Shipibo Audio Padded Leather Headbands, Wooden Cups, Aluminum Rod Blocks, and Aluminum Gimbals for Grado

Shipibo Audio included two headbands for review, one padded slightly thicker than the other (the wide comfort model). Both exhibit top-notch construction, made out of black leather, and are equally attractive and comfortable. They are fabricated from genuine calfskin leather with soft memory foam padding for added comfort. They are sewn together by hand using strong, semi-waxed polyester thread. The thinner band is ideal for custom builds with feather-light wooden cups (or the traditional Grado plastic) while the thicker band is an excellent match with the heavier metal-bodied SR325. Especially if you are using the appallingly cheap vinyl headband included on the SR225 and below, replacing it with a Shipibo Audio band is an immense upgrade.

The Shipibo Audio mahogany wooden cups are gorgeous. Full Stop. If you have ever considered wooden cups for your Grados, look no further. They have a smooth, silky semi-gloss finish, that is a pleasure to both look at and to touch. The insides of the cups are precisely CNC milled and the drivers fit perfectly in the grooves. I assembled the drivers with a couple wraps of double-sided tape, making them snug and secure, yet easily changed if desired. Of note, the plain black, square-holed grills are glued in place, however, didn’t stand up to a few unsupervised seconds with my 3-year old. Using a small hex key and Gorilla Glue I was able to fairly easily pull and fasten the grill back in place. The cups come pre-drilled with holes (sized as per the individual customer's request upon ordering) for cables, which I enlarged to 1/4” for 2.5mm sockets upon assembly.

Perhaps most excitingly, Shipibo Audio included prototype versions of aluminum gimbals and rod blocks. Although Przem made it very clear that the production versions will be much improved, I have absolutely no reservations about the fit, finish, utility or design of the prototypes. They unquestionably made the functional beautiful. These eliminate the common complaint of free turning cups that lose your preferred position while annoyingly twisting the cables. They work great, aren’t noticeably heavier than stock, look amazing and fix all my complaints with the Grado units. In other words: perfect. Przem tells me that most of the next batch of aluminum parts (gimbals and rod blocks) will be treated with plasma electrolytic oxide coatings for high hardness, wear resistance, and corrosion resistance. If the final versions will be even better than these prototypes… sign me up!

The final assembly has elicited many admiring comments of “stunning”, “classy” and “beautiful”. Perhaps the most unique compliment was that it “…looks like something Philip Glass would wear.” I’m not sure if this is a comment on minimalism, art or coolness, but it is a great compliment.

Symphones V8 Drivers

I’ll let Rhydon Rayment introduce his company and philosophy: “Since 2010 Symphones has done more than refine an old tradition: we've started a new one. By fusing dynamic design with the vivid DIY culture we work to enable a new movement of designer artisans. Symphones empowers DIY builders through our dedication to making the highest quality headphone drivers. To achieve optimal results, our products undergo years of design, testing and verification, making each driver worth your patience and skill.”

“At Symphones we make headphone drivers by hand using carefully selected materials from local suppliers in Ontario, Canada. Detail is our passion and its no secret that even the adhesives used in our drivers are formulated in-house to our exact specification. We want to give our builders the smoothest, most dynamic and pure sound to showcase their designs. Most of all, we want to expand people’s musical tastes and prove that the best headphones don’t always come mass produced.”

The V8 is (unsurprisingly) the 8th revision of the popular “Magnum” driver series. Gone is the Grado house sound of the Prestige series, and a more refined, natural and smooth sound signature rivalling far more expensive headphones is achieved.

Throughout the revisions, the Symphones’ line-up retained the easy to drive, low (32 Ohm) impedance of Grados, which makes them very portable device friendly and do not require a dedicated amplifier. Symphones’ drivers are known for improved soundstage, clarity, and detail compared to stock drivers. They have better extension on both the high and low frequencies, with the bass hump a little lower in the range. In a (very brief) summary, the V1 driver was similar to the 325is, with some peaks in the midrange and treble with tight bass but rolled off sub bass. The V2-V3 drivers were less bright and peaky, with forward midrange and strong mid-bass with rolled off deep bass making them excel with acoustic music. The V4 was very well liked and often described as more neutral. V5-V6 drivers also featured aluminum sleeves and a livelier treble, flatter impedance curve and greater, resolving bass. The V6 extended a bit further in highs and lows and had a bit of a mid bass hump (more v-shaped frequency curve) resulting in a fun sound signature, if not especially neutral. The V7 drivers sounded very different than stock Grados with deeper bass and a forward midrange, balanced with an extended high end.

In Rhydon’s words the “V8 encompasses improvements related to the diaphragm and its motion, damping of resonances, and bass refinements. Sound lovers will note improvements to the upper, mid, and lower registers, both in resolution and control. Drivers are matched to the tightest tolerance of +/- 0.1db.”

In back to back, A-B testing, the V8 is a noticeable improvement over the V7. It is smoother, more balanced and exhibits greater control. The V7 driver could get a bit loose with deep bass tracks and this is essentially resolved with the V8. The midrange steps back a little (compared to the V7’s forwardness) and the overall sound presentation is more balanced and refined. These can be described as having the smoothness of the Sennheiser HD650’s paired with the clarity of a Beyerdynamic DT880. Note: my favorite headphone pairing is a modified Bottlehead Crack and HD650 – so this is high praise indeed. Prior to this proper amplification combination, I found the HD650’s a bit lifeless or (forgive me) “veiled” for my tastes. The V8 sounds more like this perfect combo, without lugging around the tube amp.

The Symphones V8 sound quality is extraordinarily sweet, clear and neutral. Music comes across in a very transparent manner, with oh-so-smooth midrange and controlled, accurate and deep bass. Vocals are natural in presentation, with no noticeable frequency peaks or rough edges. Texture of complex passages remains clear, separated and detailed with superb imaging. Soundstage is very good for an on-ear headphone, if not quite as wide as the best (albeit much more expensive) headphones – although this may simply be a limiting factor of the supra-aural nature of the Grado design.

