Introduction
 
The portable on-ear or over-the-ear headphone market is, I admit, not something that I’m especially familiar with. I recognize that there is a strong bias towards consumer-tuning in the $50-$300 price-range, with these usually closed cans having emphasis on the low-end with a rolled off high-end. Detail and resolution are generally eschewed for a lively sound that would easily find itself as powering the soundtrack of your daily commute.
 
My experience with the Audio Technica M-50X in the past was not very much to my liking, as portable cans. Besides how quickly wearing them became uncomfortable, I found that the bass fell through the floor during a commute due to poor isolation and seal – leaving only a harsh treble signature that was displeasing. The Meze 99 Classics fare far, far better in the same setting, with their tight seal preserving the warm and lush sound signature. Preserving the bass seems to be the major key with portable cans; by isolating, bumping it up or a mix of both.
 
Enter the Hifiman Edition S, a portable headphone with a twist – it can be easily switched from a closed to an open configuration and vice versa. I recognize that this means that I’ll have to double the sound research behind this review, because both iterations have a noticeable difference in sound, but I’m game.
 
Thanks to Audio Sanctuary for providing me with this review loaner of the Hifiman Edition S for my honest opinion. Based in London, I enjoy frequenting the store due to their large amount of gear (headphones and speakers) set out for demo. They can be found at http://www.audiosanctuary.co.uk/
 
Specifications
 
Style: Open/Closed Back
 
Frequency Response: 15Hz – 22kHz
 
Sensitivity: 113 dB
 
Impedance: 18 Ohms
 
Weight: 8.74 oz (248g)
 
Driver Size: 50mm
 

 
 
Build Quality, Comfort and Features
 
I can’t vouch for this headphone aesthetically, it just isn’t my thing at all. While lightweight, the tradeoff appears to have been the usage of build materials that might result in some calling this headphone “cheap” looking. I had some minor concerns while inspecting it, as I felt the joints connecting the overall frame to the earcups felt like they could easily break. The clamp is not severe, but it is not loose either.
 
The earpads are a smaller implementation of the hybrid FocusA pads that I had on my Hifiman HE-400i back in the day. As I have larger ears, I found that they would feel cramped inside after a listening period of two hours. This is a far longer period of time than I can handle with the Beats Solo 2, but still not as long as I can listen to the Meze 99 Classics – even the ones with the original pads, with the smaller earholes. It’s really cold here in London, but I can definitely feel my ears getting really warm – and I don’t think I would be able to bear these for long in summer.
 
The cable is pretty flimsy and incredibly thin for a headphone of this price-range. It utilizes a L-shaped 3.5 termination and has a play/pause button along with a volume +/- button.
 
Sound
 
The consumer-tuning of portable cans in this price-range is pretty much a given at this point, but after some time evaluating the Beats Solo 2 and the Sennheiser Urbanite, I quite enjoyed how the Edition S sounds overall. However, the difference between the two configurations is noteworthy – and deserve their own sections in my opinion.
 
Open Configuration
 
As it is, essentially, an open headphone in this configuration – the soundstage is quite impressive. Listening to Yosi Horikawa’s Wandering EP revealed that the imaging is quite good also for a contender in its price range and market placement. You won’t obtain an “out-of-head” experience, but you should not be expecting that from this in the first place.
The bass has a nice amount of thump to it that doesn’t sound sluggish or too boosted to the point of distortion. It’s remarkably clean sounding and punchy, reminding me of the bass of Hifiman’s planar magnetic HE-400i that I owned previously, but in a less refined or immediately-impressive manner.
 
The midrange is really, really clean – with no bass bleed to my ears, despite that being bumped. It is neither highly recessed nor forwarded, but maintains a step back from the listener – leading to an “ethereal” feeling that should not be confused with veiled. Electric guitars, which have so much grittiness and bite on the likes of the Grado SR80e, sound smoothed over and a little processed. Also, acoustic guitars, which have so much heft on the likes of the Meze 99 Classics, sound similarly detached. Despite these minor traits, I still have to commend the ability of these headphones (in this open configuration) to present an expansive and clean experience that is not really found in this form factor.
 
The treble is at a level that is a few short steps beyond “comfortably-extended.” The Meze 99, on which I used this term to describe the treble extension, actually goes a few steps further to add a snapping element to the sound, making cymbals and snare hits have more impact. The Edition S, however, has a very soft treble that would make listening to this headphone more bearable for the truly treble-sensitive individuals among us. It does not, however, feel chopped off and stifling – as was the case with the Solo 2.
 
