When it comes to HiFiMan products, I am what you might call a die-hard fan. I purchased my first decent earphone, a Yuin PK3, from the company back when it was primarily a Hi-Fi distributor under the name Head-Direct, in 2007 or 2008. About a year later, I bought one of HiFiMan’s own developments, the RE0 in-ear earphone, and fell in love. The RE0 was nothing short of a revelation, providing clean, well-balanced sound that contemporary competition couldn't touch. Over the years Dr. Fang Bian & co expanded the lineup to much more than just earphones, but full-size HiFiMan headphones have always eluded me - the HE-560 the first one I've had a chance to hear at length.


 

Form & Function

 
The HE-560 is a headphone for the headphone lover, billed as a lighter and more comfortable planar magnetic set - with great sound, of course. It is not a flawlessly polished retail product like the OPPO PM-1 and doesn't share the rock-solid machined metal structure of the OPPO, but there is a raw, purposeful character to its design that I quite like.
 
One thing to be said for the no-frills construction is that it is quite lightweight. The headband uses a suspended design with a metal outer band, and the forks are plastic. The dual-sided cable is detachable and utilizes coaxial connectors. The cups rotate a full 180 degrees, which is good for storage and transport, but better still for wearing comfort. With a dual-sided cable design like this one, there is no reason why the cups shouldn’t rotate a good amount even if the headphones are not meant to be compact.
 
The HE-560 is a good-looking headphone, finished in a dark wood grain with flat black accents. For $899 you get the headphones, a cable, and a wood storage box with a sliding lid. That’s not a lot in the way of extras, but it’s what’s inside that counts - namely, the Planar Magnetic drivers. As usual, I defer to the more experienced to explain PM drivers in detail – see the Wisdom Audio white paper here and as well as Tyll’s article over at InnerFidelity for an in-depth look at Planar Magnetic technology.
 
Suffice it to say that PM drivers can make for a great-sounding headphone, but one of the common downsides is physical weight. Both my OPPO PM-1 and LCD-2 are hefty, if not downright heavy, and their weight on the head can be felt after some hours. The HE-560 is very light for its size – it feels noticeably lighter on the head than the PM-1 and LCD-2. This, together with the suspended headband design and freely pivoting earcups, makes it a very comfortable headphone. The final element of the comfort equation, the pads, are a hybrid velour+leather design. They breathe moderately well – not quite up there with the Sennheiser velour pads, but better compared to the leather pads on the LCD-2 and PM-1. The HE-560 earpads are more heavily bolstered at the back and keep the headphone comfortable despite its slightly higher (compared to the PM-1 and LCD-2) clamping force.
 
The result of all this is a very comfortable Planar Magnetic headphone, equal for me to Sennheiser’s dynamic-driver HD600. The heavier LCD-2 and OPPO PM-1 are more fatiguing after a couple of hours.
 

Sound

 
Sources/amps used

1. Tianyun Zero DAC/amp (2008 version)
2. Heed CanAmp
3. Anedio D1
4. OPPO HA-1
5. HiFiMan HM-901 (with Minibox amp card)
    

Headphones used for comparisons

1. Audeze LCD-2 (original model)
2. OPPO PM-1
3. Sennheiser HD580 w/HD600 grilles, headband, and pads, and HD650 cable. This HD580 uses the “new” driver revision and to the best of my hearing ability is identical in sound to a current HD600. I will refer to it as “HD600” throughout.

 
Planar magnetic headphones are often lauded for their speed, lack of distortion, and ability to maintain bass control while also pumping out powerful lows (i.e. providing bass quality AND quantity). The HE-560 definitely does not disappoint, especially when it comes to the low end. The bass is fantastic, the best I’ve heard from a headphone. It is deep, flat, and powerful, finding the ideal balance of controlled and hard-hitting. There is no discernible mid-bass hump but HE-560 is capable of moving a lot of air, which allows it to deliver excellent impact and sub-bass rumble alike.
 
