Reviews by DanteKH
Just want to say a few words about myself. I have been a reviewer since 2019. It's my first English version of the text, so just don't blame me to much. I have more than hundred texts on era-in-ear's blog but thank to one kind man I decided to try sharing it with non-Ukrainian speaking public. If it finds some interest, I will publish some other texts, not only about actual models or only top-segment.
Fir Audio Xenon 6 are the headphones that can surprise. Once I had a whole honeymoon with Fir Audio products in a past life, before the war forced me to leave my audiophile cavern. They have just appeared on the shelves of our stores, and it was necessary not just to talk about "deep layers of low-frequency and extended highs", but to present the brand to people in Ukraine. Moreover, it is not alien to the Ukrainianheart ear. You remember that both Fir Audio and 64 Audio are creations of the Bilonozko brothers. At that time, 5 models with which we "discovered" Fir Audio for ourselves had a different, attractive, tasty sound, while there was no "sound doctrine" according to which all models would sound with an adjustment for the budget. But the top and pre-top M5 and M4 more or less had certain similar features and I liked both very much. Therefore, for the Xenon 6, I expected a continuation of the genetic code of both top models. And I have never misled myself so strongly and stubbornly.
Relatively recently, Fir Audio presented a whole new line. If the previous one had a very laconic and mysterious name "M" (Moriarty?), with the exception of VxV (V - vendetta?), then the new one received the pathetic name Frontier - edge, border. Almost Rubicon. But this name is already occupied by elegant acoustics from Dali. The Frontier line includes a total of three models: Neon 4, Krypton 5, and our reviewed one, Xenon 6. As you might have guessed, the number in the name is related somehow to the number of emitters.
Perhaps this text will start another "thematic" cycle, so we do not reject this possibility. Like any other.
The packaging format reminds everyone of the M-line. This is a small, especially considering the price, box hidden in a yellow super cover. It shows the manufacturer's logo and the inside of the headphones. Purely schematic, with a clear emphasis on one of the main features of the model. "Xe6" is the manufacturer's abbreviated name for the model. Like the rest of the representatives of the Frontier line, by the first two letters and the number of the index. Ne, Kr, Xe… It feels like I'm back in high school chemistry class. What is the valency of krypton?
In the main black drawer, as usual since the M-era, there are the headphones themselves on the housing, a cable, 5 pairs of nozzles (3 silicone single-flange, 1 double-flange and 1 foam), an organizer for filters, a tool for working with them, documentation and... a chevron ofPluto's territorial defense space forces. The strangest accessory that I have come across so far. Even Dunu Luna can't beat them here, where there was simply more than needed. VxV used to have a set of cool stickers from Firi that would look cool on a laptop, and this patch requires at least a leather jacket, an electric scooter bike and a cup of almond latte.
In terms of ergonomics, the cable is excellent, soft, without a microphone effect, does not harden. The 8 copper conductors are tightly braided and are terminated with classic 2-pin connectors (thank the audiophile gods that the Frontier hasn't proprietary connectors) and straight Pentaconn jack. Of course, the cable is nice, but these headphones are begging for some kind of silver or a hybrid with its participation.
3 pairs of filters are in the set. I will talk about them in the "technological" section, but be careful if you have thick fingers and poor eyesight. You will suffer.
The chassis of the headphones is made of stainless steel, accordingly, they are quite heavy - 14 grams. Moreover, the cases are covered with gold, so this heaviness is very pleasant to the touch and visually, taking into account the shine of the precious metal. I'm not a big fan of gold in my ears, but Xenon 6 look really luxurious. I can't argue here. I like it, I don't like it - it's a matter of taste. Someone will definitely like them. And someone will not.
The faceplates are decorated with an insert made of cross-section of carbon fibers with the addition of gold foil. All this luxury is protected by sapphire glass, by the way. The left earpiece has as a final touch the name of the model, abbreviated, i.e. Xe6, the right one has a logo in the form of rabbit ears. How is it possible being without them?
Next to the 2-pin connector we see a micro-screw. The possibility of replacing individual components of the case, such as, for example, the connector for connecting the cable, has been implemented here. Also on the soundtube in front of the filter mesh, we can see the filter attachment lock. It can also be replaced in case of damage or permanent contamination.
On the upper side of the case there is a slot for fitting the Atom filter, which in the Fir Audio Xenon 6 and in the entire Frontier line received the index XS. Yes, he did lose a few sizes. If you compare it with previous models, it can be equated to the transition from XXXXXL to XS. But in terms of convenience, the old design is not that far above - it is somewhere in the mesosphere.
Filters have something that looks like a thread, but it's not there to do what a thread does on every other product in the universe. Therefore, when changing filters, you will have to have a threesome with a filter and a bit, which the manufacturer carefully put in the box with accessories. Sony's business model is to sell you a console below cost, then rip you off on game purchases and subscriptions. The Fir Audio model is to add a mandatory replaceable component to super-expensive headphones, which with a high probability will be lost. Although, something tells me that playing with filters will be over within the first week. Because I quickly found the most acceptable one for myself. Regarding their properties - further.
There is a huge hole on the inner side of the headphone. In this "neckline" we see the reverse side of the dynamic emitter. No, it is not for beauty and showing off, such a solution has a purely technological motive. Xenon 6 implements Kinetic bass technology, which I will, of course, also talk about. The bottom line is that it requires closer contact between the emitter and your skull bones for it to work. This is what the "décolletage" provides. It looks interesting and unusual. By the way, Xenon 6 has the largest hole in the case, despite the same diameter of the driver itself.
As for ergonomics, everything is definitely good here, but there is a nuance. The headphones are small and sit perfectly in the ears, without creating discomfort, and given the work of the Atom technology, the comfort accompanies your hearing system as well. But the soundtube has such a length and diameter that some of my most used nozzles simply covered it and did not provide the necessary fixation and isolation. Instead, the Sony Hybrid sat in such a way that their narrow soundtube became wider and provided a normal tonal balance. After all, after selecting the nozzles, the ergonomics of Xenon 6 should suit you to the fullest. Xelastec Crystal also turned out to be quite suitable.
From reviews of the previous line, you probably understood that Fir Audio is a company that bets on technology. It is the refined and thoughtful solutions that allow the company to achieve both the sound signature and the level for which their models are known, in particular the charming M5. For those who are familiar with the company's products for the first time, I will talk about the technological features of Fir Audio models using the example of Xenon 6. And for the rest, I will simply remind and refresh their memory.
But first, briefly about specs. The headphones have a hybrid design and use 6 emitters of three types in their own acoustic system. One 10mm kinetic bass driver for woofer, one open armature driver also for woofer, a pair of similar open armatures for mid frequencies, one more for HF and one electrostatic driver for far HF. 6 emitters, 3 types. Everything is simple, relatively, but not. Not all. About it here, but below. The resistance of the headphones is 28 Ohms, the frequency range is 20 Hz - 20 kHz. The manufacturer does not specify the sensitivity, but it is, according to my observations, high. Of course, Fir Audio Xenon 6 will also play from some dongle, but the headphones will fully thank you for a good and, most importantly, powerful source.
So, what do we have inside? More precisely, not what, but how exactly everything is arranged there? I was talking about the relative intelligibility of the acoustic circuit. Relative - because 6 emitters have three different sound reproduction mechanisms. But they have one thing in common – they transmit sound in a classic way, that is, by creating air vibrations.