COMPANY: Beautiful Audio

COMPANY WEBSITE: www.beautifulaudio.biz

MODEL: Leather and merino wool headband covers and ear pads with customizable foam inserts

COST: 2 ear pads + 2 densities of inner foam: $115 USD, headband cover: $60 USD

TYPE: Grado headphone accessory

COLOURS: Merino: Brown, Black + Grey, Green + Black, Blue + Black, Red + Grey. Leather: Black, Coffee, Yale Blue, Olive Green, Redwood, Burgundy, Indigo, Gold, Silver, Pale Brown, Byzantium, Carnelian, Rufous, Sparrow Grey, Stone, Sand

INCLUDES:

Headband Cover
2 Ear Pads
2 pairs of foam inserts for the ear pads of differing densities: very soft memory foam (closed cell) and harder (open-cell) foam


Overview and Philosophy

The Beautiful Audio headband cover and ear pad sets are unabashedly luxury products, and at first glance, their real intent and value may not be apparent. I believe to truly appreciate these unique offerings, it helps to glimpse a bit of the man behind them. An audiophile and an artisan, Silvian has strong beliefs about fashion, audio and the wearability of Grado headphones. So, what’s Silvian’s philosophy? I believe it can perhaps be simplified as: color and comfort. To best understand his goals, I’ll share some of our communication so you can read Silvian’s own words.

“My goal… is to sort a problem for some of those who have it.”

“I bought my first Grado (225, not "i", not "e") maybe about 15 years ago. I liked the "live"-ness of the sound, and I still do. But soon I realized that I couldn't wear them for more than a few minutes because of how uncomfortable, how rough they were…”



“Deep down, what I want to do by using all these fine materials and colors is to get to what I believe it is a huge untapped market: women... if men are so silly about materials and colors… And, of course, those who simply understand the value (durability, feel, looks) of what I'm proposing. As many should know, it is expensive to buy cheap stuff…”

“But I really hoped the males of this species are more open to (some of the) colors. And they are, but not in the western world, where Grado mostly sells. You won't believe the "likes" I got on Instagram especially for the color versions: males from many of the Arabic countries, India, Indonesia. What I hoped from the women, was that the husbands will show their wives what I do, just for fun, and the wives would think "Hm, If only this guy was doing something that I might wear.”

“And with headphones, because they are wearable, the look and feel is critical. And as I do care about sound, perhaps this is a good way to show them how good their music can sound. It pains me when I see people wearing what I know is crap! … I chose to go with what I like, from well-known brands, with proper R&D behind their products, and make them a little better where they are compromised...”

Let’s start our understanding there. Silvian is manufacturing a product designed to greatly improve the questionable (and unfortunately legendary) Grado comfort while elevating headphones into the world of fashion utilizing both rich color and luxury materials, and finally, to improve the sound quality. Lofty goals indeed.



Design, Build Quality and Durability



The ear pads will fit the entire Grado range, while the headband cover will fit the SR325 and up without modification, as this is where the stock band transitions from vinyl to leather. The cheap vinyl band found on the lower models can fairly easily be trimmed to fit with scissors and thickened with tape (or as I did with adhesive Velcro) to approximate the shape and thickness of the leather band to properly fit the Beautiful Audio headband cover.



Leather is fairly commonly used in products in contact with skin, such as high-end ear pads and bands, but the use of merino wool is certainly unique. Merino is one of the most hard-wearing natural fibers; exceptionally breathable, temperature regulating, hypoallergenic, and luxuriously soft. It is used for baby blankets, underwear, shoes and outdoor garments.

Let’s not mince words here, these are beautiful, opulent, and exquisitely made additions to your favorite pair of Grados and are available in a vast array of colors. Full disclosure, I’m part of the North American male demographic (which Silvian speaks of) that almost never chooses anything but traditional black, brown and grey color options. Presented with the wide range of color possibilities, I was drawn to the olive green leather and (with Silvian’s advice) agreed on the blue-black option for the merino (which has very much grown on me – it’s very eye-catching on the silver 325's). Check out all the color options on the Beautiful Audio website, they really are gorgeous; if only I was a little braver.



Another unique aspect is that these may be the first truly customizable headphone ear pads available. The user can easily adjust the inner foam density to their preferred softness and sound signature. Every pair of ear pads is delivered with two sets of foam inners: very soft memory (closed cell) foam and firmer, open-cell foam. Silvian supplied me with 4 foam densities so I could provide feedback on the comfort and sound for each option. If you are handy with an X-Acto knife or even scissors, you could fairly easily DIY new pads from any foam you want to try.

The comfy, padded headband cover wraps tightly around the original, and is locked in place with snap-on boning and closes securely with magnets at both ends. Note that some readjustment of the ear cups will likely be required as the padding raises the headphone position slightly.

Durability is also superior to stock, as Grado foam cushions disintegrate over time and with usage. Silvian adopted a ‘no compromise’ approach to materials and design and decided to opt for real leather over the synthetic protein options available. Leather lasts indefinitely with moderate care, ages well and it feels gorgeous. Merino wool is one of the most resilient, elastic, odor resistant, and stain resistant natural fibers. You can clean merino by soaking in warm water for a few minutes with a little mild (wool) detergent. Leather can be cleaned and maintained with specialized leather products, such as for leather jackets, shoes or furniture. These covers should last for many, many years.



Once you grasp the workings of the ingenious folded shape of the ear pad casing, removing and installing the inner foams is a snap. It is worth highlighting just how clever the design is and how well executed it is in practice. The cover wraps around the foam inner and creates a pocket that captures the edge. It appears to be a single sealed piece, while the foam is entirely hidden within. Installation of the headband cover and ear pads onto the headphone is trivial; they fit perfectly and secure in place with little effort.



Comfort and Fit

For clarity, stock Grado foam pads can be defined as:

S-Cushion (‘comfy’ or ‘flat’ pad) is stock on the Grado SR60, SR80, and SR125i.
L-Cushion (bowl) is stock on the SR225, SR325, RS1, and RS2.
G-Cushion (bagel or salad bowl) is stock on the GS1000 and PS1000.

Typically the S- and L-cushion pads are considered on-ear and the G-cushion pads are over-ear. Silvian styled his ear pads after the L-cushion, however, he made a few improvements that make them a bit more ‘over-ear’ feeling. By increasing the depth to 25mm (from the stock 15mm) there is less chance that your ear will touch the driver grill, and depending on firmness of the inner foam, the pads will either compress less and maintain their shape, or will softly conform to your particular ear shape.



The stock Grado foam is made up of multiple densities and the top layer is stiff and somewhat gritty feeling. The combination of the supple feel of the silky outer materials, paired with the softer foam inserts within the ear pads, is nothing short of transformative. The headphones that have spent the most time on my head are some of the most widely praised for comfort: the Beyerdynamic DT880 and the Sennheiser HD650. Both use large cups to surround the ear and velvet-like material to touch the skin, so it is unexpected that Grados can displace them as the most comfortable headphones I’ve worn. The 12mm thick padded headband cover used with the relatively heavy metal-bodied SR325 utterly offsets the weight, and when matched with the ear pads, transform it into a sublimely comfortable wearing experience. Silvian’s products installed on lighter wooden cups ensures that the headphones float lightly on the head and feel lavishly cozy. I greatly prefer the softer foam inserts for comfort, but even the firmer inserts are a great improvement to the stock ear pads.

