Manufacturer: iFi Audio

Model: micro iDAC2

Price: $349 at amazon.com

 
Volume Control: Precision analogue volume control knob.

Power Connector: USB A, USB B

Battery Life: N/A

Inputs: 1x USB 3.0 (USB 2.0 Compatible)

Outputs: 1x SPDIF RCA

1x Audio RCA

1x 3.55mm Headphone Jack

 

Specifications:

Consult this page for detailed specifications. (http://ifi-audio.com/portfolio-view/micro-idac2)

 

 
Build and Finish: Similar design to the Micro iDSD, which means quality build and the same exterior housing in metallic silver. Nothing much has changed, asides from the differences of features available on the unit.
 
Accessories: Same packaging as the iDSD. Opening up the iDAC2, I expected to find an interesting array of included components. However, the iDAC2 was nowhere close to the iDSD in terms of included accessories. It only came with two things. One was a RCA cable found in the iDSD and the other was a translucent ice-blue USB A to USB B cable. The latter was definitely a nice gesture.  
 
Technology and Design:
 
The iDAC2 is now updated with the Burr-Brown DAC, found in the Micro iDSD. For whichever reason, iFi Audio decided to utilize the BB chip over the previous ESS Sabre chip found in the original iDAC.
 
Despite the iDAC2 being priced much less than the iDSD, it still retains huge playback options of Quad DSD256, PCM 384, and DXD. The iDAC2 also has the three filters (PCM, DSD, DXD) for users to adjust.
 
Additionally, iFi Audio has updated the iDAC2 with their new “Zero Jitter Lite” technology with dedicated power supply for the unit.
 
According to their website:
“AMR/iFi prides itself on the very best component quality: from Japan Elna Silmic II, TDK C0G capacitors to Vishay MELF resistors, the iDAC2 has them all.”
 
It seems that the iDAC2 is constructed with high quality components through and through.
Do all these technical details factor into how the iDAC 2 sounds?
Let’s see.
 
Sound / Comparisons:
 
Note: All listening done with the device in “BitPerfect Filter” setting.
 
The iDAC2 is one of iFi’s new products-- released as a successor to the original iDAC that utilized an ESS Sabre chip.
 
Coming from the iDSD, I was not expecting anything particularly impressive from the iDAC2.
It’s safe to say I was wrong. This just goes to show that you shouldn’t have preconceived notions, even when a manufacturer designates a product in a certain competing bracket.
 
The iDAC2 has the same overall tonality as the iDSD, however, it takes a whole different approach in its presentation. Right off the bat, it’s not nearly as revealing or detailed as its older brother. The Micro iDSD was clearly designed to be iFi Audio’s reference unit, while the iDAC2 was designed as a fun-sounding and engaging apparatus instead.  This is actually preferable for casual listening, as I found nearly all songs came across excellent sounding without harshness or sibilance.
 
While the iDSD is slightly more analytical and laid-back, the iDAC2 is smack-dab in your face. It retains the open and large soundstaging capabilities of the iDSD, with thumping bass and crystal clear treble. It almost seems like the iDAC2 has a slightly V-shaped signature. For the most part, this made the iDAC2 highly enjoyable with modern music and electronica. On the downside, there was slight bass smearing when listening at higher volumes. Additionally, the iDAC2 is also nowhere near the fastest for highly complex music, but this is just a small gripe.  
 
Bass is not as tight or detailed as the iDSD or Mojo, taking a step back in terms of overall refinement. Sub-bass is more prominent than the iDSD though.
 
Mids are relatively neutral compared to the rest of the spectrum. I would describe them as fluid and slightly liquid in its presentation. The iDAC2 does vocals effortlessly, but it’s not the be-all and end-all of micro-details and sophistication.
 
Treble is well-extended with an immediate sense of prominence. Everything just seems to sparkle and shine with the iDAC2. Personally, I didn’t find the treble fatiguing. But at times it was a tad hot with the signature iFi treble/upper mids accentuation.  
 
Overall, the iDAC2 is an enchantress. It’s highly musical, surprisingly with better dynamics and transients than the Micro iDSD. Every instrument and sound could be clearly distinguished in the background, with good tonality and timbre.
 
It offers a solid improvement over the HRT Microstreamer and the Schiit Magni/Modi stack I had around for comparison purposes, while managing to sound fantastically enjoyable. For all intent and purposes, the iDAC2 is a winner in my books-- a DAC/Amp that allows you to focus on the music, rather than nitpick on the details.

 
Overall Score: 8.4
 
    -Bass: 8
    -Mids: 8.5
    -Treble: 8
    -Transparency: 8
    -Dynamics/Transients: 9.5
    -Resolution/Details: 8
    -Soundstage/Presentation: 8.5

 
Manufacturer: HRT
 
Model: microStreamer
 
Price: $169 at amazon.com

 
Volume Control: Digitally-activated analog attenuator, no volume control on unit itself.

Power Connector: USB, mini B

Battery Life: Plug-in-USB operation only.

Inputs: 1x USB Mini B

Outputs: 1x line-level 3.5mm stereo output

1x 3.5mm headphone jack

 

Specifications:

From (http://www.hirestech.com/product/?pid=107#prods)

-Asynchronous Mode Operation eliminates timing errors (jitter).

Click to expand...

 

Click to expand...

 

Click to expand...

-24 Bit operation.

Click to expand...

 

Click to expand...

 

Click to expand...

-Plug and play using standard audio class 1.0 Drivers.

-Supports 32k, 44k1, 48k, 88k2 & 96K sample rates.


 
Build and Finish: Tiny two-piece aluminum housing. Precision-machined and finished off with an anodized silver exterior. Should last forever.
 