You have already understood that I am leading to bone conduction. So. "But there's no bone conduction driver?" - you will ask and be an audiophile of Schrödinger, that is, you are right and wrong at the same time. Xenon 6 implements Kinetic Bass technology. Its essence lies in the combination in the dynamic emitter of usual dynamos mechanics and the bone conduction driver. This is achieved in two ways. First, the speaker is located directly on the headphone body and it "gives" part of the kinetic energy of the dynamic system movement to the body. It interacts with the cartilages of the auricle, which, respectively, transmit the sound signal to the auditory ossicles (hammer, anvil, and stirrup). Secondly, there is a hole in the case itself, which I already mentioned. It allows the Kinetic Bass system to deliver more kinetic energy to the cartilage. This essentially turns the Xenon 6 into something similar to the Mext and Mest, but without a separate bone conduction driver.
But, for what? This is all to improve the listening experience. Manufacturers of hi-end headphones aim to recreate the experience of listening to full-size speaker systems. In particular, with the help of in-channel monitors, which, despite their modest size, have a whole variety of complex technologies in their fields. Kinetic Bass is designed to reproduce the feeling of being able to touch the "big" sound waves that you perceive with your body and bones, in particular with the help of Xenon 6. What, but they definitely do not lack tactility.
I also mentioned the filters. This is the good old well-known ATOM (Air Transferring Open Module) system. It is designed to relieve excess pressure that forms in the actually closed space of the ear canal. When the diaphragm of the acoustic driver reciprocates, the air mass, essentially closed in the chamber between the driver and the eardrum, creates excess pressure on the eardrum. As a result, in order to prevent overtiredness, the sensitivity of the auditory system decreases. You want to turn up the volume, and then more, and more, and more…
This leads to hearing impairment over a long distance. If not abused, the consequences will be less painful, but still undesirable - fatigue and the inability to spend a long time in headphones.
Instead, Fir Audio offers a system of ATOM filters that release excess pressure to the outside, reducing it inside the ear canal and, accordingly, reducing the impact on the eardrum.
In Xenon 6, the filter "shrunk" to the size of a match head. If the universal models of the M-line had a built-in internal non-removable filter, and the custom version had its external version, then in the Frontier line we have something in between. The filter is replaceable, there are three pairs, but in size it is somewhere on the same level as the non-removable "universal" one from the M line. The disassembly/assembly mechanism is, of course, simple, but definitely not convenient. As I said, I'm not sure that changing filters will become something routine for the Xenon 6 owner. Oh, not sure...
A total of three pairs are available: black (-14 dB sound insulation), silver (-15 dB) and gold (-16 dB). In addition to purely affecting the insulation, they also affect the sound. I will talk about this in the next chapter.
No, they are closed, of course, we are not talking about an acoustic performance. The Open Acoustics system consists of three components: open driver, sound reactor and sound reflector. "I have already seen it somewhere!" Yes, it was in the M-line, but it will not be superfluous to remind.
The essence of the solution is that the armature emitters are open. It is clear. Usually, the armature is "packaged" in a closed case, in which the membrane moves, and sound goes output through the channels of the soundtube. It leads to the expected distortions and needs for damping and filtering. Instead, the open driver offers a radiator that does not have a labyrinth of a sound guide, as well as a top case cover. That is, the membrane freely moves air to the outside, into the headphone body, and not into the driver's narrow sound guide.
So we came to the next component - sound reactor. In the previous paragraph, I said that armature radiators do not have the usual soundtubes. Accordingly, all other drivers also do not have a special camera and proper filters and dampers. All drivers are located entirely in the headphone body, that is, the design is completely tubeless. This is a good solution that has already proven itself in both Fir Audio and 64Audio models. All emitters "blow" into the sound reactor, i.e. the headphone body, where the waves are "combined" and output through the soundtube. The filter also performs a purely practical function - protection from dirt and damage.
And here we logically approach the third component of the Open Acoustics system - the sound reflector. The soundtube here does not just provide the final signal, no, inside the tube there is an armature emitter for high frequencies and an electrostatic driver for far HF. The final chord, which you hear, is already forming in the sound conductor. That is, Open Acoustics provides maximum openness, naturalness of sound and the absence of a crossover, sound pipes, filters and damper.
Xenon 6 implements - literally - "rigid" technology. No, it's not about the character of the sound or about nails-like fitting. This is about reliability and durability. Headphones allow the owner, in case of wear of some parts, to replace them on his own, of course, by ordering spare parts from the manufacturer.
After unscrewing the miniature screw, you can remove the 2-pin connector and replace it with a new one. And it is also possible, by squeezing the clip of the mesh filter, to pull it out of the sound pipe (oh, sorry, from the sound reflector!) for replacement.
In addition, for "entusiasts" there are two options for increasing the durability of headphones. First, these are proprietary RCX connectors - the mmcx principle, only the rectangular profile of the connecting elements. Second, the cases are 20% thicker than the market average. Both options apply only to custom versions. They are also covered by a warranty extended to 3 years.
I have already told you about the delusion I was leading myself into, thinking that the Fir Audio Xenon 6 will be descendants of the M4/5 in the sound sense. In this model, an ABSOLUTELY different vision of what a top in-ear monitor should sound like was realized.
If you were lucky (no sarcasm or irony here - I still consider Fir Audio M5 one of the best products on the market) to listen to the previous top from Ukrainian-Americans, you should remember its slightly dry and extremely expressive sound. Well, here it is not like that at all.
Xenon 6 is an example of a fluffy, soft, “big” sound, comfortable and at the same time very informative, where it is difficult to fault the details in principle, but instead, the details are not the goal, and the presentation itself is integral, dense, “thick” and hypertactile .
There is no hint of any heredity or kinship. If you do not know that you are listening to Fir Audio, then you will be sure that it is a product of a different brand altogether. And the novelty is the closest to the "American" sound, while Fir Audio M5 is something from the planes of "Japanese" sound. I don't like any templates or shortcuts, but they are not as appropriate here as ever.
Xenon 6 is warm, and here this warmth is present and felt not as a background feature, as a fraction, but fully, as an archetype. The headphones don't even try to play analytical or transparent. They sound integral, providing a fusion or cohesion of sound. Here it is worth talking not about separation as such, but about MACRO separation. If the majority of tops, and what is the majority - almost the entire top segment gravitates towards emphasized micro-dynamics and separation precisely in the micro layer, then Xenon 6 behaves, let's say, deviant. They do not try to be "like everyone else", but bend their line and sound without accents in the micro dimension.
Xenon 6 gives excellent separation, but in macro. Separating images, being excellent scene geometry and providing excellent localization. Everything else, all the microdynamic potential is here, everything is here, but it is relegated to the background and the listener's attention is hardened to the perception of images as such, in their macro hypostasis. The approach, I will not argue, is not indisputable, but, at the very least, it is interesting, unexpected and worthy of attention. I don't consider myself a fan of this sound, but I can't help but admit a certain charm, persistent allure and sometimes even impudence of this sound. When you expect elegance, airiness and lightness, when you expect curvoisier, but you have the power, pressure, density and taste of 12-year-old whiskey in your mouth.