Compared to the Sennheiser HD600, OPPO PM-1, and Audeze LCD-2, the HE-560 is less forward and full-bodied in the midrange. The mids are very clear, but a little dry. The bass being tight and natural helps quite a lot, preventing the low end from intruding on the midrange in any capacity.
 
The treble transition is quite smooth and the top end itself is refined, but not recessed. It has a good amount of sparkle without sounding harsh or sibilant. The HE-560 can’t be called bright, but it does have more treble energy than the HD600, PM-1, and LCD-2 (the latter two being espeically polite at the top). There is enough presence with the HE-560 to properly convey the energy of cymbal hits, for example, whereas the OPPO PM-1 tends to sound a little dull and smoothed over in that regard.
 
The level, tight, and clear sound of the HE-560 grants it very good imaging with a natural, slightly laid-back presentation, beating the LCD-2 and PM-1 when it comes to imaging. In short, the HiFiMan HE-560 is a highly capable headphone with the best bass I’ve come across and fantastic clarity, but with a slightly dry midrange character.
 
What follows are more in-depth comparisons to two other planar magnetic cans, the Audeze LCD-2 and OPPO PM-1, as well as to the dynamic-driver Sennheiser HD580/600.
 
Audeze LCD-2
 
I never was a huge fan of this revision of the LCD-2, preferring the less expensive HD600 for both sound (more balanced) and comfort (lighter and more unobtrusive). That said, the even this original LCD-2, with its Planar Magnetic drivers, powerful bass, and $1000 price tag, is more of an HE-560 competitor.
 
The LCD-2 is heavier on the low end compared to the HE-560 and boasts a warmer tonal character. However, its bass is also touch slower and more sustained, which makes it appear a bit muffled next to the HiFiMan. The top end of the LCD-2 has a slight lack of energy in comparison to the HE-560 and its presentation is a little more congested thanks to the less controlled bass.
 
The HE-560 has tighter, more linear bass and sounds clearer. Its overall balance is better thanks in large part to brighter treble. To my ears, the greater treble energy of the HE-560 is more natural overall and gives the HiFiMan set a more airy presentation. The LCD-2, while very forgiving, sounds dull and smoothed-over in comparison.
 
Sennheiser HD600
 
The Sennheiser HD600 has been my benchmark full-size headphone for many years, but with the introduction of the HE-560 into the mix I think it will soon be retired. When it comes to bass especially, the HE-560 is simply better. It’s not just more powerful at the low end, but also more extended and more effortless. In comparison, the HD600 lacks the ability to really rumble on bass-heavy tracks; the HE-560, on the other hand, can crank up the low end when necessary, and sounds more natural doing it.
 
On the whole, the sound signature of the HE-560 is a little more v-shaped than that of the HD600. The Sennheiser unit displays more prominent mids that are slightly thicker compared to the HE-560, but also a bit less clear. The extra treble presence of the HE-560 helps further with the clarity without making the headphones sound harsh or sibilant - a good thing in my book.
 
The HE-560 sounds a little thinner and more crisp; a little more dry as well, but on the whole more natural. Both the HD600 and HE-560 are very spacious, and have excellent imaging but the HiFiMan unit appears to have a wider soundstage thanks to its less forward midrange.
 
OPPO PM-1
 
OPPO’s Planar Magnetic PM-1 headphone follows a smooth and balanced sound that falls somewhere between the LCD-2 and Sennheiser HD600. The HE-560 is bassier than the PM-1, but at the same time its treble is more energetic and extended, giving its presentation a more open feel. The extra treble energy sounds more natural to me, but the HE-560 also appears less full-bodied (i.e. thinner) through the midrange. This grants it a more “analytical” note presentation that some listeners may not find appealing over the more full-bodied PM-1. Om the whole, however, the upper midrange and treble of the HE-560 are more well-defined and nuanced.
 
The more mid-centric PM-1, on the other hand, sounds extremely coherent with its stronger, thicker midrange. Its bass is just a hair more boomy and it has smoother, completely fatigue-free treble that can make it sound a little vague and lacking in crispness next to the HE-560 – smoothed-over is the best term I could come up with. The PM-1 also doesn’t quite have the same open and well-imaged presentation, but is more efficient.
 