Closed Configuration
 
While the soundstage takes a notable hit, compared to the open configuration, it is not as night-and-day in terms of difference. There is ample room for the music to take shape, compared to the likes of the Beats Solo 2 especially.
 
The bass is comparable to the open configuration, but actually feels lessened in flat amount – which is interesting because a sealed and closed headphone can really contribute to the weight and impact of bass.
 
The midrange maintains the ethereal nature mentioned above, but the separation and the bass is less precise than in the open configuration. Another characteristic that suffers in comparison is that the midrange feels a tad bit stunted, with less of a natural sound and more of a slightly stuffy consumer-tuning. The treble extends well, but hits a similar wall compared to the open configuration.
Switching between the two, I honestly feel that it is not worth the slight bit of extra isolation to have a reduced sonic experience – but that’s just me.
 
Amping
 
None required. These are easily-driven headphones made for use with portable devices.
 
Conclusion
 
When I think back to the portable headphones that I have reviewed in 2016, I find that the Edition S is close to the top, if only sound quality was to be considered. It possesses a livelier, consumer-tuned (which I prefer for public usage) sound than the likes of the Beyerdynamic DT1350, while maintaining a distinct clarity advantage over the Solo 2 and Urbanite.
 
However, the comfort issues (my fit dependent) and Hifiman’s underperforming build quality in both the frame and headphones leads me to find this hard to recommend outright. If you can get a good deal on these, and you’ve felt one with your own hands and decided that it isn’t too much of a big deal, then go for it. You will also need to evaluate if you like how it sounds in the closed configuration, and if it provides enough isolation to you for public use.
 
I, personally, prefer my Meze 99 in every manner over this – but that is another, slightly higher, price-tier so that must be taken into consideration.

 
As I switch back and forth between the various amps in my possession, all plugged into my Schiit Gungnir DAC simultaneously, I come to further appreciate the nuances in different options of driving headphones. Each amp gives me a certain sound to it, and all are driving my headphones and earbuds well enough, but there is more to it than that.
 
I’d like to thank IFI for sending me this review loaner for my honest opinion.
 
 
Specifications
 
Gain: 0dB, 12dB and 24dB user-selectable
 
Signal to Noise Ratio: >123dB (A)
 
Total Harmonic Distortion (THD): <0.003% (400mV/150R)
 
Frequency Response: 0.5Hz to 500KHz (-3dB)
 
Output Impedance: <1 ohm
 
Output Power: >4000mW (16Ω)
 
Output Voltage: >10V (>600Ω)
 
Input Voltage: AC 100 – 240V, 50/60Hz
 
Power Consumption: < 5W idle, 12W max
 
Dimensions: 158(l)x68(w)x28(h)mm
 
Weight: 216g (0.48 lbs)
 

 
Build
 
Metal. This amp is pure metal, not unlike the Schiit Magni 2 but quite a bit more sturdy. Could it be used as a weapon? Probably.
 
The volume knob at the front is around the same size as you’d expect from a full-sized amplifier, which makes its placement on the micro iCan especially conspicuous. That being said, it handles effectively and increases volume in a smooth manner with no distortion whatsoever. To its right are the two switches for XBass and 3D sound. Under the two are signs indicating at which placement you can choose one of the three settings for each. In a strangely anti-uniform manner, what is full setting on one does not match what is full setting on the other, leading to it feeling like a strange design choice overall. To the right of that is a gold plated output for a single-ended ¼ cable.
 
On the back there is a spot to plug in the wall-wart power connector, along with a single pair of RCA inputs. There is also a 3.5mm input, for those who probably want to attach a digital audio-player to the micro iCan.
 

 
The underside of the chassis makes one wonder why they even bothered to include a manual in the box. There is so much literature printed there that you won’t ever forget the basics if you take this one the go. Interestingly, it gives advice as to which of the XBass and 3D sound settings one should use with what kinds of headphones. Most importantly, to the right exist four dip switches that control the very powerful gain options that this amp possesses. As the gain is so very powerful, it’s good that they opted for this method because an easier to flip gain switch could possibly damage headphones. I have the gain on half setting, +12dB, and that is all I need. Anything more and my sensitive headphones pick up sound at 0 volume.
 