Recently had a UM Mext for review, and there was a very similar tuning. But this difference in class is evident, with the Mext you get interesting bass and rich timbres, but with some lack of micro-dynamics on highs. Instead, Xenon 6 balance surprisingly finely – they deliver the same powerful, roomy – bone-tactile bass without losing the dynamic highs. Midrange and treble do not feel like an appendage, accompaniment or background, they are, of course, softened, pushed back, but still energetic, embossed and dense. Density is a trump card, it's a joker of Xenon 6. And it's not only about how timbres are presented. And in the sound, as such.
Innuendo - Remastered 2011·Queen
I chose Innuendo as an example, firstly, because of the Queen-like complex and instrument-laden arrangement (well, count how many instruments are there in the composition?) - they are all perfectly positioned and have excellent localization. Secondly, because of Freddie's vocals, which sound like they are in some kind of infinite space. Fir Audio Xenon 6 amplifies this effect and conveys it very skillfully. A magical composition with the right "iron" is the same case.
Here I will say right away: yes, filters affect the scene. Not radically, but they make an impact. Therefore, I will speak primarily from the point of view of the black filter, that is, ATOM XS with the least isolation.
Xenon 6 sounds wide, open, but not too airy. The headphones give a really wide panorama, like the best models of headphones regardless of the form factor. Draw the scene in depth is also great. But here it is worth noting that Xenon 6 are not contrasting monsters, they act differently. Without emphasizing the layers and echelons, their demarcation, or rather, its expressiveness. Xenon 6 work differently - they create a REALLY spacious imaginary stage, absolutely in all dimensions, where they project large holographic images, three-dimensional, full-bodied and - what to avoid - hypertrophied.
Therefore, we are not talking about airiness, lightness and speed here. Xe6's deliver plenty of volume, but it's densely packed with images that the headphones reproduce with frenetic but neat movements. This "amplitude" is clearly measured and agreed upon. No element on the soundbar will feel disproportionately large or small, the Xenon 6 are murderously organic and deft.
The scene has an excellent vertical projection, the images are reproduced convincingly in their authenticity. Both in terms of mass and dimensions. Xenon 6 has excellent stereometric presentation.
Changing the filters from black to silver and gold makes the imaginary scene a little more intimate, slightly compressing the space. As a result, the sound becomes denser, primarily due to the reduction of already conventional "gaps" between sound images. The impact can be assessed as weak, more noticeable interference occurs in the bass area.
This is where Xenon 6 turns on the charisma and zealously demonstrates what the money is asked for. Conventionally, the tuning of the headphones can be characterized as L-shaped, similar to the recently reviewed UM Mext, but it is made in Xenon 6 much more elegantly. As a result, we have accentuated low frequencies with the rest of the spectrum remaining interesting. But in general, yes, Fir Audio Xenon 6 is about bass. If you jump to the conclusion here that they are similar to the EE Odin, then you are kicking yourself as I did with the M5 similarity.
Xenon 6 have warm, accented woofers, the "core" of which is located in the area of the lower woofer layers. The audible part of the sub-bass captures the space, fills all its crevices. There is added weight, impact, and, most importantly, preserved clarity and structure. The bass doesn't just pile on from above again and again, in the case of Xenon 6 we have excellent speed and processing of textures. Layered, weighty, fast, textured bass with well-defined shapes and texture. Dryness is not about him, its blow is not a whip-lightning, but a powerful, piercing punch, when you feel the kinetics of bones, joints and muscles.
The extension is not excessive. The "decay" of the sound is perfectly controlled. The layering is moderate and in general the headphones gravitate towards a fast transient characteristic.
The mid-bass has a more restrained character, it is organic in its coherence with the lower bass, but tuned in such a way as to give a sense of the physics of the sound of instruments of this range and to "feed" the area of lower mid-range frequencies.
Mid-bass Fir Audio Xenon 6 is not emphatically detailed, "sharp". Here, the "open" side of the technologies used in headphones is indicated. There is a similar feature when listening to open full-size models - the middle bass becomes smoother, longer and better "synchronised" with the part of the spectrum that is higher. If you call Xenon 6 bass-head, then it is worth noting that the main emphasis is on the sub-bass component.
Regarding the technicality of the bass. Xenon 6 is not the best model for critical listening to details. They in no way steal them, do not muddy the sound and do not erase lines and boundaries. But they don't do what models in the upper segment usually do. This is a kind of relaxed technicality, when there is nothing to fight about, but the presentation is still built from the point of view of comfort, volume and images - their weight and dimensions. Therefore, it is important to choose a source that provides technical, structured bass with maximum control and dynamics. No softness, no emphasis on overtones in this area and, as a result, a slowed down transients. Roughly speaking, Xenon 6 will be thanked for balanced and high-quality bass with delicious, I would even say, aesthetic bass. This is an audiophile-aesthete bass, not an audiophile-technocrat. I'm somewhere between these two definitions, so I found the Xenon woofers interesting, beautiful, and want to compare them to the M5 and Odin. But more on that later.
Another issue is nozzles. The headphones are heavy, but compact, and, for example, in my case, I needed a pair of ear pads that would provide three things. First, complete isolation and, as a result, full-body lows. Secondly, it would give a sufficient diameter of the output hole without disturbing the tonal balance. And, thirdly, it ensured reliable, tight contact of the heavy and compact headphone with the ear shell. This is necessary in order to take advantage of the Kinetic Bass driver. The work of bone conduction of the dynamic emitter is not as noticeable here as in the Mext already mentioned here. But with the right fit, Fir Audio Xenon 6 gives the same feeling of sound, when it is not just heard through the air, but also perceived by the body.
I will repeat again - any headphones will never replace a pair of good floor speakers, but the experience here is very interesting. If Mext worked in this regard in a wider spectrum, adding flavor to overtones, then Xenon 6 have a clearly lower return and enhance the perception of the main tone. A different method of reproduction does not increase the bass quantitatively, but affects their perception.
Gold and silver filters can add quantitative bass. Moreover, the macro dynamics are enhanced, the sound becomes more energetic. I was not satisfied with both options due to the excess of lower bass and the corresponding suppression of mid/high frequencies. I'm not trying to impose my own impression, but try different filters and draw your own conclusions.
Diana·Paolo Nutini
The bass part is reproduced incredibly realistically and with a tangible transmission of sound tactility. I think it's because of the Kinetic Bass, at least that would be logical. In the first seconds, the bass is almost the leading part, and when Paolo Nutini himself fully enters into the matter, the bass seems to recede into the background, but is still present a little stronger. With tenor voices Fir Audio Xenon 6 does not do the same magic as with bass or baritone. But this effect before the chorus... The headphones almost send you into an emotional knockout. Listen to this track on them.
ペインテッド・パラダイス·稲垣次郎とソウル・
Japanese funk 1975 released. This is probably the most extraordinary thing in my audio illustrations for all the texts. Xenon 6 bass is not just powerful. At the same time, he remains skillful, dexterous and versatile. And what if funk can test the bass for these virtues? And there are zero complaints about the woofer.
Xe6's midrange is warm, smooth. The lower mids are well fed by the woofers - their mass and density are transmitted to them to a greater extent, and pressure and dynamics to a lesser extent. The tonality is natural, the timbres are saturated, the relative slowness of the midrange contributes well to the saturation of the range with overtones. In general, the midrange can be called natural, warm, integral and with an emphasis on vocals. Especially with a black filter. In particular, "low" - bass, baritone, contralto.