Wrap-up

 
Not having tried any of HiFiMan’s previous full-size cans, the HE-560 impressed me more than I had anticipated, going so far as to replace the Sennheiser HD600 as my full-size reference headphone thanks to the outstanding bass performance and clarity. The only headphones I’ve heard that could be better all-rounders are the STAX SR-007MK2 and SR-009.
 
In addition to great sound, the light weight and very flexible construction of the HE-560 result in good wearing comfort for me, and it’s far from unattractive with the wood grain and black accents. It’s hard to talk about value with a set of headphones that costs $900, but the HE-560 is easy to recommend .

The PX100s were the second decent portable headphone I bought after the KSC75s, a silky-smooth contrast to the shiny, aggressive sound of the Koss clip-ons. This particular review was written when I was very new to the world of Head-Fi but in general I stand by it.



Build Quality: Designed to be portable, the PX100s fold beautifully into a tiny package and fit into the included plastic carrying case. Despite the multi-jointed folding mechanism, they feel rather solid and sturdy. The metal headband is both tough and flexible and there’s a feel of quality to the whole construction – every motion they make feels controlled one as the joints click smoothly into place. I expected them to be quite fragile at first, but there are no creaks or rattles after two years of use.

Comfort: The rotating earcups adjust perfectly to the shape of your head, preventing uneven pressure on your ears, which can be a problem with the other supraaural phones. The foam pads are a little thicker than the stock KSC75 pads and feel slightly smoother. The padding on the headband looks miniscule but gets the job done without making your head sweat. I’ve worn these for 6-8 hour stretches on several occasions with no adverse effects.

Isolation: The PX100s are open phones. They let outside noise in and leak sound out. Though not as drastically open as, for example, Grados, they are still pretty useless as far as isolation goes.

Sound: The PX100s are dark, warm, laid back, and very, very smooth. The vocals are nowhere near as forthcoming as the KSC75s and they are missing the treble sparkle. They do, however, have bass that is tighter and better controlled than both the KSC75s and PortaPro, causing them to sound more accurate on trance and techno tracks (though they are still quite bloated compared to higher-end portables). They don’t really work as well as I would like with my preferred genres, which are rock and metal, because of laid-back nature and dark tone but to be quite honest I still reach for these very often over the KSC75s though I prefer the Koss sound signature in general.

Value. (MSRP: $59.99, Street Price: $35) The PX100s are very good headphones. I would recommend them at the $35 price point any day. It is a matter of preference, however, whether these are better than KSC75 and PortaPros, On a very tight budget, I would go with the KSC75s. However, with price out of consideration, I would probably take these even over the PortaPros as relaxed all-rounders. It should be noted that fake PX100s have popped up on ebay on occasion, so I’d be wary of anything that doesn’t come in retail packaging and with the carrying case.

Manufacturer Specs:
Frequency Response:15-27,000 Hz
Impedance:32 Ω
Sensitivity:114 dB SPL/1mW
Cord:4.6ft (1.4m); Straight Plug
Space-Saving Mechanism:Flat-folding, collapsible
 
 
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To see how the PX100s compare to the other portables in my collection, see here.

The HD25-1 has been my favorite (trans)portable headphone for quite a few months. I spend a few nights a week away from my home rig and the HD25 works wonders with my iBasso D10 and netbook. Hi-fi on the go has never been so rugged and simple. Best of all is their sonic versatility – though my backup portables, the AKG K181Dj, excel with certain genres and recordings, the Sennheisers perform more than adequately with anything I can throw at them.



Build Quality: When it comes to build quality, Sennheiser’s flagship portables can do no wrong. The structure of the HD25 is painfully elementary. They are neither flat-folding nor collapsible, with very simple rotating joints and removable metal hardware. The rough black plastic is resistant to cracks and scratches. A thick and sturdy steel cable, terminated in a beefy L-plug, completes the picture. The headphones are also very light and not likely to get damaged from falls. Lastly, every single part of the headphones is user-replaceable. From the detachable cabling to the headband padding to the cups and joints, the HD25 can be disassembled completely in just a few minutes.