I have not, and will not, open the iCan up to poke around inside but the press release says that it possesses “ELNA Silmics, MELF resistors and C0G capacitors.” I have not an inkling what those mean, but I assume it has something to do why I hear a slightly richer sound than secondary amp that I had before.
 
Sound
 
The iCan SE takes what I enjoy about my Schiit Magni 2 and refines it, while greatly upgrading the power it can emit. This amp is so powerful, in fact, that I dare not go past the halfway gain point – a setting where even 0 volume on some more sensitive headphones can pick up sound. The halfway setting, specifically +12 dB, is more than enough for both my Sennheiser HD800 and Focal Elear.
The sound characteristic itself is similar to the clean output of the Magni 2, but with a slightly less of a hard edge to it. It’s not “tube” ish, but it isn’t the rigid and neutral sound that the Schiit amp has gotten me used to. The best test for this is how it couples with the notoriously picky HD800, which is a bad pairing with the Magni 2 – in my opinion. The reason for this is that the treble peaks and, at times, thin sound of the headphones are left unchecked (if not exacerbated).
 
When paired with the iCan SE, with both XBass and 3D sound turned off, the HD800 mellows out but retains a clean sound. It is not as sparse as before, but it is not particularly lush and warm either. The highs, while not as peaky as on the Magni 2, are not as tamed as on the likes of my other amp – the Cavalli Liquid Carbon. The iCan SE occupies an effective and interesting middle ground between my two other options – and that is only on the default setting.
 
Bringing the Focal Elear into the mix yields easier to describe results – it is just driven very well. Unlike the fickle HD800, the Elear sounds like itself out of every source and amp I have thrown at it – and the iCan SE is no exception to this. Hearing how alike it sounds to the Magni 2, I remember my days with my ZMF Omni and Hifiman HE-500 and wish I still had those on hand to compare. However, it is with the two toggle switches that matters get interesting.
 
XBass
 
The concept of XBass seemed suspect to me at first, and I do not know why. Surrounded by the words of audio purists for a while now, I have come to expect an eschewing of equalizer and a reliance on sound-morphers like tube amps instead. Even my own forays into using equalizers, particularly when trying to tame the sibilance of the Massdrop x Fostex TH-X00 several months ago, led to mixed results. I found that there was often always a trade-off in clarity or balance whenever I attempted the process.
 
XBass is a hardware boost and is said to bypass some of the limitations of software equalizer. I first tried it with my Focal Elear, the first headphone I plugged into the amp, on the low setting. Yeah, definitely an increase in bass but not one I felt like I particularly needed – as the sound of the Elear is already quite thick and punchy. High setting felt like a direct downgrade, the low end became muddy and displeasing. Despite that, I recognized the XBass to be powerful, but one that relied heavily on the sound signature of the headphones paired with it. I needed to be sure of its power, I needed to bring out my HD800.
 
The HD800 has precise bass, unlike its woollier/looser brother the HD800S, but it is very subtle in its presentation. When I reviewed my model, a superdupont-modded one, it became obvious that the bass extended impressively low – but it could not be brought out further, volume-wise, without equalizer…which distorted the rest of the incredible characteristics of the headphones. Flipping the XBass feature on, to low, didn’t make too much of a noticeable difference to me. I theorized, while listening, that the HD800 might just be beyond the capabilities of a bass-boost. Then I switched the XBass to the high setting.
 
Suddenly, a headphone that I had known so well transformed before my eyes…ears? All the sub-bass extension that I knew was lurking beneath the sheets was suddenly loud and proud. To my ears, it made the headphone far more of an all-rounder than I had considered it before – but I needed to be absolutely sure about the trade-offs. I spent several days listening to my entire music library, from hip-hop to classic rock, to try and find an area where the high XBass setting would make the headphones stumble. I did not find one, and that surprised me immensely.
 
The delicately recorded In the Court of the Crimson King album by King Crimson is one that demands absolute resolution and clarity from an audio setup. It is an album I prefer my HD800 for, for this reason, and I’m happy to report that the XBass only enhanced the experience instead of detract from it. The shimmering cymbal work remained intact and crisp while the delicate guitar stabs, improvised noodling and (above all) the vocals were all injected with a sense of body that served them well. I turned to my Pink Floyd albums, also reliant on clarity, to investigate further and found that it was the same story – the low end was brought to a musical level without taking away from the midrange or treble clarity.
 