Middle frequencies have a pleasant fullness, the sound is saturated. The same macro-separation manifests itself here. Images in the mid-range are not contrasted and sharp, the sound is smoother and more relaxed. Xenon 6 tightly weaves a rope of sounds from threads, and each thread remains a thread, but we still have a strong rope at the output.
Midranges have a good extension, not as in the case of more "airy" midranges, but the unhurried sound together with a certain viscosity ensure the naturalness of the timbre and the perception of overtones as a physical phenomenon.
Upper mids are a bit restrained. This smoothness suppresses the emotionality somewhat, instead the drive and passion are reflected in the lower part of the spectrum. But Xenon 6 cannot be called extremely emotionally compressed. Because there is a black filter and vocals.
The black filter, unlike the rest, slightly changes the positioning of the vocal, pushing it to the front edge of the stage. Under the conditions of soft, even sometimes viscous mid-range, phlegmatic and relaxed, the forward vocal contrasts perfectly against the background of the bass. This is where the mid-bass character comes in handy. The vocals are excellent - rich, tactile, emotional, especially male. The timbres are reproduced in a magical way. If the bass is here for connoisseurs and aesthetes, who are ready to give their last money for delicious woofers, then with me Xenon 6 such a trick can commit due to work with vocals. Excellent positioning, emotionality and work with trinkets. The technicality of the Xenon 6 lies in the field of midrange and is focused on how the headphones reveal the work of the vocalist.
The upper middle is comfortable, somewhat relaxed, in general, in the general tone of the midrange. Does not force microdynamics and does not add expressiveness. Presence is achieved by the overall performance of the bass section of the acoustic headphone model. Personally, I would like more "pepper" in this area. At the same time, Fir Audio Xenon 6 provides comfortable listening and generosity to poorly mixed phonograms. However, I would not recommend this model for lovers of bright, expressive sound with a neutral to cool character. It will be too hot and stifling for you, my dears.
The Dead of Night·Depeche Mode
The densely recorded lead synth is presented as integrally as possible with the vocal "layer". Moreover, this is precisely the feature of the recording, regardless of the headphones. Xenon 6 with their vocal reproduction perfectly emphasize Dave Gahan's part, primarily due to the naturalness of the voice, separation into "live" performance and synth.
My Name·72 Blues
"Raw", driving and aggressive blues-rock, where almost everything depends on how your system or headphones are able to convey these features. Xenon 6 imposes its character here. A little softness and relaxation suppress the degree of composition. As a result, the crazy drive is not so crazy anymore, and rare-frying is replaced by well-done. And here we are not talking about dryness, no. About the fact that the headphones, by their nature, slightly powder the midrange, preventing them from sounding "dirty and raw" (in the best sense of these words).
Xenon 6 adheres to the same "comfortable" concept of high-frequency sound. They are loose, but not at the expense of spiky and grainy, but at the expense of a good volume created by the headphones as a whole. Xenon 6 has the sound you get with a classic triphonic: the subwoofer gives depth and volume, and the tweeters do the same thing they did without the subwoofer. But due to the depth added by the subwoofer, we get more voluminous and holographic highs.
It is worth noting that the very nature of the sound, the signature itself is not sharp, the energy is not forced, and there is no noticeable focus on microdynamics. The high frequencies are moderately smooth, soft, but still correspond to the flagship level. Adjusted for general tuning, of course. The range is comprehensive in terms of the information it carries. An appropriate level of resolution is provided. It will appeal to those who do not like cold, sharp or aggressive sound on the high frequency as such. Personally I did not have enough aggression and drive on the highs. Xenon 6 tweeters are dense and do not contrast with the overall presentation, but the pressure here is noticeably lower than in the lower half of the spectrum.
The transient characteristic is also not forced here: there is nothing to reproach the attacks for, they are natural, not electrostatically lightning fast (here thanks to the excellent tuning of the EST driver), but they are not smeared either. The extension is also close to natural, but not the maximum. The headphones are clearly less focused on glitter and air than the previous top from Fir Audio. Xenon 6, in particular on the high frequency, sounds more tactile, warm and, so to speak, thick. If you like bright, defined highs, with a pepper on the verge of foul, then this is more about the M5. The Fir Audio Xenon 6 is certainly a masterfully crafted headphone, but from the point of view of a different perception of sound, compared to the one usually associated with TOTL models. But there should be a top for those looking for natural and soft, comfortable and warm sound.
Daddy's Home·St. Vincent
If there is a competitor to Beck in terms of versatility and range of possible sounds both from album to album and within one release, it is probably St.Vincent. Ann Clark supported this reputation with the extreme release of 2021. An interesting composition where each part should be analyzed separately, but now we are "listening" to the percussion. Het here is mostly "closed", clear, articulated. It sounds aggressive and almost brash. Fir Audio Xenon 6 perfectly conveyы the "technical" side: attack, attenuation, timbre. At the same time, it is done in the smooth manner inherent in headphones. However, itis not reflected in excessive length. Only on the character itself.
I personally consider Fir Audio M5 to be the most underrated top-model of the previous generation of flagship in-ear headphones. But M5 has a completely different paradigm based on sound tuning. M5 has a significant less massive bass, it is more even, without such a clear emphasis on part of the range. At the same time, transparency and relief are unsurpassed.
Mid-range frequencies are defined, energetic, the vocals are aggressive in some places, and the overall presentation of the range is sharper and not delicate. Xenon 6 sounds significantly more relaxed here, while it has an advantage in the presentation of vocals. Although it is not as energetic as in M5, it is more natural and, I would say, charming.
HF, as well as bass, is what most contrasts these models with each other. M5 tweeters try to capture and fill as much space as possible, created by headphones, and Xenon's treble resembles a fed cat. Takes up, of course, a third of the bed, but does not claim all of it, and the perfect fur shimmers and shines with every fur. M5 also better emphasizes the distant HF, the work of the electrostatic driver is very noticeable here. They are faster and at the same time longer.
Odin by Empire Ears also has powerful and massive bass. But the nature of that mass and force is a little different. Odin turns all the mass into steel muscles, the bass itself is drier, more structured, has more pronounced separation and detailing in general. Odin woofers, simply put, are more aggressive and driving, punchier and drier.
The middle - here the situation is about the same as with M5, with the difference that Odin's midrange is one of the best in principle that I have heard, regardless of the form factor. A completely different sound compared to Xenon. It's like comparing apples to persimmons.
Odin on highs turn on the turbo mode of detail and expressiveness. Each detail is emphasized, then the emphasis itself is highlighted in a different color and brought to the forefront of your attention. It's also the opposite of Xenon's pitch as much as possible. On the other hand, I cannot but admit that it is difficult to call Odin's highs comfortable at a distance. Here, you either have to really like such a sound, or have a suitable source. Xenon behaves in this range much more obediently and measuredly, but the wow effect suffers a little. In my opinion, the main enemy of Fir Audio Xenon 6 on the market is not only and not so much other TOTL models, but the lack of a wow effect from them against the background of brighter representatives of the segment and, perhaps, inflated expectations after M5. Especially taking into account the differences in tuning.
In principle, the last two sentences from the previous chapter could be a better conclusion. Indeed, it is difficult to blame Xenons, they are technologically flawless, have their own character and correspond to a high level. But in the segment, although not numerous, there is fierce competition, and the price of the model is a little, in my opinion, difficult to relate to the character that the developers have given to Fir Audio Xenon 6.