Accessories: The Microstreamer is shipped with a tiny pop-out cardboard box. Inside is the unit itself, a black carrying pouch, and a generic white Mini USB to USB cable. Short and sweet.
 
Technology and Design: While ahead of its time upon release, the Microstreamer offers fairly standard features in today’s market. Asynch USB transfer mode, 24 bit/96k playback, line-level out, LED sample rate indicators, all come standard on the Microstreamer.



 
Sound / Comparisons:
 
The Microstreamer was one of my original forays into the portable amp/dac market.
It goes to show that I’ve enjoyed owning them--I’ve had them since 2013.
They represented one of the best values in terms of performance relative to size.
How do they stack up to the newer products?
 
When you utilize the Microstreamer for the first time, you’re in for a surprise.
It offers a surprisingly full-bodied response with above-average imaging and instrumental placement. While it lacks definition and details compared to the more pricier models, the Microstreamer makes up for it with its energy and engaging sound. While I wouldn’t call the Microstreamer superbly musical, it does the job for both analytical and casual listening.
 
Vocals are sweetly layered and textured, especially female vocals. Bass definition and micro-details can be easily heard on a headphone like the Ethers, which has excellent bass dynamics and extension.
 
Treble response is something lower-tier amp/dacs fail at.
The original AQ Dragonfly and Schiit Fulla both suffer from somewhat strident and sibilant treble.
The Microstreamer improves on these units, but it doesn’t stay completely clean when it comes to certain recordings. This gives certain songs an odd tonality that is a tad harsh to my ears.
 
Other than the minor treble issue and slight mid-range bleed, the Microstreamer is an outstanding purchase.
It offers so much for the price, is solidly built, and is tiny enough to fit anywhere.
I can definitely see why they’ve received so much positive reviews over the years.
 
If you want to take a step up from the Microstreamer, I highly recommend the Resonessence Herus. It’s not much bigger physically, but offers an even more enjoyable and robust sound.
The iDAC2 is also a solid choice. It provides a slight step up from the Microstreamer in terms of driveability with full-size cans and a larger step up for ultimate transparency and playback options..
 
Overall Score: 7.8
 
    -Bass: 8
    -Mids: 9
    -Treble: 7
    -Transparency: 8
    -Dynamics/Transients: 8
    -Resolution/Details: 7
    -Soundstage/Presentation: 8

 

 
Manufacturer: iFi Audio

Model: micro iDSD

Price: $499 at musicdirect.com

 
Volume Control: Precision analogue volume control knob (On/Off)

Power Connector: USB 3.0 Male, USB 3.0 Female

Battery Life: 4800 mAH battery, depending on which mode is selected, drains battery accordingly (Eco, Normal, Turbo). Estimated 12 hours playback on Eco mode.

Inputs: 1x USB 2.0 type A “OTG” Socket

1x SPDIF Coaxial

1x SPDIF Optical

Outputs: 1x RCA L+R

1x SPDIF Coaxial

 

Specifications:

Consult this page for detailed specifications. (http://ifi-audio.com/portfolio-view/micro-idsd)

 

Build and Finish: Surprisingly lengthy unit made out of machined aluminum. Decent weight with quality metal switches and knobs. The iDSD is well-finished, a quality product with no quality control issues. On the back of the unit, iFi Audio was thoughtful enough to place a detailed specs report for easy consultation.
 
Accessories: I’ve never seen a product come with this many accessories before. iFi Audio definitely wanted the consumer to have every single option available for the long haul.
The original packaging is also quite useful. It comes with a foam insert, that allows you to place the iDSD back in its original alignment. The box serves as a carrying case of sorts.
 
Comes with: 1x Velvet Pouch, 2x Detailed Instruction Cards, 1x 3.5mm Male to 3.5mm Male Adapter, 2x Silicone Bands, 1x 90° Male USB to Female USB Cable (Type A), 1x Female USB (Type A) to Female USB (Type B) Cable, 1x Purple RCA Cable, 4x Rubber Soles for Amp, 1x 3.5mm to 1/4th Adapter, 1x Jumper, 1x Short Female (Type A) to Female (Type B) Adapter, 1x Blue USB 3.0 Male (Type A) to Female (Type A) Cable
 
Technology and Design:
 
The Micro iDSD is easily the most technologically well-equipped product I’ve seen from a manufacturer. For the price, you’re getting so much to work with.
 
First off, supported playback includes just about everything under the sun. It’s definitely future-proof with Octa DSD 512, Double DXD 256, and PCM 768 playback.
 
Additionally, the iDSD can drive just about anything under the sun with 10V of power @ 16 ohm when “Turbo” mode is selected. This includes orthodynamic headphones such as the HIFIMAN HE-6.
The iDSD is designed around getting the cleanest signal from the amplifier/dac to your headphones. There’s a built-in iPurifier on the rear USB port, eliminating EMI interference on its way to the iDSD. For the DAC section, there’s an ultra-low jitter Femto clock--something I’ve never seen at this price range.

There are also three filter options (PCM, DSD, DXD), iEMatch for IEMs sensitivity matching, X-Bass, 3D Holographic Sound, and a power socket on the right side where you can utilized the iDSD to charge your portable devices. Yes, you can use the iDSD as a charger. iFi Audio has even included that as an option.
 
Included accessories are also a bonus. You have everything you could possibly need to get started.

 
Sound / Comparisons:
 
All listening was done on Eco or Normal Power Mode, - Polarity, Bit-Perfect Filter, iEMatch disabled, X-Bass and 3D Holographic disabled. I found this offered the most neutral and true flavor of the original recording. I won’t be commenting on the results of experimenting with these settings.
 