So, essentially, I could listen to Dr. Dre’s The Chronic album and not feel left wanting of low-end with my HD800. That is an incredible achievement, and the second strongest feature of this amp after the large amount of power it provides. It just takes a “bright” pair of headphones to bring it out, as it can pair quite badly with headphones that do not need it.
 
3D HolographicSound
 
While I don’t particularly care for the term used to describe what this setting does, I can’t think of a better one myself – so 3D HolographicSound it is. Promising an expansion of soundstage, it does achieve that but with some slight trade-off (on the low setting) where some headphones lose their impact. With the HD800, it just diffuses the impact of the headphone itself to thin out the sound even further, something you absolutely want to avoid with the Sennheiser flagship/former flagship.
 
Only the most closed headphones, with the most intimate soundstage, will benefit truly from this switch – also depending on how good the seal is to preserve the bass impact that using it lessens in general. It’s an interesting concept, but not one I would purchase this amp for.
 
Conclusion
 
I have to hand it to IFI, this amp is a clean and effective punch-in-your-headphones’ sensitivity/impedance in a small form factor that does not try to overstep its boundaries – in terms of aesthetics or showmanship.
 
On one hand, this is an amp for that utilitarian individual who just wants to drive their headphones through a SE output jack without the bells and whistles that come with visible tubes (and, at times, their fetishization) – but on the other hand it’s an amp for those who do want to add a bit of manipulation to their listening experience. It’s certainly a pairing that I really like with my HD800, and that alone is a staggering achievement due to the notoriety of this headphone’s amp pairing process.
 

 

 
Introduction
 
It’s 1:35 AM and I’m listening to “Wicked Games” by The Weeknd on the Mee Audio Pinnacle P1 in-ear monitors. Although not the sound signature that I find myself drawn to in general, I find the experience enjoyable – as the vocal layering is presented in a satisfying and full manner. As the soulful, and rather pained, vocal carries the song – I find that the earphones hit the right notes when it comes to how the tenor voice comes through.
 
I have not covered many IEMs before, and I fully admit that I am not quite familiar with what enthusiasts of them seek. As I’ve mostly focused on full-sized over-the-ear headphones, reviewing an IEM with a shell is new territory for me. I know that custom IEMs are a big business for a reason, but I appreciate that the universal-fit nature of the Pinnacle fits just right in my ear.
The thing, as always, that I focus on however is the sound – and with that in mind I will unravel my thoughts of this product now.
 
The Mee Audio Pinnacle was loaned to me for the purpose of a review by a representative of the company. I thank them for the opportunity, as I have mostly had to purchase the products I review in the past on a limited budget.
 
 
 

In the Box
 
Pinnacle P1 Audiophile In-Ear Headphones
 
High-fidelity silver-plated OFC audio cable
 
Headset cable with microphone and remote
 
Comply T-200 memory foam eartips (3 pairs)
 
Silicone eartips (6 pairs)
 
¼" (6.3mm) stereo adapter
 
Premium carrying case with laser-etched serial number
 
Shirt clip
 
User manual
 
Specifications
 
Driver
Driver type                          moving coil (dynamic) with copper-clad aluminum voice coil
 
Driver size                            10 mm
 
Frequency response        20 Hz to 20 kHz
 
Impedance                         50 Ohms at 1 kHz
 
Sensitivity                            96±3 dB (1mW at 1 kHz)
 
Microphone
 
Directivity                            omnidirectional
 
Frequency response        100 Hz to 5 kHz
 
Sensitivity                            -40dB± 3dB
 
Product Details
 
Ear coupling                       intraaural (in-ear)
 
Cable length                       51 inches (130 cm), detachable
 
Cable connectors             MMCX
 
Cable plug                           3.5 mm, right angle
 
Weight (without cable) 0.4 oz (13 g)
 
Weight                                 1 oz (29 g)
 
Included accessories       stereo audio cable, headset cable, shirt clip, silicone eartips (6 pairs), Comply foam eartips (3 pairs), ¼” adapter, carrying case
 

Build quality, comfort & features
 
When I removed the Pinnacle from its box, I was immediately struck with how much heavier they seemed compared to other earphones I had experienced in the past. I also saw that they were made of metal, however this wasn’t much of a problem ultimately as I do not feel weighed down with them inserted, especially in the manner they were meant to be (over the ear, angled upwards). The comfort is a standout for me, with hours-upon-hours of listening not producing any sort of fatigue.
 