However, each product has its own buyer. And when it comes to such a subjective thing as audio, even more so. Undoubtedly, I would not be able to recommend the model for purchase blindly (deafly?), here you have to listen, listen and listen again.
INTRODUCTION
Fir Audio Xenon 6 are the headphones that can surprise. Once I had a whole honeymoon with Fir Audio products in a past life, before the war forced me to leave my audiophile cavern. They have just appeared on the shelves of our stores, and it was necessary not just to talk about "deep layers of low-frequency and extended highs", but to present the brand to people in Ukraine. Moreover, it is not alien to the Ukrainian
Relatively recently, Fir Audio presented a whole new line. If the previous one had a very laconic and mysterious name "M" (Moriarty?), with the exception of VxV (V - vendetta?), then the new one received the pathetic name Frontier - edge, border. Almost Rubicon. But this name is already occupied by elegant acoustics from Dali. The Frontier line includes a total of three models: Neon 4, Krypton 5, and our reviewed one, Xenon 6. As you might have guessed, the number in the name is related somehow to the number of emitters.
Perhaps this text will start another "thematic" cycle, so we do not reject this possibility. Like any other.
PACKAGING
The packaging format reminds everyone of the M-line. This is a small, especially considering the price, box hidden in a yellow super cover. It shows the manufacturer's logo and the inside of the headphones. Purely schematic, with a clear emphasis on one of the main features of the model. "Xe6" is the manufacturer's abbreviated name for the model. Like the rest of the representatives of the Frontier line, by the first two letters and the number of the index. Ne, Kr, Xe… It feels like I'm back in high school chemistry class. What is the valency of krypton?
In the main black drawer, as usual since the M-era, there are the headphones themselves on the housing, a cable, 5 pairs of nozzles (3 silicone single-flange, 1 double-flange and 1 foam), an organizer for filters, a tool for working with them, documentation and... a chevron of
In terms of ergonomics, the cable is excellent, soft, without a microphone effect, does not harden. The 8 copper conductors are tightly braided and are terminated with classic 2-pin connectors (thank the audiophile gods that the Frontier hasn't proprietary connectors) and straight Pentaconn jack. Of course, the cable is nice, but these headphones are begging for some kind of silver or a hybrid with its participation.
3 pairs of filters are in the set. I will talk about them in the "technological" section, but be careful if you have thick fingers and poor eyesight. You will suffer.
DESIGN AND ERGONOMICS
The chassis of the headphones is made of stainless steel, accordingly, they are quite heavy - 14 grams. Moreover, the cases are covered with gold, so this heaviness is very pleasant to the touch and visually, taking into account the shine of the precious metal. I'm not a big fan of gold in my ears, but Xenon 6 look really luxurious. I can't argue here. I like it, I don't like it - it's a matter of taste. Someone will definitely like them. And someone will not.
The faceplates are decorated with an insert made of cross-section of carbon fibers with the addition of gold foil. All this luxury is protected by sapphire glass, by the way. The left earpiece has as a final touch the name of the model, abbreviated, i.e. Xe6, the right one has a logo in the form of rabbit ears. How is it possible being without them?
Next to the 2-pin connector we see a micro-screw. The possibility of replacing individual components of the case, such as, for example, the connector for connecting the cable, has been implemented here. Also on the soundtube in front of the filter mesh, we can see the filter attachment lock. It can also be replaced in case of damage or permanent contamination.
On the upper side of the case there is a slot for fitting the Atom filter, which in the Fir Audio Xenon 6 and in the entire Frontier line received the index XS. Yes, he did lose a few sizes. If you compare it with previous models, it can be equated to the transition from XXXXXL to XS. But in terms of convenience, the old design is not that far above - it is somewhere in the mesosphere.
Filters have something that looks like a thread, but it's not there to do what a thread does on every other product in the universe. Therefore, when changing filters, you will have to have a threesome with a filter and a bit, which the manufacturer carefully put in the box with accessories. Sony's business model is to sell you a console below cost, then rip you off on game purchases and subscriptions. The Fir Audio model is to add a mandatory replaceable component to super-expensive headphones, which with a high probability will be lost. Although, something tells me that playing with filters will be over within the first week. Because I quickly found the most acceptable one for myself. Regarding their properties - further.
There is a huge hole on the inner side of the headphone. In this "neckline" we see the reverse side of the dynamic emitter. No, it is not for beauty and showing off, such a solution has a purely technological motive. Xenon 6 implements Kinetic bass technology, which I will, of course, also talk about. The bottom line is that it requires closer contact between the emitter and your skull bones for it to work. This is what the "décolletage" provides. It looks interesting and unusual. By the way, Xenon 6 has the largest hole in the case, despite the same diameter of the driver itself.
As for ergonomics, everything is definitely good here, but there is a nuance. The headphones are small and sit perfectly in the ears, without creating discomfort, and given the work of the Atom technology, the comfort accompanies your hearing system as well. But the soundtube has such a length and diameter that some of my most used nozzles simply covered it and did not provide the necessary fixation and isolation. Instead, the Sony Hybrid sat in such a way that their narrow soundtube became wider and provided a normal tonal balance. After all, after selecting the nozzles, the ergonomics of Xenon 6 should suit you to the fullest. Xelastec Crystal also turned out to be quite suitable.
TECHNICAL CHARACTERISTICS AND FEATURES
From reviews of the previous line, you probably understood that Fir Audio is a company that bets on technology. It is the refined and thoughtful solutions that allow the company to achieve both the sound signature and the level for which their models are known, in particular the charming M5. For those who are familiar with the company's products for the first time, I will talk about the technological features of Fir Audio models using the example of Xenon 6. And for the rest, I will simply remind and refresh their memory.
But first, briefly about specs. The headphones have a hybrid design and use 6 emitters of three types in their own acoustic system. One 10mm kinetic bass driver for woofer, one open armature driver also for woofer, a pair of similar open armatures for mid frequencies, one more for HF and one electrostatic driver for far HF. 6 emitters, 3 types. Everything is simple, relatively, but not. Not all. About it here, but below. The resistance of the headphones is 28 Ohms, the frequency range is 20 Hz - 20 kHz. The manufacturer does not specify the sensitivity, but it is, according to my observations, high. Of course, Fir Audio Xenon 6 will also play from some dongle, but the headphones will fully thank you for a good and, most importantly, powerful source.
KINETIC BASS
So, what do we have inside? More precisely, not what, but how exactly everything is arranged there? I was talking about the relative intelligibility of the acoustic circuit. Relative - because 6 emitters have three different sound reproduction mechanisms. But they have one thing in common – they transmit sound in a classic way, that is, by creating air vibrations.
You have already understood that I am leading to bone conduction. So. "But there's no bone conduction driver?" - you will ask and be an audiophile of Schrödinger, that is, you are right and wrong at the same time. Xenon 6 implements Kinetic Bass technology. Its essence lies in the combination in the dynamic emitter of usual dynamos mechanics and the bone conduction driver. This is achieved in two ways. First, the speaker is located directly on the headphone body and it "gives" part of the kinetic energy of the dynamic system movement to the body. It interacts with the cartilages of the auricle, which, respectively, transmit the sound signal to the auditory ossicles (hammer, anvil, and stirrup). Secondly, there is a hole in the case itself, which I already mentioned. It allows the Kinetic Bass system to deliver more kinetic energy to the cartilage. This essentially turns the Xenon 6 into something similar to the Mext and Mest, but without a separate bone conduction driver.