Comfort: The HD25 is surprisingly light compared to headphones such as the AKG K181 and M-Audio Q40. The adjustable dual headband exerts very little pressure – the majority of the force is applied by the supraaural coupling. Though clamping force is fairly strong in the HD25, the structure does a great job of distributing it over the entire surface of the pads. The cups have a good range of motion despite lacking any joints whatsoever and conform very well to the shape of one’s head. Vinyl pads come installed on stock HD25s but some versions include the optional velour pads as well. Even if that isn’t the case, at $7+shipping the velour pads are a worthy investment, providing a comfort improvement at the expense of a tiny bit of isolation. Overall comfort falls just behind the likes of the impossibly light Senn PX100s and the circumaural CAL!.

Isolation: Though in general portable headphones can never isolate as well as IEMs, the HD25 can compete with certain shallow-insertion in-ears. While the vinyl pads isolate just a bit more than the velour ones, the tradeoff is unlikely to be worth it for most users. Even with the velour pads the isolation crown of the HD25-1 can be usurped only the hard-clamping AKGs and only if you’re lucky enough to get the AKGs to seal properly.

Sound: Upon first hearing the HD25-1 I was absolutely convinced that I would be giving them a perfect score in sound quality. Having owned them for a while, however, I can’t help but notice that for $200 headphones they are just slightly lacking here and there. But the fact that I am still using them as my primary portables is certainly telling of the fact that they are a competitive product. They are well-balanced, have good clarity and detail, and are quite transparent when it comes to sources. The bass is tight and accurate. It’s hard-hitting in character and more punchy than powerful as opposed to something like the K181Dj or M-Audio Q40. It has impressive extension, though it won’t keep up with the M-Audios down to the lowest reaches. It is also well-textured and does not bleed into the midrange. For a portable headphone the quantity of bass is just right – a bit more than what one would expect from an analytical headphone but far from AKG K81/K181 quantity.

The mids are neutral, clear, and detailed. Articulation is very good and sounds are well-separated. However, the HD25 is lacking noticeably in both soundstage width and depth, at least when compared to most full-size headphones. Most of the other closed portables I own don’t exactly shine in soundstaging either but I can’t help but be disappointed that the smaller and cheaper PX200-II has a more spacious sound. Sheer size aside, soundstage positioning is fairly precise and instrumental separation is excellent on all but the densest tracks. Towards the upper midrange the HD25-1 struggles to stay smooth and as a result is very unforgiving of sibilant tracks. The high end is quite present and reasonably extended but comes off a bit edgy and clinical at times. The overall sound, though, is quite pleasant and works particularly well for genres not dependent on soundstage size for the full experience. All of my quibbles aside, the HD25 is as good for use on the go as any portable headphone I have heard.

Value. (MSRP: $299.95; Street Price: $199) By far the most expensive headphone of the bunch, both in street price and MSRP, the HD25-1 is on another level in terms of balance and detail compared to all of the other featured portables. Compared, however, to full-size cans in the price range, as it sometimes is, the HD25 can come off as dull and rather compressed-sounding because of the narrow stage. The hard treble can also be a bit fatiguing for home use. But of course such comparisons are unfair precisely because I am not comfortable wearing my full-size cans outside while using the HD25 comes naturally. It is this versatility that makes the Sennheisers well-worth the $200 price tag and one of the easiest portable headphones to recommend.

Manufacturer Specs:
Frequency Response:16-22,000 Hz
Impedance:70 Ω
Sensitivity:120 dB SPL/1mW
Cord:5ft (1.5m), single-sided; Angled Plug
Space-Saving Mechanism:N/A
 
 
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To see how the HD25s compare to the other portables in my collection please see here.