Comfort is about equal with both the merino and the leather outer shells, and (have no fear) the wool remains soft and never feels scratchy or itchy to the ear. The stock foam is non-breathable and leads to overheating and sweating, while merino is an extremely breathable natural material that promotes air circulation and is less prone to clamminess. The leather covers are perforated in a Fibonacci pattern because it offers the most pleasant and uniform way to distribute the holes over the conical area. One small knit-pick is that not all the holes were clear of the tiny leather punch-outs, slightly marring the nearly perfect finish.



Impact on Sound

It turns out that in addition to comfort, I also prefer the sound signature of the softer foam inserts. While slightly reducing the perceived size and creating a more intimate soundstage, they add a tangible warmth and low-end enhancement to the Grado sound. The 325’s are oft criticized for having a harsh, and somewhat fatiguing sound, and (as is typical to the Grado SR series) tend to have a boosted higher midrange and rolled-off bass response. The merino ear pads, with memory foam inserts, transform the sound signature, yielding a smoother response across the full range and an extended low end. The sound remains Grado-esque and doesn’t lose what makes Grados special, but they are undeniably improved with these modifications.



As foam hardness and porousness increases, several things change. The pads compress less, moving the drivers further from the ears and lessening the seal, which likely leads to the corresponding noticeable decrease in the low end and overall smoothness in the sound. Changing to the leather exterior (from merino) further alters the sound presentation (albeit fairly subtly). Being less absorptive, it reflects the sound more and has a brighter presentation than the merino. It’s a wonderful match with the aftermarket Symphones drivers, sounding very energetic and lively. In the end, while critically listening I created pages of notes and charts, swapping between exterior material, inner foam and headphones, trying to determine what worked best for me. In (much boiled down) essence:

White memory foam is the softest and spongiest and will retain a deformed shape momentarily. It is the most comfortable, physically distorts the most and allows the driver to be closest to the ear. Aesthetically I prefer the softer foams because the cups stick off the sides of the head the least, giving a slimmer profile. They provide a much deeper sound than stock (to which I wrote “wow!” on first listen). They sound the most immediate, intimate and loud.

The white large cell foam holds shape a bit better and for comfort, I noted that “The stock foam continues to feel worse and worse”. The white foam smooths the mid-highs; boosts the lows, and in comparison, the stock foams are much sharper and more fatiguing to listen to. It is almost as comfortable as the memory foam, and better retains its shape.

The pink foam is very close in feel to the densest grey foam. It is a large change from the softer two foam densities and when using it I found myself more susceptible to pressure below my ear in the hollow of my jawbone. It still provides a deeper and less forward sound than the stock Grado G-cushion foams. I found little difference between the pink and the grey foam but noted that there is still a comfort improvement and they are more laid back in sound compared to stock.



Conclusion



Thank you to Silvian Serbanescu-Oasa for providing a set of Beautiful Audio leather and merino headband covers, ear pads with 4 foam inserts for review.

Clearly, these are excellent products. They succeed in every way, by making Grados far more fashionable, infinitely more comfortable and by creating a smoother and deeper textured sound. The Beautiful Audio offerings are the only user customizable ear pad option on the market. Grado customization is very popular with headphone enthusiasts, and the color, comfort and sound options available with Silvian's products are second to none.

However, before we conclude, let’s address the elephant in the room. Price. Silvian understands this concern.

“We appreciate that for many, these products will be expensive. With good quality materials, fully made in New Zealand, shipment included, 15% NZ tax included, there is no way around it. If you plan to stay with Grado for a while, we believe it is a worthy investment: you will use the same earpads, and headband, on your current and future Grado models, for many years to come.”

You can try them out for a few weeks to see if they make sense to you. The products, in good condition, can be returned within 30 days for a full refund. The buyer is responsible for the postage charge back to New Zealand.

The question then becomes one of value, rather than initial cost. Grados were my introduction into high-end personal audio and I adore their quirky, retro styling. The challenge has always been ignoring their shortcomings and focusing on their strengths; because of this, they tend to be a polarizing brand with rabid fans and those that don't see the appeal. If you love your Grados and plan on keeping them for the long term, the investment in Beautiful Audio’s products makes sense. They simply make your Grados better.

A lot better.

COMPANY: Ashdown Engineering – Meters Music

MODEL: OV-1

COST: $299 USD

TYPE: Closed, dynamic with ANC (Active Noise Cancelling) and VU meters

DRIVER SIZE: 40mm dome

FREQUENCY RESPONSE: 20Hz - 20KHz

IMPEDANCE: 32 Ohm@1Khz

SENSITIVITY: 94DB/mW

WEIGHT: 380 grams

COLOURS: Tan (brown) as reviewed, Black, Rose (white + pink)

INCLUDES:

USB to micro USB cable
3.5mm 1.2m input cable
3.5mm 1.2m input cable with 3-button inline microphone
3.5mm – 1/4” gold-plated adapter
Clamshell hard-sided carry case with zipper closure
Cleaning cloth
Multi-language user guide
VU sticker
Warranty card
High-quality cardboard box with magnetic closure



Build, Aesthetics and Comfort


Let’s get something out of the way first. Who are Ashdown Engineering and why are they now making headphones? The company was established in 1997, and is primarily known for two things:

1. Making bass amplifiers (and other pro parts) for professional musicians including: Foo Fighters, System of a Down, The Who, Lenny Kravitz, U2, Jamiroquai, Rage Against The Machine, Green day, Arcade Fire, Black Sabbath, and more. That’s quite a resume.
2. Putting cool looking VU meters on their gear.

Mark and Dan Gooday are a father and son team behind the OV-1 and are headquartered in Colchester, UK. They realized that the amp world has been in decline as the headphone market has blossomed, so they decided to diversify to meet the needs of music lovers, rather than just the makers.



So let’s get back to those VU meters. Clearly the company philosophy is fundamentally linked to these retro-cool icons. It’s the defining feature of Ashdown Engineering and the new Meters Music brand. In my experience, the design choice seems to be very polarizing with consumers. The audiophile responses seem to range from skeptical to disdainful and overall this demographic regard the meters as a pointless gimmick. Of note, the meters are calibrated to EU volume safety standards, so an argument can be made that they are a visual warning for others (parents?) to ensure listening levels are at a safe volume. The fashion conscious, and/or the burgeoning retro nostalgic demographic (note the resurgence of vinyl and tube amps these days) are going to be attracted to these backlit, undeniably appealing analogue meters. (Ok, I admit it; I’m firmly in the camp that loves warm glowing indicators and dancing needles). To expect Ashdown Engineering to have done anything different is entirely missing the point; meters are an integral part of the company’s identity, and their unique, iconic way of differentiating themselves in the market.