But, for what? This is all to improve the listening experience. Manufacturers of hi-end headphones aim to recreate the experience of listening to full-size speaker systems. In particular, with the help of in-channel monitors, which, despite their modest size, have a whole variety of complex technologies in their fields. Kinetic Bass is designed to reproduce the feeling of being able to touch the "big" sound waves that you perceive with your body and bones, in particular with the help of Xenon 6. What, but they definitely do not lack tactility.
ATOM XS
I also mentioned the filters. This is the good old well-known ATOM (Air Transferring Open Module) system. It is designed to relieve excess pressure that forms in the actually closed space of the ear canal. When the diaphragm of the acoustic driver reciprocates, the air mass, essentially closed in the chamber between the driver and the eardrum, creates excess pressure on the eardrum. As a result, in order to prevent overtiredness, the sensitivity of the auditory system decreases. You want to turn up the volume, and then more, and more, and more…
This leads to hearing impairment over a long distance. If not abused, the consequences will be less painful, but still undesirable - fatigue and the inability to spend a long time in headphones.
Instead, Fir Audio offers a system of ATOM filters that release excess pressure to the outside, reducing it inside the ear canal and, accordingly, reducing the impact on the eardrum.
In Xenon 6, the filter "shrunk" to the size of a match head. If the universal models of the M-line had a built-in internal non-removable filter, and the custom version had its external version, then in the Frontier line we have something in between. The filter is replaceable, there are three pairs, but in size it is somewhere on the same level as the non-removable "universal" one from the M line. The disassembly/assembly mechanism is, of course, simple, but definitely not convenient. As I said, I'm not sure that changing filters will become something routine for the Xenon 6 owner. Oh, not sure...
A total of three pairs are available: black (-14 dB sound insulation), silver (-15 dB) and gold (-16 dB). In addition to purely affecting the insulation, they also affect the sound. I will talk about this in the next chapter.
OPEN ACOUSTICS
No, they are closed, of course, we are not talking about an acoustic performance. The Open Acoustics system consists of three components: open driver, sound reactor and sound reflector. "I have already seen it somewhere!" Yes, it was in the M-line, but it will not be superfluous to remind.
The essence of the solution is that the armature emitters are open. It is clear. Usually, the armature is "packaged" in a closed case, in which the membrane moves, and sound goes output through the channels of the soundtube. It leads to the expected distortions and needs for damping and filtering. Instead, the open driver offers a radiator that does not have a labyrinth of a sound guide, as well as a top case cover. That is, the membrane freely moves air to the outside, into the headphone body, and not into the driver's narrow sound guide.
So we came to the next component - sound reactor. In the previous paragraph, I said that armature radiators do not have the usual soundtubes. Accordingly, all other drivers also do not have a special camera and proper filters and dampers. All drivers are located entirely in the headphone body, that is, the design is completely tubeless. This is a good solution that has already proven itself in both Fir Audio and 64Audio models. All emitters "blow" into the sound reactor, i.e. the headphone body, where the waves are "combined" and output through the soundtube. The filter also performs a purely practical function - protection from dirt and damage.
And here we logically approach the third component of the Open Acoustics system - the sound reflector. The soundtube here does not just provide the final signal, no, inside the tube there is an armature emitter for high frequencies and an electrostatic driver for far HF. The final chord, which you hear, is already forming in the sound conductor. That is, Open Acoustics provides maximum openness, naturalness of sound and the absence of a crossover, sound pipes, filters and damper.
RIGID TECHNOLOGIES
Xenon 6 implements - literally - "rigid" technology. No, it's not about the character of the sound or about nails-like fitting. This is about reliability and durability. Headphones allow the owner, in case of wear of some parts, to replace them on his own, of course, by ordering spare parts from the manufacturer.
After unscrewing the miniature screw, you can remove the 2-pin connector and replace it with a new one. And it is also possible, by squeezing the clip of the mesh filter, to pull it out of the sound pipe (oh, sorry, from the sound reflector!) for replacement.
In addition, for "entusiasts" there are two options for increasing the durability of headphones. First, these are proprietary RCX connectors - the mmcx principle, only the rectangular profile of the connecting elements. Second, the cases are 20% thicker than the market average. Both options apply only to custom versions. They are also covered by a warranty extended to 3 years.
SOUND
I have already told you about the delusion I was leading myself into, thinking that the Fir Audio Xenon 6 will be descendants of the M4/5 in the sound sense. In this model, an ABSOLUTELY different vision of what a top in-ear monitor should sound like was realized.
If you were lucky (no sarcasm or irony here - I still consider Fir Audio M5 one of the best products on the market) to listen to the previous top from Ukrainian-Americans, you should remember its slightly dry and extremely expressive sound. Well, here it is not like that at all.
Xenon 6 is an example of a fluffy, soft, “big” sound, comfortable and at the same time very informative, where it is difficult to fault the details in principle, but instead, the details are not the goal, and the presentation itself is integral, dense, “thick” and hypertactile .
There is no hint of any heredity or kinship. If you do not know that you are listening to Fir Audio, then you will be sure that it is a product of a different brand altogether. And the novelty is the closest to the "American" sound, while Fir Audio M5 is something from the planes of "Japanese" sound. I don't like any templates or shortcuts, but they are not as appropriate here as ever.
Xenon 6 is warm, and here this warmth is present and felt not as a background feature, as a fraction, but fully, as an archetype. The headphones don't even try to play analytical or transparent. They sound integral, providing a fusion or cohesion of sound. Here it is worth talking not about separation as such, but about MACRO separation. If the majority of tops, and what is the majority - almost the entire top segment gravitates towards emphasized micro-dynamics and separation precisely in the micro layer, then Xenon 6 behaves, let's say, deviant. They do not try to be "like everyone else", but bend their line and sound without accents in the micro dimension.
Xenon 6 gives excellent separation, but in macro. Separating images, being excellent scene geometry and providing excellent localization. Everything else, all the microdynamic potential is here, everything is here, but it is relegated to the background and the listener's attention is hardened to the perception of images as such, in their macro hypostasis. The approach, I will not argue, is not indisputable, but, at the very least, it is interesting, unexpected and worthy of attention. I don't consider myself a fan of this sound, but I can't help but admit a certain charm, persistent allure and sometimes even impudence of this sound. When you expect elegance, airiness and lightness, when you expect curvoisier, but you have the power, pressure, density and taste of 12-year-old whiskey in your mouth.
Recently had a UM Mext for review, and there was a very similar tuning. But this difference in class is evident, with the Mext you get interesting bass and rich timbres, but with some lack of micro-dynamics on highs. Instead, Xenon 6 balance surprisingly finely – they deliver the same powerful, roomy – bone-tactile bass without losing the dynamic highs. Midrange and treble do not feel like an appendage, accompaniment or background, they are, of course, softened, pushed back, but still energetic, embossed and dense. Density is a trump card, it's a joker of Xenon 6. And it's not only about how timbres are presented. And in the sound, as such.