Audio-Technica ATH-CK6



Accessories – Single-flange silicone tips (3 sizes), detachable ear inserts (3 styles), and soft carrying pouch
Build Quality – Housings are made of metal with oval-shaped plastic nozzles and paper filters. Though strain reliefs are excellent all-around, the cabling itself is hugely disappointing (especially compared to the excellent cables on Audio-Technica's higher-end models) – thin, rubberized, and extremely prone to kinking and tangling
Isolation – Poor due to shallow insertion and vented design
Microphonics – Cable is too energetic and tends to bounce around a lot. Lack of cord cinch and shirt clip means these have to be worn over-the-ear to be usable
Comfort – Small, light housings make them very easy to wear. The rubber ear inserts can be used to further stabilize them but aren’t necessary

Sound – Unfortunately the ATH-CK6 is decidedly underwhelming when it comes to sound quality. The bass lacks extension, is boomy, and becomes somewhat muddy on dense tracks. There is no definite moment of impact, which results in drums sounding too soft and at times hollow. The midrange is veiled and vocals lack both presence and smoothness. Treble is harsh and tiring. The entire signature lacks clarity and resolution. On the upside, they don’t sound closed and soundstaging is better than average. A small consolation but it made listening to them for a few days bearable.

Value – I wanted to like Audio-Technica’s mid-range offering, I really did. But like the oh-so-popular Sennheiser CX300, the ATH-CK6 is an old model, and it shows. Compared to the dozens of other IEMs I've heard in the price range, the CK6 suffers from mediocrity on all fronts, from isolation to sound to build quality. All things considered it just isn't a very strong competitor in an increasingly crowded field. The line is due for a refresh anyway and hopefully Audio-Technica will apply at least some of the design principles of their top-tier entries to the mid-range earphones
 
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To see how the CK6 compares to the other earphones in my collection, see here .

Phiaton MS400: Finding that perfect combination of comfort, portability, isolation, and sound quaility has never been easy, especially in the $150-250 price range. Phiaton, an upmarket audio branch of Korean electronics firm Cresyn, attempts to find the perfect balance with the strikingly pretty MS400.



Build Quality: The build of the MS400 impresses right out of the box. Unlike the brutish Sennheiser HD25-1 and AKG K181DJ, the MS400 feels precision-built without being too delicate. The inner structure, including the rotating hinges, is metal. The cups feature carbon fiber panels under a clear polycarbonate shell. The headband is generously padded in luxurious red pleather all the way around. The surrounding bits are plastic, but even the plastic panels are pleasant to the touch (take heed, GM) and look like they could take some abuse. The thin and flexible cabling is perfect for portable use but probably won’t double as a trailer hitch (unlike the HD25-1 cord). The 3.5mm plug features a very simple rubber strain relief and looks positively wimpy next to the similarly-priced DJ phones. I certainly wouldn’t risk throwing the MS400 into my book bag like I do the HD25-1. Luckily, I don’t need to – Phiaton includes a surprisingly slim hard clamshell carrying case that the MS400 fit snugly into when folded.

Comfort: The MS400 is a circumaural headphone close in size to the JVC HA-S700 but the thicker pads mean that the Phiatons will likely be supraaural for those with larger ears. The cups are fairly shallow and do tend to bottom out. The resulting pressure put on the ears by the plastic grilles can get fatiguing after long listening sessions. On the upside, the padding used on the cups and headband of the MS400 is easily the softest I've encountered, beating out even JVC's memory foam-backed pads. The fit is highly adjustable due to the multi-axis folding mechanism and the medium clamping force does keep them comfortable for several hours. Like most pleather-padded circumaural headphones, the MS400 tend to invoke sweat after prolonged use but aren’t nearly as offensive in this respect as the Creative Aurvana Live! or JVC HA-M750.

Isolation: The MS400 isolate very well considering the comfort tradeoff. They won't quite keep up with the (comparatively) head-crushing K181s or the vast majority of IEMs but the isolation is more than good enough for daily use. I did not feel the need to raise the volume during my commute, though the tiniest details were occasionally obscured by intruding noise. Leakage is non-existent thanks to the soft pads and compliant fit.

