement: Four matched 6SN7N tubes

I
Driver Complement: Single full-range electrostatic
driver with 0.001mm thick diaphragm and Nano-material n the battle for the Samsungifcation of Harman, there
coatings, ultra-thin metal mesh stators, and Nano-material were always going to be casualties of war. In the
dust covers shuttering of AKG’s Vienna offices, the group lost a lot of
Headphone Weight: 374 grams (13.2 oz.)
very smart designers and builders, many of whom went
to a new pro-audio brand called Austrian Audio. But
Frequency Response: 7Hz–120kHz
Heinz Renner, the brains behind the legendary AKG K1000
Bias voltage: 550V–650V ear speakers, had different ideas. He joined forces with
Weight: 374 grams (13.2 oz.) Viennese test equipment makers LB-acoustics where he
Price: $8000 US (includes amplifier) met his friend Helmut Ryback, co-developer of the K1000,
Shangri-La Jr. amplifier (included with Jr. package, but also and set to work making really good headphones. The
available separately for $5000) distinctive MySphere 3.1 and 3.2 ‘hover ear’ headphones
Amplifier dimensions: 400 × 265 × 108 mm are the result.
(15.7” × 10.4” × 4.2”) The MySphere comes in two flavours: the 15-ohm
Valve complement: Four (4) SN7N tubes MySphere 3.1 and the 110-ohm 3.2. The choice depends on the
characteristics of your headphone amplifier and LB‑Acoustics
Amplifier Weight: 24lb (11kg)
recommended the 3.2 for use with our Burson Conductor V2+
MANUFACTURER INFORMATION amp/DAC. Neither model is hard to drive, however.
HiFiMAN Corporation The heart of the MySphere is its drive unit (and the way
+1 (201) 443-4626 it fits your head). Unlike every other design on the market,
URL: www.hifiman.com 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
Summary have not previously been achieved in headphone design.”
Voicing: Fundamentally neutral with well-recorded source This is coupled with a fully radially aerated magnet system
material and high-quality cables. (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.
Bass Upper bass Lower mids Mids Upper mids Presence Treble The way you put the MySphere design on is different
(All ratings relative to comparably priced headphones.) to practically every other design, too. MySphere’s bow
headband is worn like Alice’s from Alice’s Adventures in
Resolution/Focus: Soundstaging/Imaging: Wonderland—from behind your ears across the temples to
nnnnnnnnnn nnnnnnnnnn the front of your skull. LB-acoustics is doing something right
Dynamics/Expression: Value: because the 340g MySphere feels much lighter (because its
weight is distributed over a large area). The cable connects
nnnnnnnnnn nnnnnnnnnn to one end of the band (there are connectors on both
Pros sides) via a 3.5mm TRRS 4-pole symmetric connector. A
llOutstanding clarity and coherence. 1.2m cable is supplied as standard with a 3.5mm plug
llTerrific transparency. and a 6.35mm adaptor. An optional longer cable and two
llExtended response at both frequency extremes. balanced options are available.
llComfortable fit. The ear-cups (called “Soundframes”) are freely
Cons mounted, attached to the headband through a fixed arm,
llHighly revealing, exposing poor source material, cables, which contains solid conductors that connect to conductor
and DACs. bars on the band itself. Users then adjust the height and
llWith its open-back design, others in the room may be angle of the ear cups relative to their ears (aided by a
disturbed when you’re listening. PDF instruction manual and pink noise file included on a
llRequires several days of break-in before the Junior USB memory key). Once properly adjusted, the ear cups
comes into its full glory. hover just away from your ears (hence the name). One
hint: Don’t worry about symmetry, but instead make sure

102  Ultimate Headphone Guide – Summer 2018

 Headphones
EXOTICA: $4000 AND UP

The MySphere 3.2s deliver a sense of

expansiveness that puts them at the top of
the top of the tree.

TECHNICAL SPECIFICATIONS
Type: Single-driver ‘hover-ear’ headphone
Driver Complement: single-driver earphones, single-
capsule omnidirectional microphones
Frequency Response: 20Hz–44kHz
Impedance: 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 adaptor
Optional Cables: 3.5m version, 3.5m XLR, and 1.2m
balanced 2.5mm jack versions available. Special cables on
request available
Accessories: Quick Start guide, USB stick with manual and
pink noise file, metal flight case
Price: From €3,300; $3,900 US ex-factory without tax or
customs (nominally, $4000)

MANUFACTURER INFORMATION
LB-acoustics Messgeräte GmbH
Bahnsteggasse 17–23/Stiege 1
1210 Vienna, Austria
+43(0) 1 270 77 00
URL: www.mysphere.at

the Soundframes are correctly aligned to each ear’s height

and shape. As MySphere set-up is inherently flexible, we Summary
recommend taking notes and photos.
Voicing: Extraordinary out-of-head imaging and detail.
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 Bass Upper bass Lower mids Mids Upper mids Presence Treble

comfortable. But it’s the sound that grabs you most of all. (All ratings relative to comparably priced headphones.)
First, you are struck by the openness of the sound (as
you might expect, but there’s a sense of expansiveness that Resolution/Focus: Soundstaging/Imaging:
puts them at the top of the top of the tree). What comes nnnnnnnnnn nnnnnnnnnn
next is both the speed of transient attack, which is almost Dynamics/Expression: Value:
supernaturally fast, and the bass, which is surprisingly
deep and meaty, but more importantly perfectly balanced
nnnnnnnnnn nnnnnnnnnn
with the rest of the tonal range. The pithy, one-word Pros
summation would be: ‘uncanny’. llWorld class soundstaging from a headphone
It’s rare that we encounter a design that is genuinely llExtremely transparent, accurate, and open sound.
different, rarer still when the differences are not only llDeep, well-integrated bass.
physically easy to spot and work as advertised, and the llExtremely fast transient response
whole caboodle gains ‘hen’s teeth’ status when all of that Cons
comes with good sound. The ambitious and audacious llExpensive.
MySphere 3.1/3.2 ticks all those boxes. Expensive it may llNo, I mean really expensive!
be, but the MySphere sets the benchmark for dynamic llNot every head will suit the headband
headphone performance today. Wow! Alan Sircom

Ultimate Headphone Guide – Summer 2018  103

Headphones
EXOTICA: $4000 AND UP

Sonoma Acoustics
Model One System

W
hen 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
No audio component is perfect, and the
panel, the HPEL uses a thin, flexible, metalized laminate film for the
Sonoma Acoustics M1 is certainly no exception.
“front” grid. The laminate is attached to an insulating spacer, and the film
But its variations from perfection are small,
is machine-tensioned in both the x and y planes. The octagonal design
involving long-term listening comfort, cable
of the spacer essentially creates eight separate “drum-skin” diaphragms
hardware, and distortion from excessively high
from one piece of film. Finally, a stainless-steel mesh forms the back
analog input (though none from digital). As
grid. Unlike a traditional electrostatic panel, the sound does not  pass
these flaws aren’t fatal, if you are in the market
through a grid. According to Sonoma Acoustics, “WAT was able to fine-
for a superbly neutral, revealing headphone
tune the characteristics of the ‘drum-skins’ such that they have different
system for critical listening or monitoring
resonant frequencies. Each cell is acoustically independent, but driven
purposes, the Sonoma Acoustics M1 should be
in parallel. As a result, the sound from each cell combines in acoustic
near the top of a very short list. Steven Stone
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— SPECS & PRICING
and superior sonic characteristics compared to—aluminum. The amplifier/ Type: Open-back, circumaural electrostatic
energizer unit of the M1 system uses a high-performance, single-ended, Sensitivity:  94dB SPL at -10dB full-scale digital
discrete-FET Class A amplifier, which is electrically matched to the HPEL. input and 75mV analog input
The two words that kept popping up in my listening notes during my Weight: 10.7 oz
time with the M1 system were clarity and cohesion. That “whole cloth” Price: $4995/£4995 (sold as system with M1
quality that I’ve only heard from full-range transducers that use a single energizing amplifier/DAC)
driver (planar or dynamic) and have no crossover circuitry is very much
M1 Headphone Amplifier
in evidence here, even though the reality is that the M1 headphone
diaphragm has eight separate sections. Also, the speed and clarity that Type: Discrete FET, single-ended Class A
electrostatic headphone technology is known for is definitely present in solid‑state
the M1 system. Listening into a mix, no matter how dense, seems easier Outputs: 1 × headphone connector for
through the Sonomas. M1 headphones
The M1 system is extremely smooth and detailed in the top octaves. Dimensions: 7.48” × 2.24” × 11.42”
I was hard-pressed to discover any hint of over-emphasized peaks Weight: 5.40 lbs
in the treble. Its midrange is as close to harmonically neutral as any Price: $4995/£4995 (sold as system with
headphone I’ve heard recently. And it plays bass with spot-on pitch M1 electrostatic headphones)
control and fine definition.

104  Ultimate Headphone Guide – Summer 2018

IEM CABLES
RMA F 2018

www.kimber.com
How to choose a Digital Audio Player
How to Choose a
Digital Audio Player
I
ntroduced 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 STORAGE
In 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 POWER
Once 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.
106  Ultimate Headphone Guide – Summer 2018
Steven Stone
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 CAPABILITIES
One 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 LIFE
When 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

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.
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 WEIGHT
Another 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/ERGONOMICS
Although 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
How to choose a Digital Audio Player
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 LONGEVITY
Some 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).
Ultimate Headphone Guide – Summer 2018  107
How to choose a Digital Audio Player
FORMATS
A 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,
108  Ultimate Headphone Guide – Summer 2018
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 SUPPORT
Customer 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-QUALITY
As 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.
WARRANTIES
The 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.
SUMMARY
Every 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
Personal Audio Electronics
DIGITAL AUDIO PLAYERS

Astell&Kern KANN

W
hen 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
no background hiss and a soundstage whose
to another USB DAC if you wish. With AK Connect, the KANN can receive
size rivaled that of the HE1000 V2’s, the Zeus/
streams from several services, including Tidal and Groove+ via Wi-Fi. The
KANN combo was hard to stop listening to. Jade
KANN does not, however, have MQA decoding capabilities.
Jackson’s “Bridges” via Tidal had a gloriously
The KANN is the fourth Astell&Kern player I’ve reviewed. As with past
epic quality that came through intoxicatingly
players the operating system is closed with no provisions for the end
well with this pairing.
user to add additional applications. Instead, you get a slick, stable, fast,
With the high-value AK70 below it and the
efficient system that does what it is supposed to do and does it with
wondrous SP1000 above, the middle sibling
the elegance of a head waiter at a five-star restaurant.
KANN, with its odd name, might be considered
While most players supply one SD card slot, the KANN supplies two;
the black sheep of the A&K family. But after
one for micro and one for full-sized cards. Combined with the 64GB of
putting it through its paces I can only conclude
internal storage, you could, if you are feeling megalomaniacal, max out
that the KANN is fully capable of being that
the KANN with one 256GB microSD card and one 512GB SD card for a
“one player to rule them all.” The KANN
whopping total of 832GB of music.
played everything, handled a wide variety of
Charge time with a Type-C USB quick-charger is fast; in one hour you
headphones, sounded fabulous, and was a joy
will accumulate 6.5 hours of stored play time. Battery life is listed at
to use. Steven Stone
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 SPECS & PRICING
headphones, the HiFiMAN HE1000 V2 and and Beyerdynamic DT-990 Type: Portable music player
600-Ohm. On Katy Perry’s “Swish Swish,” the KANN handled the extreme Display: 480 × 800 WVGA
low bass elegantly while preserving the transient attack of the finger Supported formats: WAV, FLAC, WMA, MP3, OGG,
snaps. On Bleacher’s “All My Heroes,” the KANN let the HE1000 V2’s step APE (normal, high, fast), AAC, ALAC, AIFF, DFF, DSF
out with lots of percussion effects and a huge soundstage that was the Output: Unbalanced, 2Vrms / balanced, 2Vrms
aural equivalent of an Omnimax presentation. During the last verse, (condition no load) 
where I swear I could hear a kitchen sink in the background, the KANN
High output: Unbalanced, 4Vrms/ balanced,
delivered all the music buried deep inside the mix (although it did end
7Vrms (condition no load)
up at 140, very near the 150 max volume setting).
Hooked up to sensitive multi-driver custom IEMs such as the Empire Line out: Unbalanced, 2Vrms / balanced, 2Vrms
Ears Zeus, the KANN proved to be an equally synergistic match-up. With (condition no load)
Battery life: 15 hours
Memory capacity: 832GB (64GB on-board)
Dimensions: 2.8” × 4.56” × 1.01”
The KANN is fully capable of being that “one player Weight: 9.83 oz.
to rule them all.” Price: $999/£899