I found the iDSD a very interesting listen. Quite frankly, it’s as close as you can get to reference for the price of $499. However, I have a hard time giving it the ultimate nod for transparency and neutrality. Even with all its technology, at the heart of the iDSD is still the Burr-Brown DAC chip. This gives the iDSD a slightly warm tinge that’s most evident with neutral headphones like the Ether or the Audio Technica R70x. That’s not to say the iDSD is lacking in details. In fact, I would say the opposite is true. I had no trouble hearing all the subtle nuances in each track, and I didn’t hear any flaws smoothed over despite the warmer presentation.
 
For most people, the iDSD offers a clear improvement over lesser offerings and a window to musically accurate sound. Fundamentally speaking, the iDSD works well with just about every headphone on the market. It also always manages to sound just right; the soundstage is never too expansive and is often portrayed with a good sense of intimacy. But on tracks that require a medium to communicate an effective sense of space, the iDSD doesn’t disappoint either.
 
Bass is tight, well-rounded, with slightly above average dynamics and impact. On a headphone like the Ether, I looked to hear the sub-bass and excellent bass response. The iDSD did precisely that, without over-emphasizing and glossing over the bass details I’ve grown accustomed to.
 
Mids and vocals are fairly neutral, I didn’t feel as if the iDSD was particularly forward or distant. In my mind, the iDSD passed the realism test. Vocals sparkled when they should, crooned when called upon, and sounded pretty darn good overall.
 
The treble on the iDSD is slightly accentuated. Perhaps this has something to do with the house sound of iFi Audio, since the iDAC2 and other offerings I’ve tried have a similar presentation. The iDSD, fortunately, has the least coloration of all its brethren. The treble sounds quite lean juxtaposed against the full-bodied and warm bass thumping in the background. I’ll have to say I prefer this dry and slightly analytical treble personally. It makes Electronica and Rock music a pleasure to listen to, similar in the way Grados handle treble (but without the harshness).
 
The iDSD also excelled at imaging and transient speed. Fast and difficult recordings were played back without a hitch with perfect instrumental placement. It is this particular trait, coupled with an  “open” sound that allows the iDSD to be considered reference in my book.
 
While not as musical as the Mojo, or as dynamic as the Concero HP, the iDSD nonetheless holds its own as a contender for one of the better portable amps/dacs. It serves as an all-purpose and well-honed unit that offers so much possibilities in terms of playback and usage.
 
Clarity, cohesion, openness, and accuracy. The Micro iDSD has all of them in spades.
Conclusively, I highly recommend the iDSD for a long-term purchase that doesn’t disappoint.

 
Overall Score: 8.9
 
    -Bass: 9
    -Mids: 9
    -Treble: 8.5
    -Transparency: 9
    -Dynamics/Transients: 9
    -Resolution/Details: 9
    -Soundstage/Presentation: 9

 
 
Manufacturer: Chord Electronics Limited U.K.

Model: Mojo

Price: $599 at moon-audio.com

 
Volume Control: One “+” and one “-” volume ball button.

Power Connector: USB, Micro B

Battery Life: 4 hours to fully charge, 8-10 hours of operation.

Inputs:

1x TOSLink optical capable of playing 44.1KHz to 192KHz PCM and DSD64 in DoP format.

1x 3.5mm COAX SPDIF capable of playing 44.1KHz to 384Khz PCM (768KHz special option) and DSD64, DSD128 in DoP format.

1x micro USB capable of 44KHz to 768KHz PCM and DSD64, DSD128 and DSD256 in DoP format. Driverless on Mac, Android, and Linux OS. However Windows Vista, 7, 8, and 10 will require a driver which can be found on our Mojo webpage.

Outputs:

2x 3.5mm stereo jacks for headphones capable of 8 ohm to 800 ohms playback.

1x 3V line-level output (Both volume buttons must be depressed while Mojo is turned on)

 

Specifications:

From (http://www.chordelectronics.co.uk/mojo)

1. 
   Output Power @ 1kHz
   
2. 
   600 ohms 35mW
   
3. 
   8 ohms 720mW
   
4. 
   Output Impedance: 0.075 ohms
   
5. 
   Dynamic Range: 125dB
   
6. 
   THD @ 3v - 0.00017%
   
   

 
Build and Finish: Machined aircraft-grade black aluminum, finished with a soft anodized finish. Built like a tank, with clean-cut corners. Phenomenal build quality, feels like a solid work of art.  
 
Accessories: Comes in a small box. Don’t throw this away! On one side, it displays what colors show up on the Mojo, pertaining to what sample rate is currently detected.
 
Comes with: 1x Micro USB Male (Type B) to USB Male (Type A), 1x Quick Start Guide.
 
Note: Mojo works with the Micro USB, not the commonly used Mini USB. In case you accidentally order the wrong aftermarket cable.
 
Technology and Design: A+ design and extensive interior technology behind a spartan exterior. Comes with Chord’s exclusive designed FPGA DAC that is engineered for USB playback of 32-kHz/768-kHz PCM and DSD 512. USB input is the preferred connection, offering the highest playback and quality. Volume control buttons light up different colors to reflect different sample rates, and the device includes an auto-sensing memory for the last utilized volume upon turning the unit off.

 
Sound / Comparisons:
 
The Chord Mojo. A tiny black-box that recently received widespread attention from audiophiles everywhere. Does it outperform other portables and set a standard of quality for what you can obtain nowadays for $599?
 
Upon first listening, I really didn’t want to analyze the sound characteristics of the Mojo.
It just sounded so comprehensive and involving that I didn’t feel any particular characteristic of the Mojo that stood out. Call it a clear and musical corridor to your music.
 
There’s a startlingly good sense of space with instruments and details suspended softly in the foreground. Don’t get me wrong. While musical and easy to listen to, the Mojo is extremely resolving and can be a razor-thin tool that reveals every tiny nuance in the recording.
I can definitely hear the influence of the Hugo’s sonic character. It’s this trademark Chord quality where the music is not only hyper-detailed/accurately portrayed, but it sounds darn good too.
 