Innuendo - Remastered 2011·Queen
I chose Innuendo as an example, firstly, because of the Queen-like complex and instrument-laden arrangement (well, count how many instruments are there in the composition?) - they are all perfectly positioned and have excellent localization. Secondly, because of Freddie's vocals, which sound like they are in some kind of infinite space. Fir Audio Xenon 6 amplifies this effect and conveys it very skillfully. A magical composition with the right "iron" is the same case.
Here I will say right away: yes, filters affect the scene. Not radically, but they make an impact. Therefore, I will speak primarily from the point of view of the black filter, that is, ATOM XS with the least isolation.
Xenon 6 sounds wide, open, but not too airy. The headphones give a really wide panorama, like the best models of headphones regardless of the form factor. Draw the scene in depth is also great. But here it is worth noting that Xenon 6 are not contrasting monsters, they act differently. Without emphasizing the layers and echelons, their demarcation, or rather, its expressiveness. Xenon 6 work differently - they create a REALLY spacious imaginary stage, absolutely in all dimensions, where they project large holographic images, three-dimensional, full-bodied and - what to avoid - hypertrophied.
Therefore, we are not talking about airiness, lightness and speed here. Xe6's deliver plenty of volume, but it's densely packed with images that the headphones reproduce with frenetic but neat movements. This "amplitude" is clearly measured and agreed upon. No element on the soundbar will feel disproportionately large or small, the Xenon 6 are murderously organic and deft.
The scene has an excellent vertical projection, the images are reproduced convincingly in their authenticity. Both in terms of mass and dimensions. Xenon 6 has excellent stereometric presentation.
Changing the filters from black to silver and gold makes the imaginary scene a little more intimate, slightly compressing the space. As a result, the sound becomes denser, primarily due to the reduction of already conventional "gaps" between sound images. The impact can be assessed as weak, more noticeable interference occurs in the bass area.
LOWS
This is where Xenon 6 turns on the charisma and zealously demonstrates what the money is asked for. Conventionally, the tuning of the headphones can be characterized as L-shaped, similar to the recently reviewed UM Mext, but it is made in Xenon 6 much more elegantly. As a result, we have accentuated low frequencies with the rest of the spectrum remaining interesting. But in general, yes, Fir Audio Xenon 6 is about bass. If you jump to the conclusion here that they are similar to the EE Odin, then you are kicking yourself as I did with the M5 similarity.
Xenon 6 have warm, accented woofers, the "core" of which is located in the area of the lower woofer layers. The audible part of the sub-bass captures the space, fills all its crevices. There is added weight, impact, and, most importantly, preserved clarity and structure. The bass doesn't just pile on from above again and again, in the case of Xenon 6 we have excellent speed and processing of textures. Layered, weighty, fast, textured bass with well-defined shapes and texture. Dryness is not about him, its blow is not a whip-lightning, but a powerful, piercing punch, when you feel the kinetics of bones, joints and muscles.
The extension is not excessive. The "decay" of the sound is perfectly controlled. The layering is moderate and in general the headphones gravitate towards a fast transient characteristic.
The mid-bass has a more restrained character, it is organic in its coherence with the lower bass, but tuned in such a way as to give a sense of the physics of the sound of instruments of this range and to "feed" the area of lower mid-range frequencies.
Mid-bass Fir Audio Xenon 6 is not emphatically detailed, "sharp". Here, the "open" side of the technologies used in headphones is indicated. There is a similar feature when listening to open full-size models - the middle bass becomes smoother, longer and better "synchronised" with the part of the spectrum that is higher. If you call Xenon 6 bass-head, then it is worth noting that the main emphasis is on the sub-bass component.
Regarding the technicality of the bass. Xenon 6 is not the best model for critical listening to details. They in no way steal them, do not muddy the sound and do not erase lines and boundaries. But they don't do what models in the upper segment usually do. This is a kind of relaxed technicality, when there is nothing to fight about, but the presentation is still built from the point of view of comfort, volume and images - their weight and dimensions. Therefore, it is important to choose a source that provides technical, structured bass with maximum control and dynamics. No softness, no emphasis on overtones in this area and, as a result, a slowed down transients. Roughly speaking, Xenon 6 will be thanked for balanced and high-quality bass with delicious, I would even say, aesthetic bass. This is an audiophile-aesthete bass, not an audiophile-technocrat. I'm somewhere between these two definitions, so I found the Xenon woofers interesting, beautiful, and want to compare them to the M5 and Odin. But more on that later.
Another issue is nozzles. The headphones are heavy, but compact, and, for example, in my case, I needed a pair of ear pads that would provide three things. First, complete isolation and, as a result, full-body lows. Secondly, it would give a sufficient diameter of the output hole without disturbing the tonal balance. And, thirdly, it ensured reliable, tight contact of the heavy and compact headphone with the ear shell. This is necessary in order to take advantage of the Kinetic Bass driver. The work of bone conduction of the dynamic emitter is not as noticeable here as in the Mext already mentioned here. But with the right fit, Fir Audio Xenon 6 gives the same feeling of sound, when it is not just heard through the air, but also perceived by the body.
I will repeat again - any headphones will never replace a pair of good floor speakers, but the experience here is very interesting. If Mext worked in this regard in a wider spectrum, adding flavor to overtones, then Xenon 6 have a clearly lower return and enhance the perception of the main tone. A different method of reproduction does not increase the bass quantitatively, but affects their perception.
Gold and silver filters can add quantitative bass. Moreover, the macro dynamics are enhanced, the sound becomes more energetic. I was not satisfied with both options due to the excess of lower bass and the corresponding suppression of mid/high frequencies. I'm not trying to impose my own impression, but try different filters and draw your own conclusions.
Diana·Paolo Nutini
The bass part is reproduced incredibly realistically and with a tangible transmission of sound tactility. I think it's because of the Kinetic Bass, at least that would be logical. In the first seconds, the bass is almost the leading part, and when Paolo Nutini himself fully enters into the matter, the bass seems to recede into the background, but is still present a little stronger. With tenor voices Fir Audio Xenon 6 does not do the same magic as with bass or baritone. But this effect before the chorus... The headphones almost send you into an emotional knockout. Listen to this track on them.
ペインテッド・パラダイス·稲垣次郎とソウル・
Japanese funk 1975 released. This is probably the most extraordinary thing in my audio illustrations for all the texts. Xenon 6 bass is not just powerful. At the same time, he remains skillful, dexterous and versatile. And what if funk can test the bass for these virtues? And there are zero complaints about the woofer.
MIDS
Xe6's midrange is warm, smooth. The lower mids are well fed by the woofers - their mass and density are transmitted to them to a greater extent, and pressure and dynamics to a lesser extent. The tonality is natural, the timbres are saturated, the relative slowness of the midrange contributes well to the saturation of the range with overtones. In general, the midrange can be called natural, warm, integral and with an emphasis on vocals. Especially with a black filter. In particular, "low" - bass, baritone, contralto.
Middle frequencies have a pleasant fullness, the sound is saturated. The same macro-separation manifests itself here. Images in the mid-range are not contrasted and sharp, the sound is smoother and more relaxed. Xenon 6 tightly weaves a rope of sounds from threads, and each thread remains a thread, but we still have a strong rope at the output.
Midranges have a good extension, not as in the case of more "airy" midranges, but the unhurried sound together with a certain viscosity ensure the naturalness of the timbre and the perception of overtones as a physical phenomenon.