110  Ultimate Headphone Guide – Summer 2018

Personal Audio Electronics
DIGITAL AUDIO PLAYERS

Astell&Kern A&ultima SP1000

A
stell&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.
subtle. The two players sound much more
Now the company has released the A&ultima SP1000 to sit
similar than different. Thus, whereas A&K’s new
on the Iron Throne. This top model is a rather different beast than its
flagships have been rather substantial steps
predecessors. For one thing, it is significantly larger than any previous
up, the SP1000 is instead a worthy incremental
A&K model. Size-wise, think of the company’s prior players as iPhone 5’s,
improvement.
whereas the SP1000 is a 7 Plus. You’ll need a wide grasp to grip this big
For now, the AK380 remains in the A&K
boy. You’ll also need some arm strength since the SP1000 is constructed
product line, at a reduced price of $3000. The
from a solid billet of either stainless steel or copper. Weighing in at
choice between it and the SP1000 comes down
nearly a pound in either material, this player strains the definition of
to priorities. Do you prefer the more compact
“portable.” That seems counter-intuitive for a company built on mobility,
lightweight form factor of the AK380, which
but A&K’s intent was to meet demand from customers for whom heft
still delivers superb sonics? Or do you want
and size signify quality.
A&K’s best sound and most seductive display?
Although I find the resulting product a bit of a handful, I admit to
In the end, you can’t go wrong with either of
being smitten by the crisp, richly-saturated 5” touchscreen. With this
these players. I think of them both as flagships.
display, the SP1000 banishes both squinting and the need for careful
Alan Taffel
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 SPECS & PRICING
are also faster, thanks to a USB-C jack and USB 3.0 support.  USB-C also Display: 5-inch touchscreen
enables fast charging; the SP1000 can play for twelve hours after just Supported audio formats: WAV, FLAC, WMA,
two hours of charge. MP3, OGG, APE, AAC, ALAC, AIFF, DFF, DSF
The primary sound-related upgrade is a move to a pair of AKM’s Maximum sample rate: 384/32, DSD256
latest AK4497EQ DACs. To find out if this makes an audible difference, I Battery: 3400mAh 3.7V Li-Polymer
compared the AK380 with the SP1000 using my trusty NAD HP50 ’phones
Outputs: Headphones (3.5mm), optical (3.5mm),
tricked out with a Wireworld Eclipse cable. My first comparison had the
balanced (2.5mm, 4-pole)
two players fighting it out with a 176/24 version of Rebecca Pidgeon’s
evergreen “Spanish Harlem.” On this track, the SP1000 easily surpassed Memory capacity: 256GB plus 256GB microSD
its predecessor. In particular, the new flagship delivered more detail in Wireless: 802.11 b/g/n (2.4GHz), Bluetooth V4.0
the string bass, and the general presentation was significantly more (A2DP, AVRCP, aptX, aptX HD)
open. Besides instruments sounding more realistic, I could hear sonic Supported OS: Windows XP, 7, 8, and 10;
accoutrements—like the shape of the reverb—far more clearly. MAC OS X 10.7 and up
As I continued listening, those initial observations proved consistent. Dimensions: 2.98” × 5.2” × .64”
Regardless of source material, the SP1000 delivers better bass definition Weight: 13.7 oz
and more low-end information, is more extended on top, and delves Price: $3499/£3299
more deeply into the mix. Yet, while these differences are clear, they’re

112  Ultimate Headphone Guide – Summer 2018

 Personal Audio Electronics
DIGITAL AUDIO PLAYERS

Echobox Explorer

R
emember 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 arguably better level of quality-on-the-
and bottom with machined aluminium endcaps. go left me with a positive impression of the
The Echobox Explorer is designed to be fully compatible with most Explorer’s value. The Explorer suggests we
digital file formats, including WAV, AIFF, and FLAC. It comes with 64GB of might be misunderstanding the purpose of
internal memory and has a MicroSD slot that allows you to upgrade to the Digital Audio Player.
a total capacity of 192GB. You can add a very attractive docking station Those who would never buy an iPod
for an additional $50 that will match your choice of hardwood. because it’s old news, or most DAPs because
The Explorer hardware recipe starts with a powerful Texas Instruments they’re iPod clones, will buy an Explorer. Better
300mW/channel amplifier capable of adequately driving a wide variety still, for $599 and a decent pair of headphones,
of in-ear and headphone models with no headphone amplifier needed. the Echobox Explorer means you are going to
Its Rockchip RK3128 Quad Core processor runs at 1.3GHz and sports 1GB be doing just fine no matter where you find
of RAM. The Explorer’s 4000mAH lithium rechargeable battery can power your day taking you! Buzz Hughes
the device easily for over a day of steady use.
What about the Explorer’s main ingredient—its integrated DAC? Close
TECHNICAL SPECIFICATIONS
to 50 percent of the circuit board is burnished with dedicated audio
Type: Solid-state digital audio player with built-
circuitry supporting the Texas Instruments Burr Brown PCM 1794 stereo
in storage and DAC
DAC chip, a ‘highest performing’ chip delivering up to 24-bit, 192kHz
Storage: Internal 64GB for music data storage/
resolution. DSD is supported but converted to PCM for playback. MQA
data storage, plus option for additional micro
support is not yet on the radar, however. Echobox’s target audience
SD card storage
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 DAC Resolution/Supported Digital Formats:
than first imagined, given that MQA is attempting to encroach on a more FLAC/wav/AIFF/mp3, etc. Sampling rate for D/A
mainstream audio market. But I suspect the market for good looking, conversion up to 192kHz/24-bit.
great sounding DAPs will find its own niche, MQA or not. Analogue Outputs: One 1/8’’ headphone jack
In my auditions, the Explorer delivered a laid-back, natural sound Frequency Response: Not specified
complemented by an openness of presentation that was wonderfully Distortion (THD + Noise): Not specified
unexpected in a hand-held device. Take Kurt Vile’s 2011 Wakin’ on a User Interface: 3.5-inch display (on main
Pretty Daze [Matador]. Over a breezy set of tracks Mr. Vile sets up the unit), preconfigured with Echobox-supplied
melodic finale ‘Gold Tones’ that never fails to deliver you someplace application software
special by way of hypnotic monotone vocals over an evolving interplay
Price: $599
between traditional acoustic and slide guitars. The Explorer wrapped
each of these crucial elements with a little sonic membrane of space and MANUFACTURER INFORMATION
depth that was eye opening. The Explorer offered a high-fidelity listening Echobox Audio
experience that was solidly convincing. However, I did find myself Tel: (+1) 206- 228-0595
missing some of the precise midrange detail offered by a full-size piece URL: echoboxaudio.com
of desktop equipment. But the thrill of being able to enjoy a comparable

Ultimate Headphone Guide – Summer 2018  113

Personal Audio Electronics
DIGITAL AUDIO PLAYERS

FiiO X7 MkII

O
ver 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 or overwrought. The player also had sufficient power to
Music app, which is extremely easy to use. Physical controls drive full-size planar magnetic headphones yet was quiet
include a top-mounted on/off switch, left side-mounted enough to work well with high-sensitivity earphones.
play/pause and track forward/backward buttons, plus a A track that nicely illustrates the FiiO’s capabilities is
thumbwheel-type volume control. I/O ports include a top- Mary Chapin Carpenter’s “Come On, Come On” from her
mounted line out/coaxial/optical output, while other I/O album of the same name [SBME Special Markets, 16/44.1].
options are dependent on the amplifier module(s) chosen. The track leverages Carpenter’s breathy and evocative
The X7 MkII gives owners the choice of several different voice, juxtaposed against beautifully recorded guitar,
amp modules that attach at the foot of the unit’s main piano, and bass accompaniment. The only drawback—at
chassis. FiiO typically bundles the X7 MkII with its AM3A least through some electronics—is a tendency for the
module, which is how our sample came equipped; the module voice and instruments to sound somewhat hot, bright,
provides a USB jack, a 3.5mm single-ended headphone jack, or spotlighted. Through the X7 MkII, though, the track
and a 2.5mm balanced output headphone jack. exhibited richness of detail and textures without glare or
The X7 MkII’s excellent user interface leverages the spotlighting, and with desirable qualities of heartiness and
unit’s 3.97-inch 400x800 pixel full-color touchscreen. In warmth plus a welcome touch of sweetness on Carpenter’s
practice, the FiiO feels less like a DAP and more like a vocals (not the cloying kind, but rather the sort that makes
well executed Android smartphone (minus the phone lyrics sound heartfelt and sincere).
part, of course). The screen is clear and sharp while the FiiO’s X7 MkII is far from the most costly DAP we have
interface offers pleasingly intuitive navigation. Installing ever reviewed, but it has emerged as a go-to favorite for
and/or updating apps proved incredibly easy, while music everyday use. It offers beautiful build quality, a fine user
playback controls—whether for Tidal or for FiiO Music—fell interface, and sound quality that utterly belie its modest
readily to hand. Once we had our sample charged up, we price. Chris Martens
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 TECHNICAL SPECIFICATIONS
over with a sound that found the elusive sonic middle path. Type: High-resolution digital audio player: based on a
Thus, the FiiO offered up low-frequency traction, depth, highly customized Android 5.1 OS platform
and impact, plus a degree of natural organic warmth, Inputs: 2.4/5GHz Wi-Fi, Bluetooth 4.2/aptX, playback from
while also delivering smooth yet highly revealing mids onboard storage, USB
and highs. There were textural and transient details and Outputs: X7 MkII main chassis provides 3.5mm combination
nuances aplenty, yet the FiiO never sounded hard, etched, line out/coaxial/optical output port

114  Ultimate Headphone Guide – Summer 2018

 Personal Audio Electronics
DIGITAL AUDIO PLAYERS

iBasso DX200
Various amplifier modules are available. The standard AM3A
module provides 3.5mm single-ended and 2.5mm balanced
headphone outputs
Supported file formats: PCM to 32-bit/384kHz, DSD to
DSD128 (native DSD), DXD 352.8
Storage: 64GB ROM, 2GB RAM, and two Micro SD card slots
Output power: AM3A amplifier module
AM3A balanced output: 420 mW @ 16 ohms/1kHz;
540 mW @ 32 ohms/1kHz; 70 mW @ 300 ohms/1kHz
Frequency response: 5Hz – 83kHz +0/-3dB; SNR: ≥115dB;
Distortion (THD + N) <0.0008% @ 32 Ohms/1kHz
AM3A single-ended output: 250mW @ 16 ohms/1kHz;
190mW @ 32 ohms/1kHz; 25mW @ 300 ohms/1kHz
Frequency response: 5Hz-83kHz +0/-3dB: SNR: ≥ 115dB,
Distortion (THD + N) < 0.001% at 32 ohms/1kHz
Battery: 3800mAH Lithium Polymer
Accessories: 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 × 128.7mm
Weight: 212g
Price: $650 US; £599
MANUFACTURER INFORMATION
FiiO Electronics Technology Co., Ltd.
Guangzhou, China Postcode 510430
URL: www.fiio.net