But while the Hugo can tend to sound a tad sterile and lean, the Mojo somehow manages to provide ample enjoyment in a smoother signature.
I’m not sure if this is due to the changes of the amp section on the Mojo, but it somehow seems to seamlessly blend music together and inundate you with its energy and power.
The Mojo also brings out the best of the Ethers; the Mojo sounds so realistic and natural with classical and vocal tracks in an expansive landscape. I had hours of listening pleasure on highly technical songs where there’s a need to portray ambience and atmosphere.
 
The closest to the Mojo is the iDSD, both have excellent details and speed while maintaining a naturalness to the music that just can’t be achieved by the Microstreamer, ODAC, etc.
But in terms of space and dynamics, the Mojo is closest to the Concero HP. Both have impactful tight bass, and well-extended treble that is never sibilant or hot to the ears.
The standout feature of the Mojo, however, is the super sweet mid-range that just always sounds melodious and tonally right--without hints of odd coloration or artificialness.
 
The Mojo is a huge hit in my opinion, providing the dynamics and resolution of a full-size desktop setup in a bite-size package. It’s miles ahead ahead of lesser offerings, and this becomes immediately apparent when you listen to it extensively.
 
Pros: Musicality, Expansiveness, Detailed, Performance lives up to expectations!
Cons: Gets hot, Simple overlay (like it or not), Volume control lag, Stock USB cable hiss
 
Overall Score: 9.5
 
    -Bass: 9
    -Mids: 10
    -Treble: 9
    -Transparency: 9
    -Dynamics/Transients: 10
    -Resolution/Details: 9
    -Soundstage/Presentation: 10

*This review comes from my Portable Amp / Dac Shootout.
Posted as a reference for users. For the full review, see: 
 
 

 
 
 
Manufacturer: Resonessence Labs

Model: CONCERO HP

Price: $850 at resonessencelabs.com/products-page

 
Volume Control: Internal 32 bit volume control, Volume knob (Click to change filters)

Power Connector: USB A, USB B

Battery Life: N/A

Inputs: 1x USB Female (Type B)
1x SPDIF

Outputs: 1x 6.35mm Headphone Jack

 

Specifications:

From (http://www.resonessencelabs.com/product/concero-hp)

-CONCERO HP is the Headphone driver version of CONCERO.

-It supports DSD64 and DSD128, Sample rates up to 352.8kS/s and 24bits.

-Over 100dB (0.001%) THD+Noise performance into headphones above 300 Ohms (over 90dB performance into 32 Ohm headphones). S/PDIF and USB Audio 2.0 data sources.

-CONCERO HP Uses the ES9018-2M - the latest chip from ESS Technology.

-DSD64/128 support. Up to 352.8k 24 bit sample rate. 2.2 Ohm Output Impedance. 270mW into 32 Ohm @ 91dB THD+N; 206mW into 60 Ohm @ 94dB THD+N; 45mW into 300 Ohm @ 100dB (0.001%) THD+N; 22.75mW into 600 Ohm @ 100dB (0.001%) THD+N. Total Hum and Noise = 3.4uV A-weighted

 
Build and Finish: Hefty and heavy solid chunk of machined metal. The exterior is simplistic, with a nice volume knob. Do be careful not to scratch the surface of the amp/dac, since the finish is smooth paint.
 
Accessories: Resonessence Labs is also a fan of keeping things simple. A black cardboard box contains the Concero HP, a carrying pouch, an instruction manual, a 3.5mm to 1/4th adapter, and a standard USB A to B cable.
 
Technology and Design:
 
From (http://www.resonessencelabs.com/concero)
“CONCERO HP is three things in one: first, it is the Resonessence upgradable FPGA DSP core with all the proven filters and algorithms of the CONCERO family; second, it uses the 32bit ES9018-2M Sabre DAC in both PCM and DSD modes to provide high quality audio; and finally it provides a state-of-the-art headphone driver capability.”
 
Resonessence Labs is renowned for their work with the ESS Sabre DACs. In terms of experience with working with these chips, their engineers and developers are second to none. Each unit produced is carefully inspected, stamped, and built to last. They show clear quality in their products and design.
 
At the core of the Concero HP is a FPGA circuit that’s programmed in house by Resonessence and taken from the other Concero products. There’s also the updated 32bit ES9018 Sabre chip, which sounds phenomenal.
 
Concero HP comes with 3 filter options, extensive playback options (DSD64 and DXD128 playback, 24b/352.8kS/s), a blue LED logo light, and a solid volume knob.


 
Sound / Comparisons:
 
The Concero HP is the Amp/Dac version of the Concero HD stand-alone DAC.
Based off of the original Concero, it has some pretty big shoes to fill.
How much of an improvement does the DAC section of the Concero HP offer over the Concero?
 
All listening tests were done with the “no-upsampling” filter option. I did find the minimum phase IIR filter to offer a slightly more aggressive sound while the apodizing filter was more linear/flat- sounding. However, I preferred the default option with no filters selected.
 
Simply put, the Concero HP can be described with two words: balanced and immersive. The stereo image that the Concero HP presents is massive, the background is utterly black, and the music comes alive with dynamic ease. It shares technical capabilities with the iDSD, in terms of detail retrieval, dimensionality of voices and instruments, and an encompassing landscape that’s clean and free of grain. I did find the iDSD slightly more resolving and better for fast music, while the Concero HP is a tad closer to neutrality with better warmth.
 