 
For an IEM noob like myself, it was fun to try out the various eartips provided with the Pinnacle. I found it amusing just how deep the triple-silicone tips could go inside the ear, but I did not prefer it due to how foreign it seemed – and also that it muted the bass a tad. After trying them all, I found the largest Comply tips to be most preferable to my tastes – with the highs extending comfortably while the sub-bass having a bit more control and depth.
 


 
 
The two provided braided cables are pretty robust, to say the least - and a little heavy as far as earphone cables go. One is silver-plated, while the other has a microphone and remote button attached. This struck me as strange later on, as I can’t imagine these being driven effortlessly from a smartphone. Upon testing, I didn’t hear any audible differences between the two – but both shared some slight microphonics. I defaulted on using the silver plated one as it felt more durable and, to my eyes, looked nicer too. I dig the notion of removable cables on an IEM, just like I dig it on full-sized headphones.
 
I must commend the packaging. It may seem like a basic thing, but a nice and well-thought layout and wrapping can do wonders for first impressions. Inside the box was a little carrying case with a leather/pleather exterior, shaped a lot like a smaller version of some eyeglass holders. Also provided is a 1/8 to ¼ adapter, which proved useful for the needed amplification.
 

Sound
 
From my limited experience with IEMs over the price of a few hundred bucks, the ultimate emphasis seems to be on audio resolution. Because of this, I’ve noticed that several that I’ve tried don’t share my own preferences of a warmer sound, but I can’t deny their precision in reproduction. That being said, I enjoyed the Nobel Audio Katana for this quality when I tried it at the London Can Jam – but I wouldn’t have been able to use it for long periods of time like I can the Pinnacle (or even the Nobel Kaiser 10U that I also tried, which had a more musical sound to it).
 
While the soundstage is not vast, it is not lacking either. I would compare it to the Focal Elear in this regard, a sound-leaking and full-sized open headphone. Due to the sound signature of the earphones, you can sometimes get quite an expansive and clean sound that doesn’t feel betrayed by any frequency bloat – depending on the mixing and mastering (and bitrate quality) of the track being listened to.
 
The bass is something that I have heard others who have tried these earphones have rather strong opinions of. I just read another review that claimed that it delved into the deep sub-bass region, and I can’t replicate that with any source that I own – and amped with either the warm Cavalli Liquid Carbon or the neutral Schiit Magni 2. As someone who enjoys bass, but not basshead quantity as a daily driver, I can appreciate the Pinnacle’s low-end – but it won’t wow listeners for certain. Both the mid and sub bass are not the stars of the show, but rather role-players who take a backseat to the other frequencies. However, unless you are often listening to very bass-dependent music (EDM and whatnot), you won’t find the experience a deal-breaker.
 
The one word I’d use to describe the midrange is clean. The bass’ subdued nature means that I can’t hear it even think of advancing on the territory of the mids. Vocals sound clear and pronounced usually, but can be slightly drowned out by instrumentals in more layered or hectic songs. This gives a slightly recessed feeling that is quite similar to the Sennheiser HD800, with mids being slightly laid back and not forwarded at all. However, sharing another quality with the Sennheiser flagship, the detail is quite incredible and well-separated.
 
The acoustic guitar is an instrument that I always like to hear a natural-sounding reproduction of in headphones, and the Pinnacle did a great job at that without relying on emphasized lower-mids to achieve it. With harder hitting genres like hard rock and metal, there was detail in the electric guitars that gave it a live sound that any guitar players reading this would know about. Basically, distorted guitar tones can sound overly processed on some headphones that remove any bite you would hear in good live amplification and give it an overly processed and unnaturally smooth texture. The Pinnacle handles midrange texture like a champ, with classical and jazz recordings benefitting tremendously from this as well.
 
The treble is also quite detailed, an aspect that gels with the midrange to give the Pinnacle its overall sound characteristic, without veering into problematic and peaky territories. That being said, your mileage may vary depending on which of the tips you use, as I found that some did indeed let the top end run amok on music and get a little painful. I use the largest of the Comply Foam tips, as I find it brings the treble to the exact amount where it’s both airy and manageable. Ear-tip rolling is a useful endeavour as it can let you customize both fit and sound to a degree that just isn’t all that effortless or possible with full-sized headphones.
 
What the Pinnacle does, with my preferred tips, is provide a high resolution sound that is expected of IEMs far higher in price without any kind of harshness in any of its frequency ranges. It really is something that I can hear a clear cymbal or snare hit without it being either drowned out by another instrument, as is the case with some warmer or darker headphones and earphones, nor being over-emphasized – like in the case of the HD800 at times.
 