C
Summary oinciding with their 10-year anniversary iBasso
has released the new DX200 digital audio player,
Sonic character: Fundamentally neutral with a hint of
which retails for $869. iBasso’s digital audio
natural, organic warmth.
player seeks to justify its pricetag by being able
to do a little bit of everything you might need.
Darker, warmer, Neutral, Brighter, cooler, In addition to being a mobile audio player with 5G Wi-Fi
more ‘romantic’ balanced, focused more ‘analytical’
and Bluetooth 4.0 capacity, the DX200 doubles as a fully
(All ratings relative to comparably priced Digital Audio Players.) functional USB DAC. Equipped with an XMOS XU208 USB
receiver and Thesycon USB driver, the DX200 will enhance
Resolution/Focus: Freedom from Noise:
music from a computer and source files to an amplifier
nnnnnnnnnn nnnnnnnnnn potentially making it a very valuable addition to your
Dynamics/Expression: Features and Versatility: equipment lineup.
nnnnnnnnnn nnnnnnnnnn The DX200 is billed as an upgrade of IBasso’s earlier
Soundstaging/Imaging: DX100 DAP in many key areas. The DX200 now sports
dual 32-bit ES9028 Pro DAC chips based on HyperStream
nnnnnnnnnn DAC technology, each of which has eight built-in DACs
Pros running in parallel for each channel. The DX200 has an
llWell-balanced sound offers a fine blend of power, detail, upgraded 8-core, 64-bit CPU and a long list of internal
and expressiveness with just a hint of warmth. “Cadillac” components like femtosecond oscillators, a
llStandard AM3A amp module is excellent, but optional jitter eliminator, low ESR capacitors, and ultra-low-noise
amp modules add versatility. power regulators. While you most likely will never set eyes
llBeautiful build quality, plus nice mix of useful accessories. on these internal upgrades, iBasso is confident that its
llA nicer user interface than many Android smartphones. exacting work under the hood will pay dividends to your
Cons ears once you hit play.
llNone worth mentioning in light of its price. The exterior of the DX200 centers around a 4.2-inch
IPS high-resolution touch screen that is surrounded by

Ultimate Headphone Guide – Summer 2018  115

Personal Audio Electronics
DIGITAL AUDIO PLAYERS

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
TECHNICAL SPECIFICATIONS
Type: Android-based high-resolution digital audio player
Inputs: Wi-Fi, Bluetooth, playback from onboard storage, USB-C
Outputs: 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 output
Supported file formats: PCM to 32-bit/384kHz, DSD to DSD512
Output 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 Polymer
Accessories: Leather case, tool for changing AMP modules,
USB cable, 2.5mm burn-in cable, 3.5mm coax cable
Dimensions (H×W×D): 19.5 × 69 × 128.5mm
Weight: 240g
Price: £749, $869 US
MANUFACTURER INFORMATION
iBasso
URL: www.ibasso.com
Summary
Sonic character: Tends toward the darker, warmer, more
romantic end of the sonic spectrum.
Darker, warmer, Neutral, Brighter, cooler,

nuanced, and Luther Dickinson’s indelible shredding guitar more ‘romantic’ balanced, focused more ‘analytical’

tone was crystal clear. The DX200’s organization of spacial (All ratings relative to comparably priced Digital Audio Players.)

cues and superb dynamics produced nothing short of a

Resolution/Focus: Freedom from Noise:
captivating listen.
The DX200 is pushing into the upper tier with its nearly nnnnnnnnnn nnnnnnnnnn
$1000 price tag, but those who can dish out the cash would Dynamics/Expression: Features and Versatility:
do well to place this DAP up near the tops of their “must nnnnnnnnnn nnnnnnnnnn
go hear it” lists. The combination of well-thought-out Soundstaging/Imaging:
functionality and top-notch musicality make the DX200 a
benchmark to measure against in the digital audio player
nnnnnnnnnn
realm. Buzz Hughes Pros
llAll around excellent sonic performer: warm midrange,
clear highs, well-defined bass.
llSonic flexibility with easy AMP card changes.
llSolidly built, good battery life.
llWell-thought-out physical controls.
Cons
“The DX200’s organisation of spatial cues llMango interface took a bit of getting used to for navigation.
llDevice still has a ways to go in order to be able to install
and superb dynamics produced and use Android based apps.
nothing short of a captivating listen.” llTad bit bulky when leather case is being used.

116  Ultimate Headphone Guide – Summer 2018

 Personal Audio Electronics
DIGITAL AUDIO PLAYERS

Questyle Audio QP2R

S
erious 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 like what it is, namely a very well executed
take along when I travel. Now, however, Questyle Audio has released an portable digital audio player, the QP2R instead
identically sized but dramatically revamped new player called the QP2R, sounds like something more, with a sound
which promises even higher performance. reminiscent of Questyle’s larger and more
For those unfamiliar with Questyle Audio, the firm is a specialty high- costly full-sized tabletop units.
end audio electronics manufacturer based in China and that is led by the The QP2R is a winner, pure and simple.
gifted engineer Wang Fengshuo (or Jason Wang in anglicized form). Wang While it is not powerful enough to drive the
is perhaps best known for his work in developing practical, very high latest generation of low-sensitivity planar-
performance current-mode amplifiers. Is current-mode amplification a magnetics (the HiFiMAN Susvara and Abyss
big deal? I would say it is. Much as with pure Class A amplifiers, there is AB-1266 Phi), it can drive almost everything
a certain sonic je ne sais quoi that makes them sound at once masterful else with telling results. It offers sound quality
and muscular beyond all proportion to their claimed power output. competitive with many premium desktop
What’s more, current-mode amps seem largely unfazed by ”tricky” loads headphone amp/DACs, but at a lower price
that can give lesser amps and DAPs fits. point and in a compact, pocket-sized package.
The QP2R improves on the original QP1R in several key respects. Enthusiastically recommended. Chris Martens
First, it provides an all-discrete, fully balanced, pure Class A current-
mode amplifier, and therefore offers both single-ended and balanced
SPECS & PRICING
headphone outputs. Like its predecessor, the QP2R provides user-
Type: High-resolution portable digital audio
selectable low, medium, and high master-gain settings while also
player/DAC
providing a pure Class A bias control that lets users choose standard
Inputs: Built-in 64GB music library; one microSD
or high-bias settings, depending on the loads being driven. The DAC
memory card slot (supports cards up to 200GB)
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 Outputs: Combo 3.5mm single-ended
32kHz–384kHz rates with 16/24/32-bit word depths; it can also handle headphone and optical digital output jack,
DSD files at DSD64, DSD128, or DSD256 resolution levels. 2.5mm balanced headphone output jack
At the foot of the unit is a USB Type-C port that provides both charging Supported formats: WAV, FLAC, WMA, MP3,
and data transfer functions, plus a card slot for installing an external OGG, AAC, ALAC, AIFF, DFF, DSF, APE (normal/
microSD memory card with maximum capacity of up to 200GB. Some high/fast)
might lament the fact that the QP2R now supports only one microSD Sample rates: PCM 32–384kHz, 16/24/32-bits;
card whereas the QP1R supported two, but that is the price to be paid for DSD64, DSD128, DSD256 (native support for
the QP2R’s fully balanced amplifiers, which take up extra space. Happily, DSD64)
internal storage for the QP2R is a generous 64GB (twice that of the QP1R). Power output: Unbalanced, 38mW @ 32 ohms,
From the outset, the QP2R exhibited a far more finely resolved and 9mW @ 300 ohms; balanced, 70mW @ 32 ohms
sharply focused presentation than the QP1R, while preserving the Dimensions: 65mm × 134mm × 14.5mm
sophisticated and yet pleasingly muscular and organic sound for which
Price: $1299/£1299
Questyle current-mode amplifiers are known. Where the QP1R sounds

Ultimate Headphone Guide – Summer 2018  117

Headphone Amps, DACs, and Amp/DACs
$199 AND BELOW

AudioQuest DragonFlys

B
ACK 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
amplifier (2.1V vs. the Black’s 1.2V) has greater
models, the $99 DragonFly Black and $199 DragonFly Red. In addition
dynamic swings and more solid bass. The Red
to offering better sound than the first model, the Black and Red can
also has significantly greater smoothness,
be used with Apple and Android smartphones and tablets, as well
ease, and warmth than the Black, and better
as computers.
dimensionality. Indeed, the Red ups the ante in
The revamped DragonFlys feature new DACs—the 9010 32-bit ESS
every sonic criterion. Even in my ultra-expensive
Sabre chip in the Black and the higher-performance 9016 in the Red.
main system, the Red/JitterBug combination
Both chips use minimum-phase digital filtering. The Black includes the
sounded much, much better than it had any
same headphone amplifier found in the original DragonFly, while the
right to for $199. I experienced an odd sense
Red gets an ESS headphone amplifier with a digital volume control that
of disconnect at hearing the mighty Magico Q7
is integral to the DAC chip. The Black’s maximum output level is 1.2V;
Mk IIs with their prodigious bottom end, and
the Red’s is 2.1V, allowing it to drive low-sensitivity headphones. Finally,
knowing that the source was the tiny DragonFly.
both DACs offer MQA rendering (!) and both are software upgradeable
With the DragonFly Black and Red,
for compatibility with future developments via a desktop application
there’s simply no excuse for listening to the
available from AudioQuest. (A worthwhile upgrade to either DAC is
compromised DACs and output amplifiers
AudioQuest’s $49 JitterBug, an in-line USB device that fits between your
built into computers. At $99, the Black brings
computer and any USB DAC. The JitterBug isolates the computer from
much of what high-end audio is about to just
the outboard DAC, reducing jitter as well as noise and ringing on both
about any quality-conscious listener. The Red
the power and data lines in the USB interface.)
is significantly better sounding, and worth
I compared the Black and Red to the original DragonFly in my desktop
the price difference. Adding AudioQuest’s $49
system as well as through PSB M4U 2 headphones ($399) and state-of-
JitterBug is a no-brainer for both, allowing
the-art Audeze LCD-X planar-magnetic headphones ($1699). The Black
either DragonFly to reach its full sonic
is a massive upgrade over listening directly from the computer’s analog
potential. Robert Harley
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 SPECS & PRICING
case) is flat, grainy, bright, airless, and hard, quickly inducing listening DragonFly Black
fatigue. The treble is a joke; cymbals sound like aerosol spray cans. Maximum output voltage: 1.2V
The Black elevates the computer-listening experience by delivering a Maximum input signal: 96kHz/24-bit
much smoother, more relaxed, and warmer sound. The Black has a tonal Dimensions: 19mm × 12mm × 62mm
richness and body that better portray instrumental and vocal timbre.
Price: $99/£89
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 DragonFly RED
sense of space and dimensionality. Maximum output voltage: 2.1V
But as good as the DragonFly Black is, I think that most TAS (and Maximum input signal: 96kHz/24-bit
UHG) readers looking in this category will opt for the Red. Yes, it’s that Dimensions: 19mm × 12mm × 62mm
much better and worth double the price. This is particularly true if
Price: $199/£169
you have difficult-to-drive headphones; the Red’s more robust output

118  Ultimate Headphone Guide – Summer 2018

 Headphone Amps, DACs, and Amp/DACs
iFi nano iDSD Black Label
i
Fi’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
$199 AND BELOW
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 SPECIFICATIONS
Type: Battery/USB-powered headphone amp/DAC
Inputs: USB-2.0 ‘OTG’ port
Outputs: 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 filter
Jitter: 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 switch
Dimensions (H×W×D): 25.5 × 64 × 96mm
Weight: 139 grams
Price: £200, or $199 U.S
MANUFACTURER INFORMATION
iFi Audio
URL: ifi-audio.com
DISTRIBUTOR
Select Audio