There is no getting around it; these headphones are large and conspicuous attention-getters. Thankfully they are also well built, classy and very comfortable. At almost 400 grams (although not overtly heavy feeling) and sporting a generous cup width, the ANC electronics, battery and VU meters clearly do have an impact on ear cup size. The cups do fold for storage in the included case, and click securely out into place for listening. The gimbals and outer cup face are brushed aluminum with polished edges and look fantastic with the supple protein leather on the ear pads and headband. The sides of the cups are plastic, ideal for weight savings, however this does detract from the overall luxurious impression, especially when room lights are low and the VU meters are active and lit from behind. The internal light bleeds through the thin plastic walls and unfortunately devalues the OV-1 appearance. Perhaps a lightproof foil backing on the internal light would suffice – it is a disappointment as otherwise the lighting is great, natural and warm (it appears accurately incandescent).

Comfort and fit are very good. The headband and ear pads are thickly padded with memory foam and the artificial leather is luxurious to touch. The firm clamping force, large cups and generous padding ensures that the OV-1 seals securely around the ear (greatly eliminating sound leakage) and that it also remains comfortable for long listening sessions, but as expected, it does get warm. The headband is spring steel and the size adjustments click securely into place. Cables are not microphonic with a micro-ridged rubberized texture.



The OV-1 is quite feature-packed, however, execution is a bit of a mixed bag. Hidden under the gimbal on the left ear cup, there is a 3-way switch allowing selection of a passive audio mode (meters, lighting, and ANC all off), ANC (meters and lighting on) and EQ (meters and lighting on, ANC off). This means that you cannot enable the meters without using the ANC or EQ setting and conversely you can’t disable the meters while using those settings. Separate switches for meters, backlight and sound setting would be ideal. Also on the left ear cup is a tiny indicator LED, 3.5mm cable port and micro USB charge port. The ports are positioned very close together, so it is not possible to charge and use the headphones simultaneously. Charging takes less than an hour and is rated for 10+ hours of usage.

My greatest complaint with the OV-1 is the EQ setting. I’m assuming it was included as an option to utilize the meters when not using ANC, but it is audibly inferior to the other two sound settings. I’ve struggled with determining its intended purpose; is it attempting to create the raw and exciting feeling of a live concert? In use it sounds like boosted midrange, adding a nasally, somewhat unpleasant tone to vocals.

In the passive setting, there’s a touch more volume, adding a bit more high-end extension and treble brightness than with ANC enabled, but the mids seem to get a little congested and some of the bass impression is blurred. That all being said, I preferred the ANC setting for music listening, so my impressions below of the sound signature are made with this mode enabled.




Sound Signature and Quality


If ANC is a feature on headphones, I assume that it is the intended primary use. Ashdown Engineering clearly expects the OV-1 to be used in this manner: the VU meters are active and ANC simply sounds better than the other two modes. Combined with the great head seal, the ANC is quite successful at eliminating low-frequency hum and most background noise, although perhaps not quite as effectively as the ubiquitous Bose ANC offerings. There is a very low-level audible hiss present in a silent room with no music playing (or without a source connected) when ANC is enabled. It is in no way audible once music is playing.

With what we know of Ashdown Engineering’s lineage, it should come as no surprise that bass is where these headphones shine; massive, stunning, deep, tight, and controlled bass. Turn off the bass-boost on your amplifier or music player it is no longer needed. Efficiency is also very good, and the OV-1 can be driven well directly from a smartphone.

I tend to be a fan of the lighter, delicate sound signature synonymous with open headphones, however, do I enjoy the warmth and power of tube amplification and prefer laid-back musicality to clinical presentation of music. Look elsewhere for ruler-flat measurements, or uncoloured accuracy to analyze acoustical tracks. Conversely, if you are looking for an extremely fun, non-fatiguing and refined sound, with spectacular bass and depth, the OV-1 delivers in a way I haven’t heard before.

The soundstage is intimate, but the excellent control ensures that the music remains uncongested and clear. The sense of power and intensity makes listening to music an all-encompassing experience. I truly believe the OV-1 was tuned by ear, by experienced music professionals that had a desired sound signature in mind and that they achieved their goal.

Midrange

Vocals are clear and pleasing, without sting or aggression. They aren’t lost in the mix, but the overall impression is of low-end bias. These headphones are unapologetically polite (perhaps as a Canadian I can relate?) yet, as the sound dips lower in the midrange, the listening experience becomes visceral and emotional. There is weight and substance to the sound.

Treble

From upper mid-range up into the treble region, the sound signature is extraordinarily smooth, ensuring the OV-1 remains eminently listenable and non-fatiguing over long listening sessions. At first, I was concerned that clarity may be lost, but the detail and sweetness of female vocals are still there, but it does take second-stage to the sheer impact and magnitude of the low end.

Bass

Ashdown Engineering is known for pro-level bass amplification and the OV-1 is no exception. The overall impact is one of controlled power. It booms and thumps, but remains taut and firm. It resonates with commanding authority and muscle but doesn’t become muddy, flabby or overwhelming. It’s a fine line to walk, but the designer’s expertise really shows and the listening experience is remarkably affecting and potent. The OV-1 makes music fun and entertaining, and truly shines with tracks that revel in low-end punch.



Conclusion

Thank you to Bob Rapoport, CEO of Essence For High Res Audio (www.essenceelectrostatic.com) for providing the OV-1 for review purposes.

The Ashdown Engineering Meters OV-1 headphones are unlike anything else I have owned. I regard them as a conscious choice by the designer, true to their lineage, both in aesthetics and sound signature. Ashdown describes the OV-1 as “Deep, dynamic, articulate, detailed.” They assert, “We know what great tone sounds like. We also understand the importance of quality.”

The sound quality is infectious. Put on your favourite Prince track and I challenge you to keep your feet from tapping and your head from nodding along. In a land of flashy, unrefined and plastic cars sporting fart-cannon exhausts, the OV-1 is a purring Bently with a trunk full of immaculately installed subwoofers. A pleasure to behold, touch and experience.

Unique looks. Powerful sound. The Meters OV-1 delivers the intended experience.