And, while I believe the slightly-recessed quality of the mids lowers the volume of vocals in the overall mix, they are indeed clear – with male vocals having a certain grit and female vocals being able to soar. That being said, instrumental music would be the absolute best listen on the Pinnacle because of the strength of its separation, detail and midrange texture.
 
Amping
 
Don’t run these from your phone. A few years ago, I would have found the notion of portable earphones and earbuds being amped ludicrous, but recent experiences such as this one proves to me that there are some offerings where you just can’t not do so. A friend of mine tried these earphones from the phone-out jack of his Ibasso DX90 and found it sufficient, but I can’t say the same. Its impedance is only 50 ohms, but the sensitivity is quite low. That being said, you won’t have to crank the volume dial on your amp to get these nicely driven.
 

 
 
Conclusion
 
While focusing primarily on full-sized headphones, I forgot some of the benefits that IEMs can offer. You can lounge around in them quite easily with no concern for them falling off your head or getting in the way of whatever you choose to lean on. While, in the past, I equated such freedom with slightly compromised sound quality - I don’t get that from the Pinnacle.
 
What I get is an easily listenable and balanced experience that provides stellar detail for a price that is reasonable for its market. I look forward to what Mee Audio come out with next, as this is an impressive first foray into high-end audio.
 

 

Introduction:
 
God, this hype.
 
As primarily a headphones guy, I had never even heard of Focal before this summer. Shortly before attending the London Can Jam in August, the hype regarding the new Focal Utopia ($4000) and Elear ($1000) had reached a fever pitch – so much so that I put it high on my list of items to try out. Turns out that so did everybody else.
 
Four seats at the venue were constantly occupied, the two at Focal’s booth and the two at Moon Audio’s booth – who also had a Utopia and Elear. In between the two, I had some time with both and walked away muttering that it seemed the hype was real – but I needed a quiet environment to be sure. I made the decision that day to pursue the Elear, as the Utopia was far out of my reach, and to dissect its sound reproduction for myself. After nearly two months, I am ready to publish my findings.
 

 
Specifications
 
Type: Circum-aural open back headphones
 
Impedance: 80 Ohms
 
Sensitivity: 104dB SPL / 1mW @ 1kHz
 
THD: <0.3% @ 1kHz / 100dB SPL
 
Frequency response: 5Hz - 23kHz
 
Loudspeaker: 137⁄64“ (40mm) Aluminium-Magnesium "M" shape dome
 
Weight: 0.99lb (450g)
 
Cable length: 13.1ft (4m)
 
Connectors: 1 x 01/4“ (6.35mm) stereo Jack connector 2 x 09⁄64“ (3.5mm) Jack
 
Carrying case: 1253⁄64“x1015⁄64“x629⁄64“ (326x260x164mm) 
 
 
Build Quality & Comfort
 
I remember thinking at the London Can Jam that the Elear looked better aesthetically than the Utopia, preferring the former’s demure nature over the latter’s bombastic grill opening in the cups and spotted earpads. The Elear emits a premium aura from it in its black, grey and silver colour scheme. “Made in France” is printed boldly, in French of course, on both sides along with the name “Elear” and “Aluminium-Magnesium.”
 

The earpads are memory foam and not a struggle to wear or tame. It, along with the clamp, does not add pressure to the point of discomfort or pain – far from it in fact. I’m lounging around, writing this, with it having been on my head for hours now and I don’t feel fatigued at all. The only full-sized headphone in my possession that I can say that about is the lighter HD800 - making it an achievement of the Elear’s design that it can manage this with its heavier weight.
 
Yes, the weight. This headphone weighs 450g and that is without the simultaneously incredible yet ridiculous cable that is provided in the box. This cable is 13ft/4m and shielded so thick you would think the answers to the meaning of life are hidden within. Make no mistake, I much prefer a good quality cable to an afterthought-cable with no effort put into it – but I’m fairly sure Focal was thinking primarily of people sitting on their couches whenever they wanted to take a break from a Focal speaker system with something more intimate.
 

 
That being said, the connectors on each side of the headphones are 3.5mm and, thus, so easily swappable - no proprietary connectors here folks.
 