Sound: For months now the renowned Sennheiser HD25-1 II have been my everyday portable headphones of choice. On paper the similarly-priced Sennheisers make the perfect step-off point for comparison with the MS400. In reality, however, the two couldn’t be more different in signature or presentation. It is no coincidence that Phiaton is eschewing the common trend of hi-fi manufacturers marketing mid-range headphones as ‘DJ’, ‘Studio’, or ‘Monitoring’ products - the MS400 are aimed squarely at consumers, and it shows.

Starting at the low end, the MS400 boast the sort of full and engaging sound that captivates the average music lover at first listen far more easily than my Sennheisers. The low end boasts decent extension and good definition, with a very substantial emphasis on mid- and upper bass. Sub-bass is not as strong as on the AKG K181DJ or M-Audio Q40 but the low end is filled out nicely, properly textured, and impactful enough to make my Sennheisers sound positively anemic in comparison. As is often the case with bass-happy cans such as these, the low end never sounds particularly fast or sprightly and isn’t the most controlled. Taking into account the quantity of bass to be contained, however, the MS400 do quite a good job. Mid-range bleed is minimal and the hard-hitting bass gives the mids some pleasantly warm undertones. The full and slightly forward midrange plays well in conjunction with the hefty low end, giving the Phiatons a certain thickness of note that is absent in the vast majority of DJ/Monitoring headphones commonly used as portables.

Moving upwards, there is a notable dip towards the upper midrange/lower treble. On one hand the sculpted frequency response means that sibilance is left completely out of the equation. On the other, musical elements such as the shimmering of cymbals are significantly less obvious with the MS400 than my HD25-1. Treble does roll off earlier than I would like but I hesitate to say that the Phiatons are missing information at the top. The amazingly smooth upper end is sure to appeal to those who find the HD25-1 grating and unnatural but those who are used to prominent and effortless treble may be left slightly disappointed – the Phiatons definitely use high frequencies as a complement rather than the focus of the presentation. On the upside, this means that the MS400 play nice with low bitrate mp3 tracks straight out of an mp3 player. The rated 32 Ω impedance and 98 db sensitivity also result in a headphone that benefits little from a dedicated amp and yet manages to cut hiss from poor sources very efficiently. Straight out of the HPO of my Tianyun Zero, hiss levels were nearly identical to the 70 Ω HD25-1 - non-existent at listening volumes and whisper-quiet at full blast.

In terms of presentation, the MS400 is an intimate-sounding headphone. Soundstage width is fairly average for a portable headphone – wider than the HD25-1 or a Grado, but not up there with the K181DJ or Philips SHP5400. Unlike the HD25-1, which has a narrow soundstage and manages to sound pretty distant at the same time, the sound of the MS400 envelops the listener very closely and extends outwards from there. The effect resulting from combining an intimate presentation with a bass-heavy sound signature is engaging and captivating. Can the MS400 be considered true audiophile portables? Probably not. But moving back to my HD25-1 I couldn’t help but be disappointed by the cold brightness, distant presentation, and slightly metallic highs of my beloved Sennheisers.

Value (MSRP: $249.99, Street Price: $240) The MS400 are pricy, no doubt about that, but like the HD25-1 their value rests not purely in the sound quality provided but rather in the total package. As such the MS400 are the most convenient and user-friendly headphones I’ve encountered north of $100. Build quality, isolation, and comfort are all above average for a portable set. As an added bonus (or perhaps detriment), the contrasting red-and-black color scheme and earcups decked out in carbon fiber attract a lot of attention. I’ve worn dozens of different headphones to work in the past several years and none of them gathered as dense of a stream of interest, comments, and compliments as the Phiatons do. But of course even in a portable set sound quality should come first and the smooth and easy-going sound of the MS400 is very appealing in a portable. Like Ultrasone and AKG, Phiaton seems to understand that bass notes are the first to get drowned out on a busy city street, and the MS400 do a great job of compensating. Those in search of a more analytical signature should probably look elsewhere. For an involving, convenient, and strikingly beautiful audio experience on the go, however, the Phiatons come highly recommended.
 
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To see how I think they stack up to the other portable headphones I've owned, see here.