Upper mids are a bit restrained. This smoothness suppresses the emotionality somewhat, instead the drive and passion are reflected in the lower part of the spectrum. But Xenon 6 cannot be called extremely emotionally compressed. Because there is a black filter and vocals.
The black filter, unlike the rest, slightly changes the positioning of the vocal, pushing it to the front edge of the stage. Under the conditions of soft, even sometimes viscous mid-range, phlegmatic and relaxed, the forward vocal contrasts perfectly against the background of the bass. This is where the mid-bass character comes in handy. The vocals are excellent - rich, tactile, emotional, especially male. The timbres are reproduced in a magical way. If the bass is here for connoisseurs and aesthetes, who are ready to give their last money for delicious woofers, then with me Xenon 6 such a trick can commit due to work with vocals. Excellent positioning, emotionality and work with trinkets. The technicality of the Xenon 6 lies in the field of midrange and is focused on how the headphones reveal the work of the vocalist.
The upper middle is comfortable, somewhat relaxed, in general, in the general tone of the midrange. Does not force microdynamics and does not add expressiveness. Presence is achieved by the overall performance of the bass section of the acoustic headphone model. Personally, I would like more "pepper" in this area. At the same time, Fir Audio Xenon 6 provides comfortable listening and generosity to poorly mixed phonograms. However, I would not recommend this model for lovers of bright, expressive sound with a neutral to cool character. It will be too hot and stifling for you, my dears.
The Dead of Night·Depeche Mode
The densely recorded lead synth is presented as integrally as possible with the vocal "layer". Moreover, this is precisely the feature of the recording, regardless of the headphones. Xenon 6 with their vocal reproduction perfectly emphasize Dave Gahan's part, primarily due to the naturalness of the voice, separation into "live" performance and synth.
My Name·72 Blues
"Raw", driving and aggressive blues-rock, where almost everything depends on how your system or headphones are able to convey these features. Xenon 6 imposes its character here. A little softness and relaxation suppress the degree of composition. As a result, the crazy drive is not so crazy anymore, and rare-frying is replaced by well-done. And here we are not talking about dryness, no. About the fact that the headphones, by their nature, slightly powder the midrange, preventing them from sounding "dirty and raw" (in the best sense of these words).
HIGHS
Xenon 6 adheres to the same "comfortable" concept of high-frequency sound. They are loose, but not at the expense of spiky and grainy, but at the expense of a good volume created by the headphones as a whole. Xenon 6 has the sound you get with a classic triphonic: the subwoofer gives depth and volume, and the tweeters do the same thing they did without the subwoofer. But due to the depth added by the subwoofer, we get more voluminous and holographic highs.
It is worth noting that the very nature of the sound, the signature itself is not sharp, the energy is not forced, and there is no noticeable focus on microdynamics. The high frequencies are moderately smooth, soft, but still correspond to the flagship level. Adjusted for general tuning, of course. The range is comprehensive in terms of the information it carries. An appropriate level of resolution is provided. It will appeal to those who do not like cold, sharp or aggressive sound on the high frequency as such. Personally I did not have enough aggression and drive on the highs. Xenon 6 tweeters are dense and do not contrast with the overall presentation, but the pressure here is noticeably lower than in the lower half of the spectrum.
The transient characteristic is also not forced here: there is nothing to reproach the attacks for, they are natural, not electrostatically lightning fast (here thanks to the excellent tuning of the EST driver), but they are not smeared either. The extension is also close to natural, but not the maximum. The headphones are clearly less focused on glitter and air than the previous top from Fir Audio. Xenon 6, in particular on the high frequency, sounds more tactile, warm and, so to speak, thick. If you like bright, defined highs, with a pepper on the verge of foul, then this is more about the M5. The Fir Audio Xenon 6 is certainly a masterfully crafted headphone, but from the point of view of a different perception of sound, compared to the one usually associated with TOTL models. But there should be a top for those looking for natural and soft, comfortable and warm sound.
Daddy's Home·St. Vincent
If there is a competitor to Beck in terms of versatility and range of possible sounds both from album to album and within one release, it is probably St.Vincent. Ann Clark supported this reputation with the extreme release of 2021. An interesting composition where each part should be analyzed separately, but now we are "listening" to the percussion. Het here is mostly "closed", clear, articulated. It sounds aggressive and almost brash. Fir Audio Xenon 6 perfectly conveyы the "technical" side: attack, attenuation, timbre. At the same time, it is done in the smooth manner inherent in headphones. However, itis not reflected in excessive length. Only on the character itself.
COMPARISON WITH FIR AUDIO M5 AND EE ODIN
I personally consider Fir Audio M5 to be the most underrated top-model of the previous generation of flagship in-ear headphones. But M5 has a completely different paradigm based on sound tuning. M5 has a significant less massive bass, it is more even, without such a clear emphasis on part of the range. At the same time, transparency and relief are unsurpassed.
Mid-range frequencies are defined, energetic, the vocals are aggressive in some places, and the overall presentation of the range is sharper and not delicate. Xenon 6 sounds significantly more relaxed here, while it has an advantage in the presentation of vocals. Although it is not as energetic as in M5, it is more natural and, I would say, charming.
HF, as well as bass, is what most contrasts these models with each other. M5 tweeters try to capture and fill as much space as possible, created by headphones, and Xenon's treble resembles a fed cat. Takes up, of course, a third of the bed, but does not claim all of it, and the perfect fur shimmers and shines with every fur. M5 also better emphasizes the distant HF, the work of the electrostatic driver is very noticeable here. They are faster and at the same time longer.
Odin by Empire Ears also has powerful and massive bass. But the nature of that mass and force is a little different. Odin turns all the mass into steel muscles, the bass itself is drier, more structured, has more pronounced separation and detailing in general. Odin woofers, simply put, are more aggressive and driving, punchier and drier.
The middle - here the situation is about the same as with M5, with the difference that Odin's midrange is one of the best in principle that I have heard, regardless of the form factor. A completely different sound compared to Xenon. It's like comparing apples to persimmons.
Odin on highs turn on the turbo mode of detail and expressiveness. Each detail is emphasized, then the emphasis itself is highlighted in a different color and brought to the forefront of your attention. It's also the opposite of Xenon's pitch as much as possible. On the other hand, I cannot but admit that it is difficult to call Odin's highs comfortable at a distance. Here, you either have to really like such a sound, or have a suitable source. Xenon behaves in this range much more obediently and measuredly, but the wow effect suffers a little. In my opinion, the main enemy of Fir Audio Xenon 6 on the market is not only and not so much other TOTL models, but the lack of a wow effect from them against the background of brighter representatives of the segment and, perhaps, inflated expectations after M5. Especially taking into account the differences in tuning.
CONCLUSIONS
In principle, the last two sentences from the previous chapter could be a better conclusion. Indeed, it is difficult to blame Xenons, they are technologically flawless, have their own character and correspond to a high level. But in the segment, although not numerous, there is fierce competition, and the price of the model is a little, in my opinion, difficult to relate to the character that the developers have given to Fir Audio Xenon 6.
However, each product has its own buyer. And when it comes to such a subjective thing as audio, even more so. Undoubtedly, I would not be able to recommend the model for purchase blindly (deafly?), here you have to listen, listen and listen again.
seenc
Super bra!