SPECIFICATIONS & FEATURES

WEIGHT - 372g / 0.82lbs
FREQ RES -20Hz - 20KHz
ACTIVE VISUAL MONITORING
MEMORY FOAM EAR-CUSHIONS
83% BACKGROUND NOISE CANCELING
SPRUNG STEEL FLEX FIT HEADBAND
SYNTHETIC PROTINE LEATHER
LIGHT WEIGHT ALLOY CONSTRUCTION
10-12 HRS BATTERY LIFE
20 MIN CHARGE = 2-3HRS LISTENING
45MIN - 1HR FULL CHARGE

REVIEW – PORTABLE AMPLIFIER + DAC – JDS Labs C5D

COMPANY: JDS Labs

MODEL: C5D

COST: $250 USD

TYPE: Portable Headphone Amplifier + DAC

WEIGHT: 120g

COLOURS: Black (previously available in Red with Silver End Caps)

INCLUDES:

C5D portable DAC + Amp
4 adhesive rubber feet (note the rubber feet in my pictures are not the original small round included bumpers)
3-foot micro USB cable
User manual



Description:

C5D is a high-performance portable headphone amplifier featuring digital volume control, multi-position bass boost, dual gain, and asynchronous digital-to-analog conversion compatible with iPad, iPhone, and all UAC1 compatible operating systems.



Build Quality, Features, and Aesthetics



All JDS Labs products are designed, prototyped, manufactured and supported in their own USA facility. This is relatively unique in the portable electronics world and speaks directly to the philosophy of the company. I can personally attest that JDS Lab's customer service is outstanding as well. You can expect to receive same day responses to email inquiries, handled personally and professionally. They clearly care about their customers just as much as they care about their products.

Build quality is always a strength of JDS Labs products, and the care in product design and execution is evident in the C5D. The exterior casing is a minimal and sturdy design of machined aluminum, with a satin matte anodized finish. End plates are aluminum with precisely cut ports and flush, tight and high-quality components and solid feeling switches. Custom engraving is free with any new JDS Labs amplifier or DAC ordered through jdslabs.com. You can submit your own custom artwork to appear in white on the blank case side (the other side has the JDS logo). Engraving image quality is comparable to that of a black and white laser printer.

It is worth discussing the unique digital volume control. For the tech savvy, the workings of the digital volume control can be programmed via Arduino via software made available by JDS. By default, it works by pushing a left or right to decrease or increase the volume by fine steps (63 1-dB attenuation steps + mute). If you hold the volume rocker to the side it increases to full in a few seconds. Additionally the last used volume level is retained every time you switch the amp off. You push the volume rocker in to toggle the gain from 2.3x to 6.5x.

JDS Labs states (in full caps) that the C5D is ASYNCHRONOUS AND GALVANICALLY ISOLATED. I have not noticed any unwanted RF interference (radio frequency interference collected by a cable unintentionally acting as an antenna) nor any other noise issue, so I’ll take their capitalized word for it.



The C5D is a USB Audio Class 1 (UAC1) compatible device, so it is not necessary to install drivers for computer usage, but it does mean that the DAC chip is purposely limited in audio format playback support (maximum 24/96 - no 24/192, 32/384, nor DSD support). However, it means that the C5D is more widely compatible, and having an internal battery (thereby avoiding “connected accessory couldn’t be used because it consumed too much power” error messages) it is usable with iOS devices with the Apple Camera Connection Kit and Android devices using the USB On-The-Go (OTG) feature. Note that the current package lacks any Android OTG or iOS digital cable, so you should include those costs, as well as a few amp bands, into the purchase price for portable usage.

Labels are somewhat sparse on the unit and there are a few things that take time to become familiar. You must remember to change the battery/charge switch to the appropriate setting. Forgetting to select CHG means it will not recharge the battery even when plugged in. The unlabeled (!) bass-boost switch isn’t entirely intuitive either, rather than OFF – MED – HIGH, the switch works (from bottom to top, which in itself isn’t always easy to remember) MED – HIGH – OFF; the only way I know what setting it's on, is to flip through them and listen. The 1,200 mAh battery capacity is rated for 6-8 hours of playback (depending on volume level) and is certainly not industry leading for portable devices.



Sound Signature and Characteristics

JDS Labs is probably best known for its production of the successful Objective Amplifier (O2) and DAC (ODAC). For many, this was (and continues to be) a gateway into high-end headphone audio and provides clean, accurate sound at a reasonable price/performance ratio. The C5D appears to be an attempt at capturing this success in a more portable package.



Known for a dark, silent background, the C5D makes it easy to enjoy the music you are listening to. Balanced with a focus on accurate and transparent sound, it appears true to the music but is never boring nor sterile. The presentation is slightly warm, with somewhat forward mids and a bit of a punchy upper bass bump. Bass is controlled (except with the MAX bass boost setting enabled – this may prove too much for many headphones and details can easily be lost in the overwhelming mid-bass bloom). Overall, the bass boost gives a bit of additional body to the music (I typically leave it on the MID setting) and I find it slightly less musical and engaging on the OFF position with most headphones.

Vocals are presented naturally with extension and detail. Overall the C5D has a smooth presentation, very pleasing and musical, and isn’t sterile nor grainy. While it isn’t perhaps the most detailed nor revealing, the full impactful sound signature remains fatigue-free even over long listening sessions. As a whole, the soundstage is engaging, remaining intimate but reasonably spacious.

While the low gain setting works fantastically with IEMs and reasonably efficient full-sized headphones, the higher gain setting does have enough power to drive less efficient headphones such as the HD650. The sound with these higher impedance headphones is clear but a bit lacking in dynamics – but then again I’m used to the legendary pairing with a Bottlehead Crack OTL desktop amplifier, so I likely have unfair expectations.



Conclusion



One of the best purchases I made early in this crazy obsessive hobby was the JDS Labs C5D. It still sounds great and meets all my portable needs, even after many headphone changes and auditioning and owning arguably “better” gear. I didn't realize at the time of purchase that they offered free laser engraving, so over a year after purchase, I exchanged a few emails, and sent it back to them. At the same time, I had the headphone amplifier input changed to be a DAC line out, so I could use it that way as well (as I typically only use Android USB OTG). Of note, I’ve been slightly disappointed in the sound quality of the DAC only output connected between a Windows 10 tablet and desktop headphone amplifier, and prefer using an Audioquest Dragonfly Black for that single purpose.

I’ve owned it almost 2.5 years, so you can consider this an extended test and review. It’s played countless hours of music for me and still works just as well as when it was brand new. Plain and simple, I love this thing!