URL: selectaudio.co.uk
Tel: +44(0)1900 601954
Ultimate Headphone Guide – Summer 2018  119
Headphone Amps, DACs, and Amp/DACs
$199 AND BELOW
Meridian Explorer2
T
he $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 Explorer 2. 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.
120  Ultimate Headphone Guide – Summer 2018
When decoding MQA files on my desktop
system, through headphones, or even at
the front of a world-class reference system,
the Explorer 2 sounded stunningly great.
Playing MQA files, the Explorer 2 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 & PRICING
Inputs: Mini-USB
Outputs: Line out on 1/8” stereo jack,
headphone out on 1/8” stereo jack
Output impedance: 0.47 ohms
Dimensions: 4” × 1.25” × 0.7”
Weight: 1.76 oz.
Price: $199/£129
 Headphone Amps, DACs, and Amp/DACs
$199 AND BELOW

Schiit Audio Magni 3

N
inety-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
Mytek. Both sounded exceedingly clean with
shutdown due to a new muting circuit, and an improved potentiometer
well-defined inner detail.
curve with a slower ramp-up from low volume. The inexpensive Magni 3
When compared in matched-level A/B tests
is not cheaply made; even its metal case sports a better-quality finish
versus more bespoken options, few budget-
and more robust construction than the vast majority of “entry-level”
priced components could acquit themselves
components.
as well as the Schiit Magni 3 did. In fact, the
The Magni 3 front panel sports a volume knob, a white LED, and a
Magni 3 is in no way outclassed when used
standard 6.35mm stereo headphone output. The Magni 3’s rear panel
with very expensive transducers costing many
has one pair each of RCA single-ended inputs and outputs, an on/off
times what the amplifier does. For $99 the
switch, a high/low gain switch, and a connector for the power supply.
Magni 3 seems almost a miracle as it provides
The variable-gain RCA outputs make it possible to use the Magni 3 as
a simple, cost-effective way to drive a wide
an analog preamplifier. When you plug headphones into the Magni 3,
variety of headphones and high-sensitivity
its preamplifier outputs are muted.
earphones at or near their optimum sonic
I fed the Magni 3 with multiple digital audio players including
potential. Steven Stone
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 TECHNICAL SPECIFICATIONS
with that unit. Finally, I used the Magni 3 in my desktop system, fed Type: Solid-state headphone amplifier
from the analog output of a Mytek Brooklyn DAC/preamp, and driving Outputs: Single-ended 6.35mm stereo, one pair
an Optoma/Nuforce STA-200 amplifier powering either ATC SCM 7 II or of RCA single-ended outputs
Audience 1+1 loudspeakers. Output power: 3Wpc RMS @ 16 ohms, 2Wpc RMS
Sonically, the Magni 3 is the electronic equivalent of a Unitarian @ 32 ohms, 1.3Wpc RMS @ 50 ohms, 430mWpc
Universalist—it got along with everybody. High-sensitivity in-ears, RMS @ 300 ohms, 230mWpc RMS @ 600 ohms
including the Ultimate Ears 18+, Empire Ears Zeus, and EarSonics S-EM9, Output impedance: < 0.3 ohm at either gain
all presented quiet “black” backgrounds with a lack of noise, hum, hiss, setting
or other amusical electronic artifacts. In turn the Magni 3 had more
Dimensions: 5” × 3.5” × 2.5”
than ample gain to drive power-hungry full-size headphones such as
the 600-ohm Beyerdynamic DT 990 or the HiFiMAN HE1000 V2. Weight: 1 lb.
But, really, you wonder, how does it sound? In comparison to a more Price: $99 US, £110
expensive amp known for its “tube-like” character, the Magni 3 had far
MANUFACTURER INFORMATION
better bass and sub-bass control, pitch definition, and drive, as well as
Schiit Audio
a more dynamic upper midrange. On certain selections, some listeners
24900 Anza Drive, Suite A
might prefer the competing amp’s tube-like presentation, but the Magni
Valencia, CA 91355
3 was more harmonically neutral and had greater dynamic contrasts.
URL: www.schiit.com
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 DISTRIBUTOR
DAC source and with volume settings matched. Even in this seemingly Electromod
mismatched comparison, I could not reliably tell a difference between Buckinghamshire HP11 1RY England
the two headphone amps using a wide range of headphones. When I Tel: +44 (0) 1494 956558
used the Magni 3 as preamplifier getting an analog feed from the Mytek URL: www.schiit.eu.com
Brooklyn, it offered fidelity comparable to listening directly through the

Ultimate Headphone Guide – Summer 2018  121

Headphone Amps, DACs, and Amp/DACs
$199 AND BELOW

Ultrasone NAOS

W
ith 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 NAOS can help turn your cramped middle
Wilson’s underappreciated classic Ever Changing Minstrel [Columbia]. seat and modest travel headphones into the
The track ‘Long Gone Lady’ is an excellent piece of music to gauge the next best thing outside your home listening
nuances of audio equipment’s presentation as there is little production room. The sound of most moderately priced
razzle-dazzle to distract the listener. The track features an equal mix headphones will be enhanced in a positive
of soulful acoustic guitar, strong male vocals, nearly naked bass, and way by the addition of this versatile and nearly
backing female vocals that are all expected to stand out in the mix and invisible and weightless pocket-sized dynamo.
share the space. The treble, midrange, and bass were all enhanced Buzz Hughes
and immediately woven into a remarkably defined and well-managed
sound stage. The presentation upgrade from the NAOS was so engaging
TECHNICAL SPECIFICATIONS
that I quickly found it unthinkable to simply plug headphones into my
Type: Solid-state high-resolution digital-to-
iPhone 6S or desktop computer. As I moved on in the audition from
analogue converter/headphone amplifier 
high-quality FLAC streaming to a few lower-fidelity sources such as a
Digital Inputs: Micro-USB, Lightning,
simple Spotify stream, music-based podcasts off iTunes, or my collection
USB (Type A), USB-C
of first-generation MP3s, the NAOS ‘top-to-bottom enhancement factor’
was apparent across the board on all these sources. Analogue Outputs: 3.5mm mini-jack
Fortunately for Ultrasone, most of us live in the world (especially Frequency Response: 10 Hz–30 kHz
on the go) where the virtually limitless variety of superior quality Dimensions (H×W×D): 6×18×46mm 
headphones under £250 will do just fine. In this vast price plateau, the Weight: 6g 
NAOS was able to augment virtually all facets of the musical presentation Price: £199, $199 US
(treble, bass, midrange) regardless of the quality of source.
If your selected playback device happens to be operating on its own MANUFACTURING INFORMATION
battery, please be aware that using the NAOS will put a sizeable dent in Ultrasone AG
battery life and any volume controls that are part of your headphone Tel: +49 (0) 881 901150 0
assembly will not work. However, these inconveniences seem a small URL: ultrasone.com
price to pay when you are stuck on a jet in an economy seat and the

122  Ultimate Headphone Guide – Summer 2018

 Headphone Amps, DACs, and Amp/DACs
Arcam rHead
T
he 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
I give the rHead the nod as the best value in
headphone amplification right now.
$200–$499
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 & PRICING
Frequency response: 10Hz–20kHz
THD + Noise: 0.001% @ 2V output, 32-ohm load
SNR ratio: 109dB @ 2V output, 32-ohm load
Headphone output power: 2.0W, 16-ohm load;
1.1W, 32-ohm  load; 0.13W, 300-ohm load
Headphone recommended impedance:
16–600 ohms, 3.5  or 6.35mm plug
Output impedance: <0.5 ohm
Input levels: 0-4V (RCA); 0-8V (XLR)
Dimensions: 19.4cm × 4.4cm × 13.5cm
Weight: 0.71kg
Price: $450/£199
Ultimate Headphone Guide – Summer 2018  123
Headphone Amps, DACs, and Amp/DACs
$200–$499
CEntrance BlueDAC
P
ersonal 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”
124  Ultimate Headphone Guide – Summer 2018
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
 Headphone Amps, DACs, and Amp/DACs
$200–$499

iFi xDSD
TECHNICAL SPECIFICATIONS
DIGITAL SECTION
Resolution: 32-bit
Sample Rate: 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.2 kHz,
192 kHz, 352.4 kHz, 384 kHz
DSD Support: DSD64 and DSD128
Inputs: USB 2.0 asynchronous, Bluetooth
ANALOG SECTION
Frequency Response: 20Hz–20kHz +/-0.5dB
Output Impedance: 0.4 ohm
Output Power, 32 ohms: 500mW
(total) @ 32 ohms, drives 600 ohms
headphones.
Supported Headphones: 16–600 ohms
Max Output Level, 1kHz: 2.9V rms/+11.3dBu
Battery Specs: Rechargeable Li-Polymer, 20
hours play time (Bluetooth input)
Format Support: SBC codec, APTX, MP3, AAC, and
Faststreamcodecs
Price: $399.99

MANUFACTURER INFORMATION

F
CEntrance
Morton Grove, IL 60053 USA ew manufacturers have made as strong a
URL: www.centrance.com 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
Summary Music Research or AMR). But despite their sophistication,
Voicing: Neutral 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
Darker, warmer, Neutral, Brighter, cooler,
more ‘romantic’ balanced, focused more ‘analytical’ amp/DAC with Bluetooth connectivity, which sells for $399.
(All ratings relative to comparably priced Digital Audio Players.) The xDSD is the first offering in iFi’s all-new x-series
product family. In terms of performance, technologies, and
Resolution/Focus: Soundstaging/Imaging: features the xDSD falls between iFi’s critically acclaimed
nnnnnnnnnn nnnnnnnnnn micro iDSD Black Label portable headphone amp/DAC
Dynamics/Expression: Value: ($599) and its smaller sibling, the nano iDSD Black Label
($199). The xDSD, however, introduces a new industrial
nnnnnnnnnn nnnnnnnnnn design motif and some distinctive features of its own.
Pros The xDSD’s mostly metal chassis is loosely rectangular
llExtended battery-life. in shape but sports rounded edges and gently scalloped
llEase of use. top and bottom surfaces, with polished casework treated
llNeutral and Resolute sound. to a mirror-like titanium grey finish. The xDSD faceplate
llVersatility. sports a 3.5mm headphone jack; pilot lights to indicate
Cons file sample rates and the input selected, plus the on/off
llSupports Bluetooth source connections, but status of available Xbass+ and 3D+ processing functions; a
headphones (of course) still require signal wires. processing function/input selector; and a cool-looking rear-
llGain switch is small and recessed into chassis. illuminated volume control whose colors change to show
llBrushed plastic chassis slides on surfaces easily. the volume levels chosen. The heel of the unit is made of
molded black thermoplastic (scalloped to match the main