Despite having the ESS chip, the Concero HP never comes off overly analytical or uncomfortably revealing. It offers a transparent window to your music, with perhaps the best bass weight and reproduction I’ve seen for such a small unit. The midrange is lush and romantic, with excellent details. The treble is almost perfect, sometimes showcasing the peaks and flaws of a recording a tiny bit harshly.
 
What’s amazing about the Concero HP is the immersiveness. This is coupled with its ability to integrate the listener into the music. While possessing great resolution and details, the Concero chooses to focus on the holistic presentation of the music, instead of each individual note.
This gives the Concero a smooth and balanced signature. However, the Concero is far from ethereal and weightless. Which might be said for the Mojo, and to a lesser extent the iDSD. Instead, the Concero dynamicism is among the best of portable DAC/amps I’ve ever heard. Everything is vivid, energetic, and powerful.
 
I can safely say that compared to the Resonessence Herus and original Concero, the Concero HP has made significant improvements and stepped closer to driving full-size headphones to their optimum efficacy. It’s taken the edge off of the ESS Sabre DAC, while offering a neutral and powerful amp section to boot as well. Of course, the iDSD blows it away in terms of headphone driveability. I wouldn’t recommend utilizing planar magnetic headphones with the Concero HP.
 
 
Overall Score: 9
 
    -Bass: 10
    -Mids: 9
    -Treble: 9
    -Transparency: 9
    -Dynamics/Transients: 9
    -Resolution/Details: 8.5
    -Soundstage/Presentation: 9

 
 
After being a fond owner of the HIFIMAN HE-560 and HE-1000, I was thoroughly interested in the Edition-X that was announced somewhere during the early stages of December, 2015.
While I wouldn’t call myself a long-time fan of HIFIMAN, I’ve enjoyed the interesting signature headphones they’ve come out with over the years.
The HE-1000, to my ears, was a revolutionary experience upon first listen. It’s safe to say I had high expectations for the Edition-X that featured “trickle-down” technology from the HIFIMAN flagship.
 
I signed my name down for the Edition-X Loaner Program (http://www.head-fi.org/t/790292/hifiman-edition-x-loaner-program) and was fortunate enough to be selected as one of the first members in SoCal to get my hands on these.
 

 
 
 
The HIFIMAN Edition X is a circumaural and full-size planar magnetic headphone.
Its design and form is reminiscent of the HE-1000, featuring oval shaped ear-pads that cover most of the head and a distinct “window-shade” grille. However, the Edition-X is manufactured mostly in black plastic as opposed to leather and metal in the more upscale HE-1000.
The headband and support system of the Edition-X is shared with the new generation of HIFIMAN planar magnetic headphones-- including the HE400i(S), HE-560, etc.
 
The main difference with the Edition-X as compared to other headphones from HIFIMAN is the purported superior efficacy of the Edition-X with any system; no dedicated amplifier or expensive gear is needed to get the Edition-X to sound great. Supposedly these can reach their potential even with an iPhone or portable music player.
 
MSRP is a whopping $1799. This places the Edition-X in contention (price-wise) with most open flagship headphones currently on the market.
 
Regardless, the Edition-X has some big shoes to fill.
For those that didn’t jump on the HE-1000 train before, is this HIFIMAN’s answer to a more reasonably priced TOTL headphone that appeals to a larger audience?
 
Read on to find out!
 
 
Disclaimer:
As a reviewer, I’m not being paid nor am I endorsed in any way, shape, or form.
All impressions are solely my own opinions.
I am not here to convince you to purchase these headphones or otherwise, no matter how much I like them or despise them.
I believe every individual should have their own free judgment to decide if a headphone is for them or not--without being unfairly influenced by hype, hearsay, or measurements alone.

 
 
    Sources/Amps Used:
 
    -Resonessence Concero HP
    -iFi Micro iDSD
    -Chord Mojo
    -iFi iDAC2
    -Cavalli Audio Liquid Crimson
 
    Headphones Used for Comparison:
 
    -HIFIMAN HE-6
    -HIFIMAN HE-1000
    -MrSpeakers Ether (Open)
    -Sennheiser HD-800
    -Sennheiser HD-700
    
 
 
 
Every HIFIMAN headphone I’ve received comes in a different packaging every time.
HIFIMAN adopted a black theme throughout with the HE-X (Edition-X).
The headphones themselves are packaged underneath black foam in a black quasi-leather box.
While you can certainly use the box as a carrying case, you’re much better off purchasing a separate hard carrying case.
 
Accessories are sparse, with two different SE cables available (depending on preference).
One of these is a short 3.5 mm cloth-textile cable for portable usage.
 

 
 
The headphones themselves are strikingly eye-catching.
The whole black and grey metallic sheen makes them one of the more exotic-looking headphones available.
 
Upon further inspection of the headphone, I immediately noticed that the “window-shade” grille on both sides of the earcups was noticeably dented in and uneven in texture.
Additionally, the plastic gimbals on the HE-X are loose and tend to slide back and forth.
I confirmed with HIFIMAN that this was not intentional and it appeared to be a quality control problem. Other users have also noted similar characteristics on their HE-X.
 

 
 
I’m hoping that these problems are only showing up on early production models.
This is definitely not the build quality you expect out of a $1800 headphone.
Even for HIFIMAN’s history of QC issues, I was more than slightly let down as a consumer.
 
That aside, I found the earpads on the HE-X interchangeable and nearly identical to those on the HE-1000. Which means that they’re super comfortable and can be utilized for long-listening sessions. The nearly 400g weight of the HE-X barely bothered me at all.
No complaints regarding comfort.
 

 
 
HIFIMAN claims that the HE-X is very efficient and can be driven from most portable devices.
I can confirm that this statement is indeed true.
This is a huge deviation from traditional HIFIMAN products such as the HE-5LE or HE-6 that require a powerful amp just to be adequately powered.