Technical Specs

AMPLIFIER PERFORMANCE

Frequency Response +/- 0.1 dB (20Hz-20kHz) THD+N (20-20kHz, 150 Ω) 0.0015% THD+N (20-20kHz, 32 Ω) 0.0045% Noise -105 dBu Crosstalk @ 150 Ω -67 dB Inter-channel Phase @ 1kHz +/- 0.01° Channel Balance +/- 0.55 dB, all volume positions Max Output @ 600Ω 4.146 VRMS Max Output @ 150Ω 3.580 VRMS Max Output @ 32Ω 1.182 VRMS Power Supply 14.0 Vpp Output Impedance 0.62 Ω Battery Run Time 6-8 Hours* Charge Time 2-4 Hours*

FEATURE CHARACTERISTICS

Digital Stepped Attenuation 63 steps + mute Dual Gain 2.3x and 6.5x Bass Boost Off / Med / High Low Battery Indication @ 20 Minutes Thin Film Resistors 0.1% Tolerance Battery 1200mAh, 3.7V Li-Ion

CONNECTIVITY

Analog Input 3.5mm Digital Input USB Output 3.5mm Charging USB

DAC PERFORMANCE

Frequency Response +/- 0.14 dB THD+N 100 Hz 0.0014% THD+N 20 Hz 0.0015% THD+N 10 kHz 0.0025% IMD CCIF 19/20 Khz 0.0015% Noise A-Weighted -103 dBu Dynamic Range > 109 dB A-Weighted Linearity Error -90 dBFS 24/96 0.2 dB Crosstalk -10dBFS -80 dB Sum of Jitter Components @ 11025 Hz -112 dB PCB Stackup 4 Layers Maximum Output Line Out 100K 2.0 VRMS

DATA SUPPORT

Audio Formats 16/44, 16/48, 16/88, 16/96, 24/44, 24/48, 24/88, 24/96 Interface USB, Audio Class 1 Native Driver OS Support Windows XP & Later, OS X x86, Linux, iOS 7 DAC

COMPATIBILITY

iPhone YES: Requires iOS7+ and CCK iPad YES: Requires CCK Windows YES Linux YES Android YES: Requires v5.0+ and OTG Cable OS X YES

DIMENSIONS

Case Dimensions (mm) 99.5 x 61.5 x 14.0 Weight 4.2oz

Meze 99 Classics Review
 
COMPANY:  Meze
MODEL:  99 Classics
COST:  $309 USD  (approximately $400 CAD at time of writing)
TYPE:  Closed, Dynamic, Over-Ear
DRIVER SIZE:  40mm Neodynium
FREQUENCY RESPONSE:  15 Hz – 25 kHz
EFFICIENCY: 103 dB
NOMINAL IMPEDANCE: 32 Ohms
WEIGHT:  260 Grams
COLOURS:  Sustainable wood ear cups:  light maple with silver accents and beige ear pads or walnut with gold accents and black ear pads
 
INCLUDES:
 
Headphone Adapter – 3.5 mm to 6.35 mm and 3.5 mm to dual airline 3.5 mm.
Headphone Cable – 1.2 meter OFC (Oxygen Free Copper) with single button remote, and 3 meter OFC.   Both are 3.5 mm with dual sided 3.5 mm mono connectors to ear cup and are Kevlar covered.  Cables are white or black depending on color of model.
High quality padded cardboard box.
Clamshell hard-sided carry case with zipper closure and color-match logo.
Small zipper pouch to store cables and adapters.
 

 
Build, Aesthetics and Comfort
 
What’s the first thing you think of when I say “Romanian hi-fi audio?”  If it isn’t headphones, perhaps it should be.
 
Smaller, boutique companies perhaps need to try harder than the established juggernauts.  In this case it is very obvious how this benefits the consumer and how it drives innovation and greatness.  Antonio Meze (pronounced "meh-zeh"), company founder and designer of the 99 Classics, has worked on creating anything from ski poles, to bottles, to cell phones for other manufacturers.  Now he’s designing products under a company bearing his own name, and the 99 Classics certainly bears all the hallmarks of a labour of love.
 
In the best way, these remind me of vintage JBL speakers.  They exude the perfect industrial mix of wood and metal.  Clearly designed to be admired and not solely listened to.  Sure, there are other speakers out there that sound great and look fine, but only with their grills on.  1970’s JBL knew that the listener wants to take off those grills and see the modern design and quality of the hidden bits.  They knew that while you rocked out, you would admire both the beauty of design and the roaring beast of sound.  The 99 Classics are no different in this regard.
 
I’ve written before that the Sennheiser HD598 “offers a distinctive design focused on luxury and refinement”, and I meant it.  However, side-by-side with the Meze 99 Classics, the overall impression of the HD598 is one of plastic, and plastic just doesn’t impress with any sort of intrinsic value, not like the solidity and feel of natural wood and metal.  The Meze headphones make the HD598s look and feel like a bit of a toy in comparison. 
 
These headphones remind me why I fell in love with music playing gear in the first place.  The tasteful design sensibilities are seamlessly integrated with the headphone’s structure.  There is a wonderful balance (and not compromise) of form and function.  This starts with the high quality packaging, the abundance of included accessories and of course, the headphones themselves. 
 

 
Meze proudly declares that there is neither plastic nor glue in any part that the user interacts with – actual screws hold everything together.  This strengthens the luxurious impression, but also creates a headphone that can be repaired (much like the quality items of yesteryear).  Wood, metal and high quality synthetic leather is what you feel and see.  Of note, the synthetic leather ear pads are very comfortable but on the warm side (expect to be a bit sweaty after an album on a balmy day).  Perhaps an option for HiFiMan Focus style pads (leather exterior with velour on the skin touching side) would offer a better balance and remain a bit cooler.  The foam in the ear pads appears to be memory foam, but it seems to rebound much more quickly than Sennheiser Momentum ear pads.
 
Sizing is done via an elastic suspension headband that automatically adjusts depending on head size, and overall it works perfectly: pop them on your head and they fit first try.  Tension is perhaps just ever so slightly strong.  A metallic skeleton frame hovers above the suspension band and creates the clamping force (which is slightly on the tight side as well).  I applaud the thin profile and appealing curve, it is a FAR more attractive design than the similar one employed by HiFiMan. One drawback is that the design is non-folding so they cannot be made more compact for travel.  In many ways these remind me of the first generation Sennheiser Momentum (another easy to drive, mobile, sealed headphone of similar cost) from the thin, stylish design, to the shape and size of the ear cups and non-folding construction.
 