The weight of the headphones themselves do not bother me so much either, but keep in mind that I was recently promoted to captain in the great war against heavy headphones. I’ve fought the HE-500 and two Omnis and survived to find the Elear a comfortable wearing experience. All joking aside, the weight distribution on this headphone is such that allows for this. The cherry Omni was of a very similar weight, but the nature of the T50RP frame made it awkward to fit on my head comparatively – even with the ZMF pilot pad. I spent longer than I’d like to admit trying to make the HE-500 more comfortable, so an out-of-box comfortable listening experience is something I applaud.
 
I spoke with Nicolas Debard at the London Can Jam in August and he told me that the Utopia and Elear were created with their in-house construction of an “M-shaped dome.” This was done in order to maintain the usage of electrodynamic drivers while offering an experience that is similar to speakers. There’s more to it than that, but I’ll let the man explain himself.
 

 
Ultimately, these headphones just look so great as well as possess the advantages listed above. Beauty is in the eye of the beholder, but as I said earlier – I found the Elear to look more distinguished than the Utopia even. A quick browse through Focal’s website shows that they want to position themselves as a luxury brand, and stylish above all. This is further proven by the €100,000 gold-and-diamond studded Utopia being created recently for sale. That’s all fine and good, but it isn’t what I’m about at all. An average dude like me doesn’t subscribe to the marketing practice of being sold a lifestyle rather than a product - and I would find all that luxury-positioning pointless if the sound quality was average-at-best. Luckily, Focal backs up their image with ample substance.
 
Sound
 
The sound of the Elear is unlike any I’ve heard in headphones that I’ve owned in the past. If I had to pick one that is somewhat similar to it, it would be the ZMF Omni. However, the Elear has a dynamic quality to it that has been absent in all my previous headphones, with the Sennheiser HD800 coming closest.
 
What I mean by this is that the Elear pushes music out to the listener in an almost startlingly, at first, quick manner. This is not a laid back headphone, like the Omni, and it takes no prisoners in its sound reproduction. It is fast, very fast – and more than likely to surprise you at first until you are used to it. I always notice how certain instruments sound best on certain headphones that I’ve reviewed in the past: the HD800 being especially great at strings and orchestral recordings, the Hifiman HE-500 being especially good at vocals and the Omni standing out for how it showcases acoustic guitars. The instrument that stands out the most on the Elear is the piano, particularly a grand piano. The attack on the key hits is immense and startling, and you can feel a piano riff in the chest if it is emphasized in a song’s production enough.
 
The soundstage of the Elear is quite intimate, especially for an open headphone. Despite not owning them anymore, I would say it’s similar to the Sennheiser HD600 and Hifiman HE-400i in this regard. However, its dynamic nature provides for an interesting listening experience where an intimate soundstage can still feel rather full and detailed. This is because, once again, the Elear loves to take every instrument in a song and throw it at the listener – reemphasized. I found that, with most headphones, I would find that a certain instrument or vocal in the mix was most pronounced – with the rest of the mix falling behind to give that particular melody space to carry the song overall. This would make for an interesting experience with the HD800 sometimes, where a drum beat’s cymbal pattern would land squarely on the frequency chart of the headphones that emphasized treble – leading it to sound a great deal more pronounced than, I would imagine, even the personnel in the mixing room at the time of recording intended.
 
I would classify those headphones as having a more linear presentation to them. A semi-useful analogy I can think is the idea that those headphones are an assembly line, producing a single unit at a time in a long conveyer belt. What the Elear does instead is reproduce sound in what seems like batches, with each second of listening presenting a number of sounds in equal measure. This is not to say that the Elear is turning around the mixing and mastering (particularly the chosen volume of different instruments) process and brickwalling each instrument to a point where there is no dynamic range in a song. Far from it, song dynamics are well presented – you just have to get used to how it’s done.
 
This is because, ultimately, the Elear has a “chunky” sound. As mentioned before, the batche reproduction of sound makes it so one single instrument or melody does not take centre-stage nearly as much. Take the introduction to the Dark Side of the Moon album by Pink Floyd; a track known as Speak to Me. As the heartbeat referencing bass drum slowly gets louder, all the samples of clockwork, machinery and voices are spread on top as the song builds in suspense. If I had listened to that track with the Massdrop x Fostex TH-X00, the heartbeat sound would have been emphasized over all else. If I listen to it with the HD800, the machinery and voices are swirling around with a sharp and clear presentation – due to the HD800’s massive soundstage and imaging. I could continue with examples, but I’m sure you get the point. What the Elear does in this song is take every sample and bring it up close and personal to the listener in a manner that would be undoubtedly more strikingly noticeable than on many other headphones in this price range. Yes, this has something to do with the narrower soundstage on the Elear than the HD800 – but that doesn’t excuse just how much more noticeable each instrument is as the album carries on.
 