 
 

 
 
 
I’m just going to go ahead and say it: The HE-X is a headphone that disappointed me with its glaring weaknesses. I really don’t know how else to put it.
 
For some of you reading this, this is the wake-up call you needed.
You won’t find me sugarcoating or downplaying the fact that I believe the HIFIMAN Edition X is a complete hit and miss. Especially anywhere near MSRP value.
Sorry, HIFIMAN.
 
For everyone else, I would appreciate it if you could continue reading my review.
Hopefully, you can get a feel for the confusion and frustration I felt for this headphone.

Note: I was one of the few people to actually like the Sennheiser HD700 after the severe criticism it received. When the AKG K812 came around and blew up in controversy, I politely reserved judgement and got a pair to try. I didn’t find the treble issues nearly as bad as people said. Nor did I “hear” the measured distortion that was reported. It's safe to say the HE-X really wasn't my cup of tea.
 
I spent nights listening to the Edition-X on different setups, hoping that I would adjust to it and discover that it was secretly quite capable.
But try as I might, I noted the same recurring problems.
I really tried to “tolerate” them for the purpose of this review, but I couldn’t bring myself to enjoy the music much.
 
Let’s start with the strengths of the Edition-X and why these might be the preferred end-game headphone for a tired pair of ears.
 
First off, the HE-X is an extremely cohesive sounding headphone. They give off the impression of sounding much more open than they actually are. The best way to describe the imaging capabilities of this headphone, is to liken instruments and sounds as suspended/floating for a brief second in a small orb-like shape around your head. Then, they dissipate softly. On certain electrostatic headphones, this presentation is known as “ethereal”, but… Unfortunately, the HE-X lacks the bite and lightning-fast response of electrostatic drivers. Ultimately, this just ends up giving the HE-X a soft undertone around certain sounds.
 
If you take the HIFIMAN HE-560 and combine it with the Sennheiser HD650, you get the ultimate tonality of the HE-X. They’re extremely smooth and easy sounding on the ears though.
Heck, I would like these a lot more if I was forced to wear a headphone 24 hours a day.
Nevertheless, I prefer more soul to my music.
 
Asides from the fact the HE-X is smooth and buttery, (without any signs of sibilance or treble peaks) there’s not much else I can say is outstanding on these headphones. Certainly not after hearing what the HE-1000 is capable of.
 
This is not a reference headphone by any means.
Let’s break it down.
 
[Bass]
 
There’s a decent amount of sub-bass extension, but the mid-bass is akin to a dynamic driver’s decay and attack. In terms of quantity, there’s just way too much.
Think Philips X1 amount of bass.
I wouldn’t even mind if this was the typical quality bass HIFIMAN planars are known for.
The lower registries of the HE-X are flabby and not very detailed.
It really gets fatiguing especially if you prefer modern music (e.g. Electronica and Hip Hop).
The bass is definitely not flagship material. Let’s just put it like that.
 
[Mids]
 
Vocals and the mid-range are probably the HE-X’s strongest feature.  
They’re never recessed and it actually feels like someone is singing to you from the outside, as opposed to hearing voices inside your head.
This might also be the only time the HE-X’s soft character shines.
Female vocals have a dream-like quality to them.
If you prefer a detailed and thin sounding mid-range, stay far away from the HE-X.
This isn’t to say the HE-X lacks vocal clarity. It’s just rich, syrupy, and slightly colored.
 
[Treble]
 
My biggest gripe with the HIFIMAN Edition-X is the treble presence.
If there ever was an infamous Sennheiser veil, here it is.
On most recordings, the HE-X has decent treble extension, but nowhere close to the HD800 or HE-6.
There’s just a clear lack of treble energy everywhere.
And sadly, while the HE-X resolves fairly decently and is perhaps innately detailed, this kind of presentation just makes it seem like it’s not.
There’s no question that the sucked out treble gives them a dark and warm texture overall.
 
 

 
 
    -vs. Ether
Similar soundstage width and depth. The two headphones both share a slightly darker tonality. The Ether, however, sounds much brighter on certain amps while the HE-X is almost always consistent in its sound. Ether is fairly neutral, with excellent treble extension and deep, accurate sub-bass. The HE-X has noticeably more mid-bass quantity and equal amounts of sub-bass. The HE-X does tend to sound a tad grainy and uncontrolled when it comes to handling the lower frequencies. Ether is much more revealing of micro-details and little nuances in the recording. Both are similarly efficient and easy-to-drive.
    
 
    -vs. HE-560
HE-560’s vocals are much more life-like and dryer compared to the HE-X. I would say the HE-560 is the true little brother of the HE-1000 in overall presentation. However, both these headphones tend to sound romantic at times. The HE-560 is much more distant sounding, while the HE-X is seemingly always forward.
I found the HE-560 to have better instrumental separation and better quality bass.
 
 
-vs. HE-400i
This one's a comparison that someone requested me to give feedback on. I find the HE-400i an excellent value for the money. Its limitations lies in its slightly constrained sound and smaller soundstage capabilities. HE-400i generally has more treble than the HE-560, and certainly more treble up top than the HE-X. Bass is less textured than the HE-X, but faster with above average decay. 
HE-X does a better job of separating the layers of soundstage and giving a better sense of space.
 
    -vs. HE-6
The HE-6 generally shares a similar effect that the HE-X exhibits. When properly driven, the HE-6 is able to suspends sounds against a very black background. However, the HE-6 has more treble quantity and its sub-bass impact tends to sound more controlled. Bass slam and quantity is about on par with each other.
I found the HE-6 a decent improvement over the HE-X while utilizing better equipment though. The HE-6 does a few things no other headphones can do when properly juiced.
 