Continuing that comparison, one of the main complaints about the original Momentum Over-Ear headphones was the small cup size, which was not friendly to those folks with larger ears.  The space within the 99 Classics’ cup is of approximately the same height as the Momentum and about 10-15 mm wider.  Depth is also on the shallow side, something to be aware of if you struggle to find headphones ample enough to contain your ears.  While I’m lucky enough that I can wear Momentums comfortably, the Classics fit me perfectly and do offer noticeable if slight, amount more room. 
 
Overall, these are a very comfortable pair of headphones with light weight, soft ear pads, and reasonable clamping force.  Isolation from outside noise is about average for a headphone of this type.  Microphonics from fabric wrapped cables can bother some folks, but wasn’t an issue for me.  Another point of interest is that left and right are not marked on the headphones themselves, this is determined by how you insert the marked cables.
 
Of note, the web site is excellent with pictures, descriptions and videos detailing the build and design.  It is well worth visiting to see how these headphones are put together.  Nothing is hidden behind the proverbial curtain and Meze certainly seems proud of their creation.
 

 
Sound Signature and Quality
 
The similarities to the Sennheiser Momentums continue, although in every way, I’d have to say the 99 Classics are the superior sounding headphone.  Both are relatively neutral and without fatal flaws in tonal balance, clarity nor dynamics.  The overall tonality of the 99 Classics is exceptional with a great balance of depth, mids and highs, while maintaining accuracy and excellent imaging.  The soundstage isn’t enormous like with some high-quality open backed headphones, yet placement of instruments in the mix seems very coherent, positional and not crowded.  Dynamics are very good (although not as punchy as planar type headphones provide), however the 99 Classics’ exceptional efficiency means they can be easily driven to dynamic levels from a phone or portable player and do not require an amplifier to enjoy.  Where vocals on the Momentum sound a bit recessed (although very even), on the 99 Classics they come much more to center stage.
 
Midrange
 
Vocals remain coherent and even in tone regardless of music style.  They incorporate well with the higher and lower frequencies, remain solid and clear, and offer a bit of punch and contrast to the background.  Unlike the Momentums, the midrange on the 99 Classics offers an even sound pressure with the highs and lows (the Sennheisers are more recessed).  Rich sounding in the lower-mid frequencies, they remain smooth and transition perfectly into the lower bass notes.  Overall impression is of good speed and detail.
 
Treble
 
Treble transitions seamlessly from the mid-range frequencies and remains clear and quick sounding across the board.  I found no harshness, and I wouldn’t describe these headphones as particularly bright, a good balance has been achieved with the midrange and bass.   The overall impression is intimate yet energetic. 
 
Bass
 
I tend to prefer an open headphone sound, and to me the bass response of the 99 Classics sounds slightly emphasized.  It doesn’t appear to be boosted, just is perhaps a tad loose and not quite so tightly controlled.  That being said, bass doesn’t overwhelm the mix and it certainly does create a fun sound signature.  Extension is good, reasonably deep and punchy, and the drivers seem capable with most music styles.  The lowest notes may create a bit of minor distortion or flutter, but this is not noticeable on the vast majority of songs, and wasn’t ever alarming.  The overall impression was engaging and enjoyable.
 

 
Conclusion
 
Although certainly a cliché, as a Canadian, I can’t help but see the number 99 and think of the finest hockey player of all time.  Gretzky embodied all the characteristics that truly made him ‘the great one’.  To put on the number 99, is to have a lot to live up to.  Amazingly, this little company from Romania has done it in the world of audio with this simply tremendous headphone. 
 
They’ve made a comfortable, sealed headphone that can be used portably and is somehow an almost perfect balance of form and function.  The 99 Classics are undeniably beautiful in both construction and in sound.  They provide an energetic, vibrant experience and do so in a truly luxurious style.  They sound great with basically any type of music and look terrific anywhere headphones are welcome. 
 
I’d like to personally thank the great folks at Meze and specifically the awesome Lorand Czibere for providing a pair of 99 Classics for me to review.   I look forward to where this company is headed.
 
 
Style, I’d like to introduce you to substance.  Oh, I see you’ve already met.
 

COMPANY:  Sennheiser
MODEL:  HD598
COST:  $299 CAD - $250 USD – Note: often on sale for much less
TYPE:  Open, Dynamic, Over-Ear
DRIVER SIZE:  40mm neodynium
FREQUENCY RESPONSE:  12 Hz – 38.5 kHz
EFFICIENCY:  112 dB
NOMINAL IMPEDANCE:  50 Ohms
WEIGHT:  270 Grams
COLOURS:  Ivory with Burl Wood or Black (SE Edition)
INCLUDES:
 
Headphone Adapter – 6.35 mm to 3.5 mm
Headphone Cable – 3-meter OFC (Oxygen Free Copper), 6.35mm with single sided 3.5 mm bayonet type connector with twist lock to ear cup
Cardboard box with plastic window
 

 
Build Quality, Aesthetics and Comfort
 
Drawing on the reputation of fine German automobiles, the Sennheiser HD598 offers a distinctive design focused on luxury and refinement.  The unique colour combination of cream with polished burl wood accents is an opulent departure from a world of black and silver headphones.  Large, chocolate-coloured, velour ear pads and a thickly padded headband complete the retro design.   The shape is very reminiscent of the iconic Sennheiser HD600, while the new styling updates the classic look.
 
The HD598 are universally praised for being extremely comfortable and well suited for extended listening sessions.  They grip firmly without clamping, and the velour pads provide the right amount of cushion, are large enough to encircle the ear and avoid feeling too hot (too often experienced with leather type pads).  The mostly plastic construction (with metal side grills on the ear cups) makes for a very light headphone, however the fake leatherette cushion on the headband feels a bit plastic, and does not provide a convincing leather-like feel, which hurts the luxury image a bit.  In addition, while the headband cushion is made of soft comfortable foam, the height makes the whole band about an inch thick, which definitely does not make a svelte visual footprint on your head.
 
Size adjustment is good, with two plastic extenders hidden in the frame of the headband, and each ear cup slightly pivots for a better fit.  It is worth noting that earlier production models experienced cracking in the headband around the extenders, although Sennheiser has reportedly fixed this with a change in the plastic material for this part. 
 
Overall these are a large, chunky headphone, and do not fold, nor collapse down.  Neither case, nor bag is included with the HD598, so clearly Sennheiser does not intend these for portable use.
 

Sound Signature and Quality
 
 
The HD598 features Sennheiser's E.A.R. - Eargonomic (pun very much intended I assume) Acoustic Refinement technology, which uses acoustic baffles inclined at a 60 degree angle to position the small triangular transducer to the optimal listening position and to enhance the width of the perceived soundstage. The technology appears to be derived from Sennheiser's flagship headphones. 
 