Ultimate Headphone Guide – Summer 2018  125

Headphone Amps, DACs, and Amp/DACs
$200–$499

via an optional firmware upgrade, but at the expense of

chassis) that encloses an internal Bluetooth antenna, and
losing MQA compatibility
provides a mini USB charging port, a digital filter control, and
both USB and coax/optical S/PDIF input ports. Overall, the S/PDIF (coax and optical): Up to 24-bit/192kHz
handsome xDSD creates a striking first impression. Bluetooth: Up to 16-bit/48kHz
The DAC section of the xDSD uses the same Burr-Brown DAC section is MQA compatible
DSD1793 DAC device found in the Micro iDSD Black Label, Output power: 500mW per channel
here supported by an AMR-designed, low-jitter, Global Battery: 2,200mAH/3.8V Lithium/Polymer battery with Fast
Master Timing circuit. The DAC can handle high-res PCM Charge support
and DSD files, and is fully MQA compatible. Available Accessories: Velvet drawstring carry bag, Apple Lightning-
inputs include USB, coax/optical S/PDIF, and an aptX/ to-USB Type A cable, Android OTG-to-USB Type A cable,
AAC Bluetooth interface. This means the xDSD can be fed USB-to-USB Type A cable, 5V iPower AC power supply with
via wired connections to PCs, music servers, etc., but is adapter for the XDSD’s mini-USB charging port
equally happy to make wireless Bluetooth connections
Dimensions (H×W×D): 19 × 66.5 × 95mm
with portable devices—a feature that greatly enhances its
Weight: 127g
flexibility for use on the go.
The amplifier section features the same basic Price: $399 US; £399
S-balanced circuit topology that debuted in the nano iDSD
MANUFACTURER INFORMATION
Black Label; the circuit is a single-ended design, but one
iFi Audio
said to mimic the noise and crosstalk reduction benefits
URL: www.ifi-audio.com
of traditional balanced circuits. In the xDSD, a distinctive
Cyberdrive circuit places “all parameters of the fully UK DISTRIBUTOR
analogue system under digital control”, further reducing Select Audio
noise and distortion. The xDSD amplifier delivers 500 mW/ URL: www.selectaudio.co.uk
channel (about twice the output of the nano iDSD). Tel.: +44(0)1900 601954
Sonically, the xDSD combines the sophisticated digital
US DISTRIBUTOR
refinement of the larger micro iDSD Black Label amp/DAC
iFi Audio USA
with the low-noise performance of the compact nano iDSD
URL: www.ifi-audio.com/sales
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 Summary
Off” from Miles Davis’ A Tribute to Jack Johnson [Columbia/
Sonic character: Fundamentally neutral with a hint of
DSD 64], which is a well-recorded 1970s-era fusion jazz
natural, organic warmth.
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 Darker, warmer, Neutral, Brighter, cooler,

sound created by the ensemble’s drum kit, electric bass, more ‘romantic’ balanced, focused more ‘analytical’

and guitar. Lesser amp/DACs can make the track sound (All ratings relative to comparably priced Digital Audio Players.)

bright, thin, and splashy, but through the xDSD it sounded

Resolution/Focus: Freedom from Noise:
wonderful, owing to the xDSD’s combination of suave
resolution and dynamic muscle. nnnnnnnnnn nnnnnnnnnn
iFi’s xDSD is a gem. When you hold one in your hand, Dynamics/Expression: Features and Versatility:
you can’t help but marvel at just how much functionality nnnnnnnnnn nnnnnnnnnn
and performance iFi has packed within such a compact and Soundstaging/Imaging:
reasonably-priced component. Above all, the xDSD reminds
us that personal audio should be accessible, emotionally
nnnnnnnnnn
engaging, and fun. Chris Martens Pros
llTerrific industrial design inspires pride of ownership.
llSophisticated, smooth, and energetic sound is a gift that
TECHNICAL SPECIFICATIONS keeps on giving.
Type: High-resolution portable headphone amp/DAC with llXbass+ and 3D+ functions are useful and enjoyable, but
Bluetooth connectivity can also be switched off.
Inputs: Bluetooth aptX/AAC, S/PDIF (coaxial and optical), USB llRich features and functions plus a big sound in a
Outputs: 3.5mm headphone output jack compact enclosure—and it’s wireless, to boot.
Supported file formats: Cons
USB: In standard form, supports up to to 32-bit/384kHz and llAccessories should include a high-quality 6.35mm to
DSD to DSD256 3.5mm adapter plug.
llMore detailed set-up instructions would be welcome.
USB: Can be expanded to support 32-bit/764kHz and DSD512

126  Ultimate Headphone Guide – Summer 2018

 Headphone Amps, DACs, and Amp/DACs
Schiit Audio Jotunheim
F
or 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
The Jotunheim offers heavy-weight performance in a
middle-weight chassis for a bantam-weight price.
$200–$499
(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 & PRICING
Type: Solid-state, fully balanced headphone
amplifier/preamp
Analog inputs: One pair single-ended RCAs,
one pair balanced XLRs
Analog outputs: One pair single-ended RCAs,
one pair balanced XLRs; two headphone
outputs—one balanced 4-pin CLR, one single-
ended 6.35mm jack
Other: Internal I/O module port (blanked off
with plate as standard)
Dimensions: 30.48cm × 15.24cm × 22.86cm
Weight: 2.27kg
Price: $399/£385
Ultimate Headphone Guide – Summer 2018  127
Headphone Amps, DACs, and Amp/DACs
$500–$1499

Chord Electronics Mojo+Poly

C
hord 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 you will fill it with high-res files, and you will
AirPlay or Bluetooth, and better yet can treat your phone as a DLNA wonder how you ever listened to music on the
server, streaming music stored on the phone or online streamed music move without the Poly. It really is that good.
sources like Tidal and Spotify. It also comes with a little Micro-SD card Headphone users of the world unite! You have
slot, so it can be its own music server. nothing to lose but your wires. Alan Sircom
There are a number of DLNA-friendly control point programs.
Some are paid, others free. I’ve had some success with Linn’s Kinsky,
TECHNICAL SPECIFICATIONS
MyAudioStream, and PlugPlayer on iOS and BubbleUPnP for Android.
Type: Add-on battery powered wireless
The other weird thing about the world post-iDevice is ‘personal dual
streamer/server for Chord Mojo DAC
inventory’ in consumer electronics seems very out-dated. People don’t
Inputs: Bluetooth A2DP and Wi-Fi 2.4GHz,
carry an iPod anymore because there’s an app for that on the iPhone.
x Micro SD card slot
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 Play time: 9+ hours
independently to your smartphone seems like a step backwards in time. Charging: <4 hours, 2-amp Micro USB input.
But, then you hear just how good it sounds, and you can almost hear Both Mojo and Poly can be simultaneously
that switch flip in your head. Instead of being an extra box to take on the charged via Poly’s Micro USB.
tasks your phone can already do, music on your smartphone becomes Playback support: Roon, DNLA, AirPlay and
outmoded, compromised by the limitations of being just another app on Bluetooth playback
a phone. The dedicated operation of the Mojo+Poly makes a vast amount DLNA server and renderer: SMB Server
of sense almost immediately. The fact you can also switch between data (SD card); MPD player (SD Card)
stored on the Poly to streamed content fed from your phone is merely Integrated Access Point: Allows configuration of
more of the same wonderfulness! connected networks (up to 32)
This is not a small perception shift; it makes you include a Mojo+Poly Hotspot mode: Poly can create its own hotspot
as part of your everyday pocket roll-out. Keys, wallet, smartphone, where networks/devices/countries don’t
Mojo+Poly, IEMs—let’s go! As before with the Mojo as a standalone, the support tethering.
Mojo+Poly unlock a range of headphones and IEMs that would struggle
Files supported: ACC, WAV, FLAC, AIFF, OGG
to gain acceptance being played through a smartphone alone.
VORBIS, ALAC, WMA and MP3
The Mojo+Poly simply integrates perfectly to deliver that articulate,
hugely entertaining, and naturally rhythmic sound of the Mojo with PCM sample rates: 44.1kHz, 48kHz, 88.2kHz,
greater flexibility. All that you lose is the USB cable. 96kHz, 176.4kHz, 192kHz, 358.8kHz, 384kHz,
In an ideal world, I’d want a thinner case, and I think the battery 717.6kHz and 768kHz
indicators could be rolled into the illuminated buttons of the Mojo, as DSD via DoP sample rates: DSD64 – DSD256
the standard ones are difficult to see. (Quad-DSD); DSD from SD card
There are few ‘done deals’ in audio, but the Chord Mojo+Poly is just Dimensions (WxHxD): 6.2x2.2x5cm
that. Once you begin to get just why the Poly is so useful, the excellent Price: £499, $749 US, Poly; £399, $549 US, Mojo
Mojo becomes almost redundant without its partner. Poly is Starsky to
MANUFACTURER INFORMATION
Mojo’s Hutch, Wallace to Mojo’s Gromit. Basically, once the Poly was
Chord Electronics
clicked into place next to Mojo, there was never a time when Mojo
Tel: +44 (0)1622 721444
was going to be seen out on its own again. Poly simply makes the
URL: www.chordelectronics.co.uk
Mojo so much more than just a DAC. You will use a MicroSD card, and

128  Ultimate Headphone Guide – Summer 2018

 Headphone Amps, DACs, and Amp/DACs
Questyle Audio CMA600i
Q
uestyle 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
$500–$1499
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 & PRICING
Type: 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 SPDIF
Analog 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 300mm
Weight: 3.2kg
Price: $1299/£1199
Ultimate Headphone Guide – Summer 2018  129
Headphone Amps, DACs, and Amp/DACs
$500–$1499

RHA Dacamp L1

V
irtually everything the Scottish firm RHA makes is known for drive, but the Dacamp L1 really made them sing,
exceptionally high standards of fit, finish, and overall build neatly revealing the pinpoint precision of Dan
quality. The Dacamp L1, an ambitious, portable high-resolution Rothman’s guitar work, the atmospheric vibe
DAC and balanced output headphone amplifier, builds upon of Dominic ‘Dot’ Major’s meditative keyboards,
that tradition. and the lofty, upward-reaching beauty of
The outer case of the pocket-sized Dacamp L1 is made of aluminium Hannah Reid’s vocals. The listening experience
formed through a combination of extrusion and machining processes became deeply moving and inspired a quiet
and is finished in a soft satin grey colour. The edges of the case feature sense of reverence.
gentle curves that convey an upscale look and feel, while the exposed RHA has another winner on its hands with
sides of the case are done in a soft-feel matt black. the Dacamp  L1—one that upholds the RHA
On its rear panel, the Dacamp L1 sports a line in/optical in jack, an tradition of offering products that provide
analogue line out jack, a USB A-type jack used for connections to iOS superb build quality, useful features, terrific
devices or as a charging output, a USB micro-B-type jack used as the sound quality, and value. Chris Martens
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/
TECHNICAL SPECIFICATIONS
charging in, and to select the line in/optical in input jack. The front
Inputs: Stereo analogue line in (via 3.5mm mini-
panel of the Dacamp L1 in turn features a 3.5mm mini-jack headphone
jack), USB A input, USB micro-B input, Mini-
output, a four-pin mini-XLR balanced headphone output, and a laterally
Toslink optical input.
positioned and partially recessed knurled thumbwheel that doubles as
Outputs: One single-ended analogue line out (via
an on/off switch and as the unit’s volume control.
3.5mm mini-jack), one single-ended headphone
I fed the Dacamp L1 digital audio files sourced from an iDevice (an
output (via 3.5mm mini-jack), and one balanced
iPad Air), from an Android-powered Samsung smartphone, and from a
headphone output (via 4-pin mini XLR jack).
Windows/Lenovo/JRiver-based media server. In turn, I listed through a
range of earphones, CIEMs, and full-size headphones. DAC complement: Two ESS ES9018K2M DACs
In almost all cases, the Dacamp L1 serves up a notably clean, clear, Supported formats: PCM files at 44.1kHz–384kHz
and muscular sound that gives the impression one is listening through with bit depths of 16, 24, or 32 bits
a device with much higher output specifications than the RHA unit in DSD files at 2.8224MHx (DSD64), 5.6448MHz
fact claims. I listened to a selection of tracks from bassist extraordinaire (DSD128), or 11.2896MHz (DSD 256).
Tony Levin fed through the Pandora app running on my iPad. The RHA Device drivers: Dacamp L1 can run PC
DAC/amp synced up effortlessly with the iPad and handled decoding environments with installation of an RHA-
tasks so masterfully that it struck me I had never heard such superb supplied device driver.
sound quality from Pandora-sourced materials before. The Dacamp L1 Mac OS, iOS iPhone/iPad and Android
drove the moderately sensitive (97dB) MrSpeakers planar magnetic ÆON environments: no drivers are required.
headphones with delicacy and authority. Battery: 4000mAh lithium ion
Levin’s punchy and articulate bass sounded terrific. Having recently Frequency Response: 10Hz–100kHz
heard the MrSpeakers ÆONs powered by larger, more expensive amp/ Output impedance: 2.2 ohms
DAC combos, I was floored that the Dacamp L1 emerged at times as an
Power Output: 300 ohms, 28mW
outperformer.
16 ohms, 300mW
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 Accessories: Two sets of RHA-branded silicone
good. The line between ‘just barely playing at all’ and ‘playing way too bands (for attaching the Dacamp L1 to a
loudly’ is a fine one indeed. smartphone, etc.), one cleaning cloth that
The DAC section of the Dacamp L1 performed flawlessly though my doubles as an anti‑abrasion pad to keep the
tests, syncing with my iPad, Android/Galaxy smartphone, and with my Dacamp L1 from chafing against an adjacent
Windows-based music server, gracefully shifting back and forth between smartphone, one USB A-to-USB micro-B-to-USB
standard and high-res PCM and DSD files. At all times, the Dacamp L1 micro-B (OTG) cable.
delivers pristine clarity and the sort of low-level sonic detail that is only Dimensions (H×W×D): 20 × 118 × 72mm
possible with devices that have very low noise floors. Down low, listeners Weight: 233g
enjoy superb pitch definition while up high they are treated to soaring Price: Formerly £399, $549 US; now £299, $299 US
high harmonics that sound ineffably right. In the middle, human and
MANUFACTURER INFORMATION
instrumental voices show unforced transparency and expressiveness.
RHA Audio
A good example is the ethereal track ‘Hey Now’ from London
Tel: +44 (0) 141 221 8506
Grammar’s If You Wait [Sony Legacy, 16/44.1] as played through RHA’s
URL: www.rha.co.uk
remarkable CL1 Ceramic earphones. The CL1 Ceramics are not easy to