    -vs. HE-1000
Do these really share similar characteristics? Listening to the HE-1000 makes me not want to put the HE-X on my head again. There’s substantially less bass quantity on the HE-1000 as opposed to the HE-X. Mids quality and realism are much better on the HE-1000. Treble extension and presentation is excellent on the HE-K as well. It makes the HE-X sound sucked out (relatively) in comparison.
I found the HE-1000 closer to electrostats, and the HE-X closer to a regular dynamic headphones.
*PM me for any specific comparisons with individual headphones. 
 
 
Bass: 5
Mids: 8
Treble: 6
 
Imaging: 8
Soundstage: 7
Detail Retrieval: 7
 
Timbre/Naturalness: 7
Transient Response (Cymbals, Snares, etc.): 6
Cohesiveness: 9
 
Overall Score: 7
 
 
 
In conclusion, I think HIFIMAN did achieve their intended goal of offering a headphone that is consistent in the way it sound with all sources.
I did bring these to an open-house audition for a few of my buddies and it was generally well-received.
I’m sure there’s plenty of people that are convinced that this is an outstanding headphone.
However, for the price of $1800, I think HIFIMAN is being way too positive about what they’re offering.
Let’s pretend that there are no QC issues. The overall sound and refinement are nowhere near the level of the HD800s, HE-6s, or Ethers--let alone the HE-1000 or the SR-009.
If you wanted musicality and lots of bass, the Fostex TH-900 could have done that. And despite having some treble issues itself, it certainly beats listening to almost no treble at all from the HE-X.
If you just wanted a fairly detailed headphone that is both comfortable and smooth-sounding, you could have settled for the HD600/650 and been happy with how well they scaled up.
 
For a small loan of $1799...
 
These are my honest impressions. Your mileage may vary.
Happy Listening!

Note:
I am not affiliated with HIFIMAN at all.
I did not receive anything from them to review, nor did they have any influence on my final impressions/review.
 
About me:
 
As opposed to some reviewers out there, I’m usually hesitant to endorse a product unless it fully impresses me in terms of performance vs. value.
Or it just sounds damned good.
 
I’m pretty brutally honest in regards to how I perceive a headphone’s strength and weaknesses. There’s no point in wasting your time, my time, or anyone’s time.
 
I think the reader should be learning something new with each review they read.
I’m not here to regurgitate information others have repeatedly said. I’ll try not use hearsay or affirmations from other reviewers. This means: I will neither confirm nor deny any opinions you might have read elsewhere regarding this headphone.
 
Now let’s get onto the good stuff!

 
Initial Impressions / Unboxing:
 
I’m not one of those people that like to spend a lot of time talking about how the headphone is crafted from exotic, purple wood that’s petrified and aged in Japanese lacquer (Looking at you Fostex TH900).
 
The headphones came in a nice wooden box with a metal faceplate. The box, unfortunately, looks prone to damage and probably shouldn’t be utilized as a carrying case.
I am told though that HIFIMAN offers a travel case that isn’t too expensive. A must, in my opinion, if you take them anywhere other than home.
 
Upon opening the lid,  I’m greeted by the unmistakable design of HIFIMAN’s traditional orthodynamic headphones. I’d like to note that the HE-560 did have a very pleasant and earthy smell. Pretty important when you’re about to sample the headphone itself.
 
Build quality seems about average upon first contact. The headphones themselves are much lighter than their predecessors, built out of sturdy plastic and wood trim.
 
-The stitching on the headband did seem to be kind of rough, with a little bit of stitching inching out of the edges on the headband.
-The hinges that swivel are well-oiled so that the contact points don’t scratch off against each other--a problem that the HE-400S seems to exhibit.  
-The Focus pads are amazing as ever, decently plush with plenty of room to fit even larger ears.
-Clamping force wasn’t too bad straight out of the box. Much better than its “400 series” siblings.
 
These HE-560s come with the screw-on copper/silver/crystalline hybrid cable. It does kink a bit, but can be persuaded to behave for the most part. Both ends screw on nicely, reminiscent of the HE-6. Cable length is ample.
 
Equipment Used:
 
Chord Mojo
Chord Hugo
Resonessence Concero HP
 
We can always talk about equipment synergy and amp/dac pairing for the HE-560 elsewhere. The important part is that I consider all three units relatively neutral and resolving to where I’m easily able to discern the HE-560’s character and specific attributes.

 
Sound Impressions / Comparisons:
 
The HE-560 is without a doubt a romantic headphone. Romantic in every sense. It is positively alluring in how smooth it’s able to present a landscape of music, without sounding dark in the process. If you could have a headphone sing ballads to you, this would be it.
 
Overall signature/tonal balance can be considered neutral. The treble does get splashy at times (bad recordings don’t help the case).
 
My first thought was to compare the HE-560s to the HD650s, one of my favorite reference headphones.
 
Boy, was I wrong. The HE-560s are nothing like the HD650s or say the Fostex TH-600s--headphones commonly known for being warm, bassy, and generally well-liked.
 
For one, I find the former to have much cleaner treble/mids/bass than the latter two.
It also simultaneously sounds more airy, has better layering, and possesses timbre/naturalness previously unheard of outside of TOTL headphones.
 
However, it did take the strengths of what the HD650 was known for. The ability to seamlessly integrate music as a collective entity. And to perform admirably for all genres of music. A headphone that can be both calming and engaging when called upon.
 
You can say I was pleasantly surprised. Just because the HE-560 is the midrange headphone in the HIFIMAN lineup, didn’t mean it was in the same class as similar offerings from Sennheiser, AKG, or Fostex.
 
As soon as I realized the caliber the HE-560s were punching at, I knew I had a serious contender.
 