The real star of the HD598 is the sense of spaciousness, allowing the listener to picture the depth of the room where the music was recorded, and to appreciate the separation between instruments.  Overall, the sound is very balanced and clean, without distortion and with plenty of detail.  Vocals are warm, and the whole sound signature is easy to like.  Those looking for a more hard hitting or aggressive presentation may end up feeling a bit flat, as the HD598 presents a composed, laid back, and refined sound (picture more Bruce Banner and less Hulk).
 
Midrange presents a warm tone, especially with vocals.  Generally the mid range comes across as natural and realistic. 
 
Treble sounds a little brighter and more detailed than previous generation Sennheisers.  Again, there is a feeling of space and clarity. 
 
Bass is adequately textured and individual notes are retained.  Upper bass and lower mid range frequencies are marginally emphasized, which is a good thing in my book.  There is decent impact and power when the music calls for it.
 
 

 
 
Conclusion
 
Overall, the Sennheiser HD598 remains very true to Sennheiser’s much loved house sound signature.  It provides a smooth and balanced presentation without overemphasis of bass or treble, and is housed in a very unique, stylish and retro-cool design.  There is a sense of clarity and spaciousness, with real sounding dynamics and detail.   An excellent value when purchased at regular price, when considered that it is often discounted on Amazon (and can be as low as $100), the HD598 provides almost unbeatable sound quality for the dollar.  The next step up the line (the HD600) is usually 2-3 times the price.  The HD598 is my first recommendation for those considering improving their listening experience, or those who have never heard high quality headphones before.  Although somewhat difficult to drive (and they do improve with a modest headphone amplifier) they can be enjoyed by anyone with an iPod or smartphone – keeping in mind that they aren’t very mobile friendly with a long non-button cord, non-foldable design and rather large size.  Having been around a half-decade or so, the HD598 is indeed a classic, as much as the luxury cars from which it borrows styling cues, and remains a terrific budget audiophile choice.
 

COMPANY:  HiFiMan
MODEL:  HE400S
COST:  $399 (CAD – Amazon.ca)  $299 USD
TYPE:  Open, Planar Magnetic, Over-Ear
DRIVER SIZE:  Diameter 80 mm
FREQUENCY RESPONSE:  20 Hz – 35 kHz
EFFICIENCY:  98 dB
NOMINAL IMPEDANCE:  22 Ohms
WEIGHT: 350 Grams
COLOURS:  Silver/Black
 
INCLUDES:
 
Headphone Adapter - 3.5 mm to 6.35 mm
Headphone Cable - 1.5 meter, 3.5mm 90-degree angle plug
Cardboard box with foam padding on the inside
 
 
Build Quality, Aesthetics and Comfort
 
While there have been reports of earlier model HiFiMan headphones having less than desired build quality, thankfully this is not the case with the 400S.  Overall the quality, fit and finish of the materials is very decent.  The headband pad is pleather and other than the headband arch and side grills, all visible materials are plastic.  The 400S has the new HiFiMan style headband and angled ear pads, which are covered in a very comfortable black velour material. 
 
Especially welcome is the use of removable 2.5mm female mini-jacks on the ear cup connectors (like the HiFiMan HE-1000, or Sennheiser HD 700), rather than the older screw-on type.  Use of plastic for much of the construction and the newly redesigned drivers (half the magnets of other models), means that the 400S weighs about 20-25 grams less than other HiFiMan headphones.  The planar drivers can be seen in direct light through the exterior grills of the ear cups.
 
Overall this is a very comfortable headphone.  The circular ear pads are large enough to accommodate most ears.  The relatively low weight and headband pad design combine to rest easily upon the head, and the clamping force of the headband is not too strong for extended use.  The headband, pad and cups offer a good range of movement to accommodate a variety of head sizes.
 
I only have 2 complaints.  The included cable is wrapped in a paracord material and is quite stiff, making it unforgiving and at times frustrating to use.  Due to its detachable design, this can fairly easily be replaced.  I’m also not in love with how the 400S looks when wearing.  The squared off metal band with the pleather hammock headband is, as noted above, absolutely functional and comfortable.  However, coupled with the large circular ear cups, it is a bizarre contraption for your head.   To best describe the headband look, is to picture one of those large black paperclips with the fold-back silver arms, clamped solidly on a GI Joe action figure’s head (right over both ears).  This is the very silhouette that the headband on the 400S achieves.
 

 
Sound Signature and Quality
 
The 400S is a superb sounding headphone.  It has been described as being entry level, of not delivering the same visceral experience as other (more expensive) planar headphones, of sounding more like a traditional headphone than a planar, and of (most likely) not meeting other expectations of other reviewers.  However, for sound quality (and especially at this price point) it is an extraordinary sounding headphone.  I will compare it to the previously similarly priced Sennheiser HD598, an excellent bang-for-the-buck dynamic headphone, as I am intimately acquainted with this model.
 
Clarity and coherency is very good.  It is smooth and musical with a slightly warmer than neutral sound signature.  The midrange shines with excellent imaging, and noteworthy realism and transparency.  The 400S is extremely easy to listen to and non-fatiguing, with a natural sense of space and vocal presentation.  Compared to the Sennheiser HD598 the 400S has a better presence and sense of engagement.
 
Midrange in the 400S is very enjoyable and smooth. It has good body and detail, and maintains clarity and musicality.  Voices are engaging and intelligible, as they should be.
 
Treble is on the softer side but clarity and detail are maintained.  While not sounding greatly extended, it's never harsh, nor dark.  Compared to the Sennheiser HD598, the treble extension of the 400S does not sound as bright. 
 
Bass has too much body to be classified as neutral (note: which I find appealing) and sounds more like the bass expected from good dynamic headphones.  It is worth mentioning that changing the ear pads to Hifiman Focus noticeably improves bass response.  With the included pads, the 400S lacks low bass extension (or slam) but does remain fast, tight and without distortion.  It also achieves greater low bass extension than the HD598.
 

 
Conclusion
 
I believe strongly in the concepts of bang-for-the-buck and the law of diminishing returns with music playback equipment.   Although the HiFiMan 400S is one of the least expensive planar headphones ever available, they provide much of the clarity that is inherent in planar type headphones (while admittedly sacrificing some of the bass slam) and they uniquely bring the ability to be driven well from a portable player or inexpensive amplifier, while also combining light weight and remarkable comfort.  While this entry-level for audiophiles price point stretches my own tight budget, the 400S certainly delivers with excellent sound, comparable to much more expensive models and to some of the most respected dynamic headphones available.