130  Ultimate Headphone Guide – Summer 2018

Headphone Amps, DACs, and Amp/DACs
HIGH END: $1500–$2999

Ayre Codex

T
he 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 source component and something of a gateway
Toslink. There is no line-level input, so it technically can’t be considered into the brand’s products for many prospective
a ‘headphone preamplifier’. This means there are both a pair of RCA newcomers. While it may be warmer-sounding
and XLR output sockets on the rear panel and two 3.5mm and one than Ayre ‘proper’, it’s an incredibly inviting
6.35mm TRS jack on the front. The 3.5mm jack sockets can be used as a and easy-to-like sound. Whether this is your
conventional stereo output for headphones or as individual channels in first venture into top-notch audio, your first
balanced operation. Controls are limited to the two-in-one dial on the Ayre product, or the first line in your desktop
front panel and a power switch by the IEC power inlet. Display options audio chain, the Codex does it all so well it’s
are limited to a simple red alphanumeric panel at the top of the player hard not to love it. Alan Sircom
and a single red LED to denote balanced operation.
Pressing and holding the volume control for a few seconds calls up
TECHNICAL SPECIFICATIONS
a series of instructions. Ayre calls this its menu tree, but limited display
Ayre CodexType: DAC with headphone
options are available. Nevertheless, you can change inputs, adjust the
amplifierInputs: USB and Optical (Toslink)
output mode (headphone or audio system output), alter the display
Headphone outputs: Two 3.5mm mini-phone
brightness, or display the firmware version. The 3.5mm jacks have auto-
jacks.
One ¼” phone jack.
sensing: if only one headphone jack is inserted, the Codex defaults to
3.5mm mini-phone jacks configurable to
standard single-ended stereo mode. If a second is inserted, the Codex
balanced mode.
‘asks’ if there are two headphones sharing the same input or balanced
left and right-channel connections from a single headphone. USB features: Asynchronous transfer mode for
Through all its products, Ayre deploys a ‘Four Treasures’ approach USB input. DSD or PCM input over USB.
to design: devices must be zero feedback, fully complementary, fully Formats supported (USB): PCM 44.1kHz, 48kHz,
balanced, and built with a high-quality power supply. 88.2kHz, 96kHz, 176.4kHz, 192kHz, 352.8kHz,
The interesting part of the Codex performance, from the perspective of 384kHz (up to 24 bits), DSD64, DSD128.
someone who knows their way around the Ayre sound, is that it doesn’t Formats supported (Toslink): PCM 44.1kHz,
sound similar to models like the discontinued QB-9 at all. Tonally, the 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz (up
Codex is warm, rich, and inviting sounding at the treble, where the to 24 bits)Filter: Minimum phase digital filter:
traditional Ayre Sound is considered clean and bright in the top end. single-pass 16x oversampling.
However, what they both share is a fluid, transparent, and extremely Output Level (Headphone or Preamp Mode):
dynamic midrange, and a stentorian, deep bass. This can be clearly 7.0 volts balanced, 3.5 volts single-ended
heard on “Pretty Pimpin’’ by Kurt Vile [B’lieve I’m Goin Down, Matador], Output Level DAC Mode: 4.0 volts balanced,
with Vile’s delicate tenor/countertenor voice and simple guitar parts 2.0 volts single-ended
underpinned by a thumping bass line. Although less compressed than
Dimensions
(W×D×H): 25.5 × 23 × 13.7cm
other tracks on the album, this is a recording that doesn’t benefit from
Weight: 1.4 kg
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 Price: £1695, $1995 US
mid-band fidelity and articulation, and it’s here the Codex does wonders.
MANUFACTURER INFORMATION
But perhaps the most attractive part of the Codex is its inviting
Ayre Acoustics
sound—rich, but not too rich, having that harmonic structure and tonal
URL: www.ayre.com
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 UK DISTRIBUTOR
that makes many good DACs seem a little ‘lean’. Symmetry
The Ayre Codex is an important product for the brand. It’s the first Tel: +44 (0) 1727 865488
Ayre-branded headphone design and the first in potentially a new line of URL: www.symmetry-systems.co.uk
lower-cost desktop audio components. It’s now Ayre’s entry level digital

132  Ultimate Headphone Guide – Summer 2018

 Headphone Amps, DACs, and Amp/DACs
Chord Electronics Hugo 2
W
hen 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
HIGH END: $1500–$2999
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 & PRICING
Type: High-resolution portable headphone
amplifier/DAC
Digital 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, 1050mW
Output impedance: 0.025 ohms
Dimensions: 100mm × 21mm × 131mm
Weight: 450g
Price: $2379/£1800
Ultimate Headphone Guide – Summer 2018  133
Headphone Amps, DACs, and Amp/DACs
HIGH END: $1500–$2999
Feliks Audio Euforia Mk II
I
n 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
134  Ultimate Headphone Guide – Summer 2018
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 SPECIFICATIONS
Input Impedance: 100 kOhms
Frequency response: 8 Hz–75 kHz +/- 3 dB
(300 ohms)
Power output: 250mW
THD: 0.4 % (300 ohms, 20mW)
Supported headphones impedance: 32–600
ohms including planar magnetics
Price: €1999 (including Premium PsVane CV-181
Mk2 “Gold” driver tubes)
MANUFACTURER INFORMATION
Feliks Audio
URL: feliksaudio.pl
 Headphone Amps, DACs, and Amp/DACs
HIGH END: $1500–$2999

iFi Audio Pro iCAN

A
t a recent personal audio show an industry colleague told me
good, but on the track referenced the Pro iCAN
he was considering purchasing a Pro iCAN. “I’ve searched all
helped draw forth the Focal’s more magical
over the personal audio market space and I haven’t found any
side. Chapin’s voice sounded downright
amp that offers the sound quality or versatility that the Pro
luminous and seemed to float gracefully upon
iCAN does,” he said. “Have you found anything that tops it for
the air, while the backing instruments—most
a around the same amount of money?” After scratching my head for a
notably the piano and bass—sounded achingly
moment I had to admit my colleague was right. iFi’s Pro iCAN is that rare
beautiful with rich, deeply saturated tonal
product that combines exceptionally high baseline performance plus an
colours and expansive harmonics that made
expansive set of useful features and functions unmatched at or even
them sound almost breathtakingly realistic.
well above its price class.
In sum, the Pro iCAN is a versatile, powerful,
The Pro iCAN is a powerful yet also quiet balanced headphone
and accomplished headphone amp/preamp
amplifier/preamp. Significantly, it offers three operating modes, each
that is ready to serve as the centrepiece of a
with separate circuit paths: Solid-State, employing a Class A discrete
very high-performance personal audio system.
J-FET circuit; Tube, employing a Class A valve-powered circuit with
Chris Martens
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, TECHNICAL SPECIFICATIONS
earphones, or listening tastes. Pro iCAN also provides switch selectable Type: Fully balanced hybrid solid-state/valve-
gain settings of 0dB, 9dB, and 18dB. powered headphone amplifier/preamplifier
The Pro iCAN incorporates sophisticated versions of two proprietary Valve Complement: Two NOS GE5670 valves
iFi circuits: namely, the firm’s XBass Bass Correction System and 3D Inputs: Three stereo single-ended (via RCA jacks),
Holographic System, both of which are switch selectable. The XBass Bass one stereo balanced (via dual 3-pin XLR jacks)
Correction System aims to compensate for low-frequency deficiencies Outputs: Preamplifier/DAC: One stereo single-
found in some headphones and many loudspeakers, and can apply ended (via RCA jacks), one stereo balanced (via
a maximum of 12dB of bass boost at 10Hz, 20Hz, or 40Hz. The 3D dual 3-pin XLR connectors)
Holographic system addresses spatial aspects of playback with two ASP
Headphone: Three stereo single-end
(Analogue Signal Processing) circuits—one for headphone listening the
headphone output jacks (two via 6.35mm
other for loudspeaker listening. iFi says the 3D Holographic System is
headphone jacks, one via 3.5mm mini
neither a traditional “cross-feed” system nor a DSP-driven system that
headphone jack); three stereo balanced
adds artificial reverb. Rather, the system aims to provide “out of head”
headphone output jacks (one via 4-pin XLR
sound source placement for headphone listeners while rendering “the
headphone jack, one via dual 3-pin XLR
whole 3D sound field in a manner that strongly parallels listening to
headphone jacks, one via 3.5mm balanced—
loudspeakers in a normal room, all achieved without added reverb.”
TRRS type—headphone jack)
I tried both systems at some length and found them admirably subtle
and restrained in their effects and useful when applied in appropriate Distortion (THD):
contexts. With that said, however, I left the circuits switched off for Solid-State: <0.0004% balanced/<0.004%
most of my headphone listening to better appreciate the rich, pure, and single-ended
unprocessed sound of the Pro iCAN. Tube: <0.0005% balanced/<0.005% single-ended
As you might expect, the sonic character of the Pro iCAN is determined Tube+: <0.1% balanced/<0.01% single-ended
by the operating mode chosen. As a rule, the Solid-State mode yields Signal-to-Noise Ratio: >147dB (A)
the most taut presentation with excellent linearity (that is, neutral tonal balanced/>137dB (A) single-ended
balance), quick and lively transient response, and crisp, sharp focus. Power Output @ 16 ohms: >14,000mW balanced,
Switching to the Tube mode gives similar linearity with a very slightly >4,800mW single-ended
more softly focused sound, but with more vividly rendered tonal colours,
Accessories: Remote control, interconnect
superior harmonic richness, and even more expressive dynamics. Finally,
cables, power cord adapter
the Tube+ setting is a bit like listening to the Tube mode on steroids,
Dimensions (H×W×D): 63.3 × 192.5 × 213mm
meaning that, on the right track and with the right headphones, the
Tube+ setting can be positively enchanting. Weight: Not specified
One such combination revealed itself when I used the Pro iCAN with Price: £1,695 UK; $1,799 US
Tube+ mode engaged to play the title track of Mary Chapin Carpenter’s
MANUFACTURER INFORMATION
Come On Come On [SBME Special Markets, 16/44.1] through the ultra-
iFi Audio
revealing Focal Utopia headphones. The Utopia is one of those
URL: www.ifi-audio.com
headphones some might accuse of being too accurate for its own