Many people systematically state that they can differentiate between how orthodynamics sound from dynamic headphones. After listening to just about every planar on the market, I’m not sure I can tell you that there’s a particular trait all orthodynamics differ from their dynamic counterparts. If there is a orthodynamic “house” sound, however, I’m sure the HE-560 encapsulates all of its outstanding features.
 
This is a full-bodied headphone that’s fast, detailed, and moves enough air in the lower registers to where headphones like the HD800 or T1 can’t match it. Short of electrostats, you really can’t find better layering and texturing in the quality of the bass. And that’s saying a lot.
Of course, if you prefer the emphasis on quantity, best look towards Audeze’s line up.
The HE-560 isn’t a particularly bass-heavy headphone. It usually sounds just right
 
There are two things that the HE-560s does so well that I simply have to give it props.
Likewise, if we had to reward the HE-560 for two things, it would certainly be the vocals/mid-range presentation and naturalness of instruments (esp. piano).
Both of these stood out to me. I don’t think there are many headphones that can do both vocals and timbre of musical instruments right, without skewing towards a mid-centric signature with recessed treble.
 
So let’s talk about the vocals.
-Life-like
-Incredibly and painstakingly brilliant.
-Please-hold-me-I’m-shivering
 
This is the headphone you put on when you want to hear someone sing.
Male and female vocals both possess clarity and are accurate to the recording.
Voices never sound artificial or processed at any point.
Remember when I said you needed that all-arounder headphone?
I wouldn’t mind living with just the HE-560 simply for this fact.
 
Note: If you like your vocals lush and “Audio Technica” -esque, this might not be your preference. The HE-560’s mid-range takes a step back in the recording and may sound lean at times.
 
Similarly, the tonality and presentation of musical instruments are just right.
In particular, piano and stringed instruments are hauntingly beautiful in the way they’re portrayed by the HE-560.
Delicate and soft, as if tragedy.  
Emotional and stirring, as if destiny.
 
Is the HE-560 worth getting?
For the Black Friday price of $699, you get a brand new HE-560. Street prices are even lower.
The answer is a resounding YES.
You get a spacious and encompassing-sounding headphone that many people should be able to agree with for the rest of their lives.
 
Best of all, if you’ve never tried a TOTL headphone, the HE-560 will most likely give you that “WOW” moment for the first time you’ve experienced something above and beyond what you’ve been used to.
Hopefully you’ll be telling yourself, “Maybe I’m really not crazy for spending hundreds of dollars on this hobby.”
 
For me, I decided to keep the HE-560 over even the HE-6 for the improved comfort, driveability, and price-to-performance ratio. Which isn’t to say the HE-6 isn’t better in many aspects. It is. But the HE-560 is infinitely less fickle and easier to drive.
 
It’s safe to say the HE-560 is my standard for what a planar is capable of~
 
Average Rating:
 
Bass: 8
Mids: 9
Treble: 8
 
Imaging: 8
Soundstage: 7
Detail Retrieval: 8
 
Timbre/Naturalness: 9
Transient Response (Cymbals, Snares, etc.): 8
Cohesiveness: 9
 
Efficiency: Fairly efficient, does need a dedicated amplifier. Not very source picky.
 
Overall Score: 8.5
 
TLR
As close as you can get to TOTL sound for less money.
This isn’t a bright headphone, nor is it a dark one. Somewhere in the middle with excellent extension both ways.
Soundstage depth is above average, while soundstage width is slightly smaller than expected.
Overall, a very enjoyable listen.

It's about time I warn prospective buyers how bad these are.
Have tested them in stores, at home, and have concluded that these are exceptional fart cannons with a built-in toilet.
Spend your money elsewhere.

Absolute steal at this price.
Should have given a review on these a long time ago but unnecessary because for one simple fact.
You either get a good fit on these and experience pure nirvana or dislike it for any possible conceived ideas.
It's quite inaccurate to listen to people's opinions as well.
Some people clearly state that the IE8 is much better than the Tf-10 but the Se530 is inferior. Others state the Tf-10 is worse than the ck-10s. There are even people that claim the tf-10 lack bass and the highs are sibilant. This all depends on many confounding factors.
But regardless to say, imo, I couldn't be happier with these.

Something struck me as odd the instant I saw these. Mine came in a pink version and for some reason they look exactly like the one on here. But I purchased mine in an electronics store. 
This suspiciously looks like one of the counterfeit second-hand earbuds and the flimsy wax-blocker looks exactly like some I've seen on fakes.

Wow, what can I say. These came like-new and packaged perfectly from FlexPen76 with 100+ hours burn-in time. Compliments to him again =] 
First Impression- The entire Sennheiser construction was very solid and the box was very attractive as representative of fine German engineering. I had no trouble ascertaining if the ones I got was real and at first I must say I was overwhelmed by all the included accessories. However, as stated by many users, all the excess tips were completely negligible and the only one that remotely fit in my ears was the silicone default one. I immediately took them and stuck the nickel-plated jack in my newest Ipod Touch without hesitation. The bass-knob setting was a little higher than 1 and I wouldn't recommend going over that unless you want the treble to be drowned out by the bass. But that's only because of the tips I was using. I played a few low bit-rate songs and was surprised to say they weren't overly sensitive to low-quality music. Then I initiated a hq trance song with the sound turned a little above normal and closed my eyes. It was interesting to note that I barely noticed a difference in soundstage to my full sized cans D2000 and Dt880. That just shows how well the IE8 balances the entire frequency spectrum in an ethereal-like cover. Overally SQ was quite detailed and I also noticed how well it reproduced every note of noise from classical pieces to vocal trance. I would say it sounds like a Rs1 without the overly fatiguing signature but it lacks the mid-range of the Grados. The highs are well configured but tends to sound well only without the bass booming at the same time. 
Will be giving a more detailed report after I play around with these more.

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