Ultimate Headphone Guide – Summer 2018  135

Headphone Amps, DACs, and Amp/DACs
HIGH END: $1500–$2999

Prism Sound Callia

P
rism 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
The headphone amplifier stage is very well
professional capacity as it supports AES3-ID. The Audio Class 2.0 USB
‘sorted’ too. You do need to take some time to
input supports DSD over DoP to DSD128, and PCM to 32‑bit word lengths
experiment with the DIP switch block to get the
and 384kHz sampling rates. S/PDIF supports PCM up to 24‑bit word
best from the Callia.
lengths, with multiples of 44.1kHz and 48kHz sampling rates up to 192kHz,
There’s a lot to like here. The Prism Sound
and DSD64 within a DoP frame.
Callia is one of the most honest DACs you’ll
In terms of technology, Prism goes with an ARM Cortex digital
hear. It’s an outstanding and powerful
processor but relies heavily on Prism Sound’s own circuit architecture
headphone amplifier, too, even if its lack of line
and reclocking stages. The last, named CleverClox, is a hybrid phase-
level inputs, balance adjustment, and remote
locked loop acting as clock recovery taken from either local or S/PDIF
control probably limit its real-world practicality
input. This gives a ±50ppm local clock accuracy and a greater than 60dB/
as a domestic preamplifier. Alan Sircom
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 TECHNICAL SPECIFICATIONS
are variable output and controlled from the larger of the two front panel Type: Digital to analogue converter with
knobs. This can also be set to fixed output on the four-switch DIP panel preamp and headphone amplifier functions
on the rear of the Callia. This is more of a desktop digital ‘hub’ than Inputs: Coaxial RCA and Toslink S/PDIF inputs
direct replacement to an existing preamplifier, in part because of the (AES3‑ID on coaxial input), Class 2.0 Audio USB
absence of a remote option. type B input
Prism Sound went for a high-current, low-impedance headphone Outputs: ¼” TRS headphone jack (on front),
amp, with a series of rear mounted DIP switches to match the impedance RCA pseudo-balanced or XLR balanced stereo
of your headphones. The options are relatively limited here—less outputs (on rear), fixed or variable
than 32 ohms, 32–50 ohms, or greater than 50 ohms. Three of the four Input selection: Auto or manual w/LED indication
positions on the DIP switch panel mute the main output when a pair of in both cases
headphones are connected, although one option allows both to play
PCM word length: 16bit–32bit
simultaneously, each with its own volume control. This DIP panel also
supports legacy and current settings for DSD headroom (or line-up Sampling frequencies: 44.1-192kHz (384kHz
level) for all outputs. supported through USB, but fed through
The Prism Sound arrives in a well-made black with blue contrast decimation filter)
clamshell box. Inside is stiff black foam insert with cut-outs for the DSD precision: DSD64 through S/PDIF, DSD128
Callia, a chunky USB and power cord, a printed quick-start guide, and through USB (DSD128 also fed through
a neat aluminium screw-top USB stick that contains the PDF of the full decimation filter)
manual and the requisite drivers for Windows computers. The quick- Headphone impedance ranges:
start guide is relatively basic but will get you up and running. The PDF < 32Ω, 32Ω-50Ω, >50ΩTHD+N: 0.0005%, -0.1dBFS
manual is comprehensive, not only in terms of installation and setup, Dynamic range: 115dB (line),
but in specifications and the explanations behind those specifications. 113dB (headphone), -60dBFS
This DAC gives an insight into the recording itself. You will hear into Local clock accuracy: ±50ppm
the mix, discovering the precision of panning, the amount of reverb, Jitter rejection: 60dB/decade above 100dB
the position of microphones. Any limitations have more to do with the
Dimensions (W×H×D): 28.5 × 5 × 24.2cm
precision of the source and quality of loudspeakers than the DAC itself.
Weight: 2.1kg
Callia is exceptionally detailed, with extremely precise leading edges.
Listening to the difference between Ringo Starr’s playing on ‘All My Price: £1795, $2750 US
Loving’ [With the Beatles, Parlophone 2009 Mono remaster] and Meg
MANUFACTURER INFORMATION
White playing ‘Seven Nation Army’ [Elephant, XL] is extremely easy to
Prism Media Products Ltd
follow through the Callia—both have an ability to ‘occupy’ the record, but
Tel: +44 (0) 1353 648888bv
where Starr’s seemingly-effortless ‘windscreen wiper’ hi-hat is swampy
URL: www.prismsound.com
and unique, White’s sloppy pounding away at the drum kit is easy to spot.

136  Ultimate Headphone Guide – Summer 2018

 Headphone Amps, DACs, and Amp/DACs
Schiit Audio Ragnarok
S
chiit 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-
The Ragnarok offers performance at or near the best
levels possible, regardless of price.
HIGH END: $1500–$2999
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 & PRICING
Type: 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 RMS
Dimensions: 40.6cm × 9.53cm × 30.5cm
Weight: 14.52kg
Price: $1699/£1580
Ultimate Headphone Guide – Summer 2018  137
Headphone Amps, DACs, and Amp/DACs
EXOTICA: $3000 AND UP

Pass Labs HPA-1

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

W
by Pass’ big amps. Backgrounds were the
hen I think of Pass Labs electronics, the last word that personification of stillness, like staring into
crosses my mind is “little.” Nelson Pass and his team a bottomless pool of black water. Low-level
think big, literally, as their line of Class A and high-power symphonic dynamics were conveyed to the
Class AB amplifiers attests. Even their INT-250 integrated ear with an electric sense of surprise, as they
amplifier—a component in a supposedly modest, smaller- emerged from the cushy stillness that the
footprint category—tipped the scales northward of a hundred pounds. HPA-1 created. The amp delivered music with
But that’s not to say that Pass Labs can’t think small or isn’t paying a distortion-free relaxation—a combination
attention to trends, such as the surge in popularity of personal audio. of midrange warmth and romanticism—that,
The HPA-1 headphone amplifier is not only proof that the company is coupled with its open soundstaging and airy
paying attention but also that it is strongly committed to competing at presence, largely ameliorated the bothersome
the highest levels in the headphone arena. headphone-borne sense of confinement, as
The HPA-1 is an all-analog amp that marks Pass Labs’ rookie effort in music converged between the ears rather
the headphone market. Outwardly, its brushed aluminum cosmetics are than from a soundspace in front of your eyes.
tasteful and bear a strong resemblance to Pass Labs’ stocky, full-sized Long story short, I’ve never felt as relaxed and
components. The front panel is dominated by the single quarter-inch comfortable listening to headphones as I was
headphone jack and a large volume control (a potentiometer sourced with the HPA-1.
from Alps with excellent tracking and a good feel). Tiny blue LEDs Pass Labs may have been late to the
indicate which source has been selected or whether the signal is being personal listening party, but the HPA-1 was
directed to an outboard amplifier or powered loudspeaker. The HPA-1’s more than worth the wait. Taken as a dedicated
aluminum plate casework is classic Pass in that it’s built like a vault, headphone amp or as a minimalist preamp-in-
albeit one the size of a cigar humidor. There are two unbalanced RCA a-pinch, it offers performance at or near the
source inputs and a set of preamp outs, also unbalanced. head of its class. Neil Gader
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
SPECS & PRICING
for general system duty as well. Of course, its feature set is minimalist,
Inputs: Two single-ended RCA

with two single-ended inputs and no remote control, but for many end
Outputs: One single-ended RCA (line), one ¼”
users it offers all the flexibility needed.
TRS jack

Internally, the HPA-1 is designed more like a power amp than
a headphone amp. The Pass team specified high bias to keep the Input impedance: 50k ohms

transistors in Class A operation, and the circuit is capable of handling Gain: 8dB

large voltage swings. (Pass amps always sound as if there are a couple Power: 3500mW into 20 ohms (200mW into
of output tubes hidden away deep in the chassis, although there aren’t.) 300 ohms)

The low-feedback, wideband discrete design employs a JFET input stage Dimensions: 11” × 4” × 13.5”

and a direct-coupled MOSFET output stage. Weight: 14 lbs
Critical to its mission, the HPA-1 covers a wide range of headphone Price: $3500/£3500
impedances—from 15–600 ohms. Why no internal DAC or at least the

138  Ultimate Headphone Guide – Summer 2018


Cayin HA-300
F
ounded 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
Headphone Amps, DACs, and Amp/DACs
EXOTICA: $3000 AND UP
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
Ultimate Headphone Guide – Summer 2018  139
Headphone Amps, DACs, and Amp/DACs
EXOTICA: $3000 AND UP
TECHNICAL SPECIFICATIONS
Type: High performance, tube powered, balanced
headphone amplifier/integrated amplifier
Tube complement:
Power supply: four NOS RCA 22DE4 rectifier tubes
Amplifier: Two 6SN7 driver tubes, two 300B power tubes
Inputs: 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 jack
Controls: 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 control
Frequency response:
Integrated amplifier: 10Hz–60kHz ± 3dB
Headphone amplifier: 10Hz–50kHz ± 3dB
Distortion: < 1% at rated output at 1kHz
Output 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/channel
Accessories: 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 × 345mm
Amplifier: 210 × 286 × 368mm
Weight:
Power Supply: 10kg
Amplifier: 19kg
Price: $3,999 US; £UK price not yet announced
MANUFACTURER INFORMATION
Cayin
Zhuhai Spark Electronics Equipment Co., Ltd.
Zhuhai City, Guandong, China Postcode 519045
+86 (0)756-3828711
URL: www.cayin.cn
140  Ultimate Headphone Guide – Summer 2018
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
Summary
Sonic character: Fundamentally neutral, but subtly shaded
toward organic warmth and harmonic richness.
Darker, warmer, Neutral, Brighter, cooler,
more ‘romantic’ balanced, focused more ‘analytical’
(All ratings are relative to comparably priced amplifiers)
Resolution/Focus: Freedom from Noise:
nnnnnnnnnn nnnnnnnnnn
Dynamics/Expression: Features and Versatility:
nnnnnnnnnn nnnnnnnnnn
Soundstaging/Imaging:
nnnnnnnnnn
Pros
llThe sound: powerful, revealing, nuanced, and musical.
llImpeccable build quality plus handsome good looks.
llA ‘statement-class’ amplifier at a reasonable price, given
the quality on offer.
Cons
llNo remote control.
llWeight: Be careful when moving this two-chassis beast.

Trilogy SPD H1
T
he 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.
Headphone Amps, DACs, and Amp/DACs
EXOTICA: $3000 AND UP
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.
Ultimate Headphone Guide – Summer 2018  141
Headphone Amps, DACs, and Amp/DACs
EXOTICA: $3000 AND UP

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
XI Audio
Formula S
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

X
entertaining and insightful.
The Trilogy SPD H1 takes the already excellent I Audio (Eleven Audio) is a new personal audio
performance of a Stax Earspeaker and improves it company based in Beijing, China. Founded in
significantly. If you have a pair of Stax and you want to 2017, the outfit is the brainchild of lead designer
know what they really sound like, the SPD H1 is one of the Michael Xiao, formerly of Lotoo, manufacturer
best options available right now. Alan Sircom 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
TECHNICAL SPECIFICATIONS
founder of The Evolution of Sound, and he worked closely
Type: Direct coupled tube amplifier for Stax electrostatic
with Xiao on the voicing of the flagship Formula S amplifier
Earspeakers
(earlier, Skubinski and Xiao had also collaborated on a
Tube Complement: 2× 6C3 input tubes, 1× 6H6 output tube
special edition Lotoo DAP geared specifically for use with
per channel. Non-user replaceable
Abyss’ new Diana headphone).
Frequency Response: Not specified The Formula S is an amplifier designed and built
Power output: Not specified for dedicated headphone enthusiasts. This 10.5-pound
Weight: Not specified amplifier is a stout-looking piece of industrial design,
Finishes: Natural or Stealth Black. The component can with a large, all-aluminum black chassis flanked on both
be finished in any car paint of the buyer’s choice, at an sides by beefy heat sinks. The front-panel has one 4-pin
additional cost XLR and dual 3-pin XLR balanced headphone outputs as
Options: Direct Mode Version, for systems with existing well as two 6.35mm single-ended outputs. The S uses a
amplifier or source with variable outputs high-performance ALPS volume control potentiometer
Price: From £4995 UK depending on finish (US pricing not yet
renowned for its low-noise and precision and that the
established)
distributor states “goes from zero to eleven” (for Spinal
Tap fans). The back panel features a set of RCA inputs wired
MANUFACTURER INFORMATION directly to the volume control using JPS Labs Alumiloy
Trilogy Audio Systems wire. XLR/balanced inputs are also available. There is a
London, UK toggle switch for high and low gain, and a 115/230 VAC
Tel: +44 (0)20 8856 0616 power input with standard IEC ground. In addition, there’s
URL: trilogyaudio.com 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!
Summary Have no fear: this powerhouse will drive even your most
Voicing: Detailed and dynamic with detailed, deep bass. 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
Darker, warmer, Neutral, Brighter, cooler,
more ‘romantic’ balanced, focused more ‘analytical’ sounds a bit dark at first, but that impression gives way to
(All ratings relative to comparably priced Digital Audio Players.) an appreciation of its silky-smooth lower-midrange. There’s
a textural quality to that band that’s almost suede-like, so
Resolution/Focus: Soundstaging/Imaging: the texture might be mistaken for darkness, but the Formula
nnnnnnnnnn nnnnnnnnnn S’s resolving capabilities at that lower frequency range gives
Dynamics/Expression: Value: it a milky (but never murky or “thick”) feel and sound. The
bass punches with intense velocity and speed, matched by
nnnnnnnnnn nnnnnnnnnn its exquisite control of the lower frequency spectrum. The
Pros
llGreat upgrade for all Stax users.
llPowerful sound with excellent treble slam.
llExcellent dynamic range. Its sound is incredibly dynamic and
llOutstanding instrument solidity.
Cons
crisp, with extended, open highs and a
llTubes are not user-replaceable. luscious midrange.”

142  Ultimate Headphone Guide – Summer 2018

 Headphone Amps, DACs, and Amp/DACs
EXOTICA: $3000 AND UP

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 the strings are taut and vividly detailed. The rendering of
panning across the sound stage with samples encircling Yorke’s lead vocals are wonderfully lifelike and natural.
various stabs and synthesized sounds. The S handled the The sound staging is wide, but not exaggerated. Sometimes
track with control and finesse, delivering a visceral and a system can amplify these effects in a way that sounds
immediate sound complete with powerful, lightning fast artificial and glassy: No such concern with the Formula S.
transient edges that engulf the listener in a cacophony of Its reproduction of this song was masterful.
fast-moving, multi-dimensional sonic imagery. The XI Audio Formula S is a fine, reference-quality
Radioheads’ “Lift” (XL Recordings) showed what the headphone amplifier that can handle your most difficult,
Formula S could do with the slower-moving atmospheres power-hungry headphones with elegance, speed, and
of Thom Yorke and company. Its layering is exquisitely airy. precision. Its incredible power, grace, and spectacular
That keen sense of spaciousness lends itself beautifully detail make it a serious contender for top-tier honors.
to the cosmic sounds of Radiohead. The guitars float, but Michael Mercer

TECHNICAL SPECIFICATIONS
Type: headphone amplifier
Power Output: 6 watts @16 ohms Summary
Input Z: 10K ohms
Voicing: Neutral-leaning/slightly dark/exceptional low-end
Input Sensitivity: 1000mV
reproduction
Gain: Selectable 10dB (low) /16dB (high)
THD: 0.0006% @ 300 mW, distortion character compensated
for high-end music playback Darker, warmer, Neutral, Brighter, cooler,
more ‘romantic’ balanced, focused more ‘analytical’
Noise-Floor: -10dBV
(All rating relative to comparably priced headphone amplifiers.)
Dimensions: 24 cm × 29.3 cm × 13 cm
Weight: 4.8kg (10.5 lbs.) Resolution/Focus: Soundstaging/Imaging:
Other: 100–115VAC/230 VAC, 50/60Hz, CE certified nnnnnnnnnn nnnnnnnnnn
Price: $3499 US, UK pricing not yet announced Dynamics/Expression: Value:

MANUFACTURER INFORMATION
nnnnnnnnnn nnnnnnnnnn
XI Audio Pros
Beijing, China llStoutly-built.
URL: http://xiaudio.net llClean industrial design.
llFantastic low-bass extension/midrange detail.
DISTRIBUTOR
llMultiple output configurations.
The Evolution of Sound
Lancaster, NY 14086 Cons
Tel: +1 (716) 288-9304 llOnly one input.
URL: www.theevolutionofsound.com llLarge heavy box.

Ultimate Headphone Guide – Summer 2018  143


Introduction to
Personal Audio Cables
O J
nce 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
Personal Audio Cable Survey
Audience Au24SE
and Au24SX
ohn 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 INFORMATION
Audience
120 N. Pacific Street, #K-9
San Marcos, CA 92069
Ultimate Headphone Guide – Summer 2018  145
Personal Audio Cable Survey
Cardas Audio Clear
G
eorge 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 INFORMATION
Cardas Audio, Ltd.
480 11th St SE
Bandon, Oregon 97411
146  Ultimate Headphone Guide – Summer 2018
The Chord Company
ShawCan
T
he 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 INFORMATION
The Chord Company Ltd
Chord Company House, Millsway Centre, Amesbury,
Wiltshire SP4 7RX, UK
URL: www.chord.co.uk

Effect Audio Lionheart
E R
ffect 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 INFORMATION
Effect Audio
110 Lorong 23 Geylang,
#06-01 Victor Center Singapore 388410
URL: www.effectaudio.com
Personal Audio Cable Survey
Kimber Kable AXIOS AG
ay 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 INFORMATION
Kimber Kable,
2752 South 1900 West
Ogden, UT, 84401
URL: www.kimber.com
Ultimate Headphone Guide – Summer 2018  147
Personal Audio Cable Survey
Purist Audio Design
Impresa Silver Revision
J
im 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 INFORMATION
Purist Audio Design
1606 Old Angleton Road
Clute, Texas, 77531 USA
URL: www.puristaaudiodesign.com
148  Ultimate Headphone Guide – Summer 2018
Wireworld Nano‑Eclipse
W
ireworld 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 INFORMATION
Wireworld Cable Technology
6545 Nova Dr., Suite 204
Davie, FL 33317 USA
URL: www.wireworldcable.com
 NEWSLETTER

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Personal Audio Cable Survey

Wywires Platinum

A
lex Sventitsky of WyWires has been hand crafting Price: $599 (additional lengths, $75 per foot)
high-end cables for audiophiles for many years. Note: Sennheiser HD 700 and 800 models and Focal
They took the personal audio world by storm in Utopia models are priced at $649 (owing to more costly
2014 with their RED series headphone cables. proprietary plugs).
At a mere three hundred dollars, RED set a Adaptors/Extension Cables: $120 for 8-inch headphone
new standard for high performance headphone leads in cable-to-amplifier/portable device adaptor (any headphone
that price bracket. RED was (is) resolute, lightweight, and cable used with any amplifier, DAP, DAC, Apple music
probably still one of the best bang-for-the-buck cables product, Pono, etc.). $400 for 10-foot extension cable, for any
on the market today. Platinum picks up where RED left off. headphone cable (extends length of any headphone cable)
It’s listed as the “upgrade to the RED Series.” Its design is
based around the concept for RED, offering even lower MANUFACTURER INFORMATION
inductance, therefore filtering less of the audio signal. As Wywires
RED became known for incredible neutrality at its bargain 16501 Sherman Way, Suite 120, Van Nuys, CA 91406 USA
price, sans a slight accentuation of the low-end, Platinum URL: www.wywires.com
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 Index

The Absolute Sound, 39, 95, 109 theabsolutesound.com Kimber Kable, 105 kimber.com

Astell & Kern, 52 AstellnKern.com Mr Speakers, 78, 95 mrspeakers.com

Audeze, Cover III audeze.com Nordost Corp., 15 nordost.com

AudioQuest, Cover IV audioquest.com PSB Speakers, 7 psbspeakers.com
B&W Loudspeakers, 5 bowers-wilkins.com Purist Audio Design, 78 puristaudiodesign.com
Cardas Audio, Cover II cardas.com Schiit Audio, 111 schiit.com
Complete Guide to High End Audio, 144 hifibooks.com
Siltech, 13 siltechcable.com
Crystal Cable, 3 crystalcable.com
Sonoma Acoustics, 63 sonomaacoustics.com
Enjoy the Music, 109 enjoythemusic.com
TAS Illustrated History of High-End Audio, 131
Hi-Fi+, 33, 73, 149, 151 hifiplus.com store.theabsolutesound.com

HiFiMan, 58 hifiman.com Von Schweikert Audio, 24 vonschweikert.com

150  Ultimate Headphone Guide – Summer 2018

GUIDE TO AUDIO SOURCE
COMPONENTS 2018
Download your FREE digital guide
to Audio Components now!

www.hifiplus.com/buyers_guides/
Personal Audio Cable Survey
Nordost Blue Heaven
and Heimdall 2
N
ordost 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,
152  Ultimate Headphone Guide – Summer 2018
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 & PRICING
NORDOST BLUE HEAVEN
Type: Headphone signal cable
Cable construction: Seven-strand litz-type configuration,
99.9999% pure OFC
Headphone side: Various termination options available
Amplifier side: Gold-plated 3.5mm stereo mini plug fitted
with screw-on, gold-plated 6.35mm stereo headphone plug
Available lengths: 1.25m or 2m
Pricing: $399/£334 1.25m
NORDOST HEIMDALL 2
Type: Top-tier headphone signal cable
Cable construction: Seven-strand litz-type configuration,
99.99999% pure OFC
Headphone side connector: Various termination
options available
Amplifier side, main cable: 4-pin male XLR
Amplifier side, adapter cable no. 1: Gold-plated 3.5mm
mini‑plug
Amplifier side, adapter cable no. 2: Gold-plated 6.35mm
stereo phono plug
Available lengths: 2m, main cable
Pricing: $799/£649
 Effortless.

INTRODUCING

LCD-4z
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.

www. audeze.com
 “If I were now forced to live with just
one set of headphones, they
would be AudioQuest’s
NightOwl Carbons.”
– Herb Reichert, Stereophile

CARBON
AROUND-THE-EAR
CLOSED-BACK HEADPHONES

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
differently hyped headphones on the ends
of the spectrum — the AQ headphones
actually have more emotionally stimulating
bass, and more delicately finessed and trans-
parent treble than those highly-revealing
monitor type models.
NightHawk and NightOwl headphones offer
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
difference between good and bad audio is
how long it takes before fatigue sets in.”
Please put a pair on and listen for yourself.
Thanks,