The Elear has a rather “full” sound to it, and this fact has a lot to do with the bass extension and performance. While not overly bassy headphones by any means, certainly not on the level of the TH-X00, the Elear has a bit of a boost to its bass frequency in order to give it a kick in the low-end. I don’t find the bass wanting with most genres of music I throw at it, including electronic and dance-pop music. I was actually surprised that the sub-bass extension is quite similar to that of the ZMF Omni, which is a semi-closed headphone that is heavily dependent on a good seal to perform in this regard. This is one of the several characteristics of the headphone that would disqualify it from being called “neutral” or from being used in a recording studio for mixing music – with the trade-off being that it makes the chorus of The Hills by The Weeknd sound so full and present.
 
The lower midrange of the Elear is quite a delight. It shares characteristics from the cherry iteration of the ZMF Omni, in that it can pleasingly reproduce acoustic guitars. Guitars and male vocals fall into this area and are presented supremely, with body and texture that are quite natural in their presentation. Like the Omni, and to a lesser extent the Meze 99 Classic, the Elear has an “earthy” quality to the lower-mids that champions the idea of perfect imperfection – contrasting with the HD800’s emphasis on accuracy and the sharply analytical reproduction of audio.
 
The midrange itself is nowhere near as “liquid” as the HE-500, a quality that makes the Hifiman headphones shine with vocals. However, it has more detail to it than the Hifiman – not quite as much as the HD800 but a surprisingly intense amount regardless. A song like Patience by Guns N’ Roses, with its layering of acoustic guitars, brings out the strength of the dynamics, midrange tone and detail of the Elear. The song is chock full of guitar fills and licks that accompany the rhythm guitar, and the Elear’s fast and full midrange makes it certain that the arrival of such an event is presented realistically – with the picking and strumming ringing out clearly and standing apart from the rest of what is going on in the song. As Axl Rose’s voice croons over the instrumentation, I can’t help but be surprised by how each track is not overshadows by anything else.
 
The chunky, batch-producing nature of the Elear is really quite impressive. That being said, the upper midrange feels a bit subdued, with female vocals having a slight dip in weight and body compared to male vocals. The dip also makes the Elear a little dark in presentation compared to the HE-500 and especially the HD800 – and not quite unlike the Sennheiser HD600 and HD650. Classic rock recordings with older recording methods, such as most tracks on Led Zeppelin’s first few albums, feel a tiny bit stifled because of this – with the songs feeling like they are hiding behind a soft wall of sorts. This is something that I noticed in the ZMF Omni as well, but the HD800 is the best headphone I have owned in terms of tackling this tricky area on the frequency chart – leading to such recordings ringing out clearly. However, it is further on in the frequency chart that the Elear redeems this fact.
 
The treble of the Elear is never sibilant, to my ears, and I am quite grateful for that. Due to this, I can safely say that I can get an enjoyable listen with most genres of music. However, it is further up the graph that the treble returns with a vengeance – making the Elear the headphones with the most snap I have owned yet, that isn’t V-shaped. The snare drum on some headphones with a warmer tone, or slightly dark nature, leads to an unsatisfying “thud” sound on the snare. The Elear, to put it simply, does not. Be it an EDM snare, a rock song, a metal song, a pop song or even a futuristic blip-snare in a genre I have never even heard of – the Elear will make it sound right. This, coupled with the bass bump, makes the headphones slam in a very fun manner.
 
The treble extension even gives instruments some air around them. Of course, this is nowhere near the capability of the HD800 – but the trade-off of that is that the Sennheiser headphones can get quite painful and strident at times. The upper-treble clarity on the Elear leads to all the aforementioned detail coming out in songs, such as the realistic twang of Slash’s lead guitar work in Patience.
 
While the cherry ZMF Omni produced my favourite (and most realistic) sound of strummed acoustic guitars, it didn’t make single notes pop nearly as much as the Elear does. Cymbals sound accurate without demanding listener attention by drowning anything else out.
 
The mixture of the aforementioned ingredients has made the Elear the most fun listening experience for me from any full-sized headphone that I have owned since I entered this hobby with the purchase of a Beyerdynamic DT990 600 ohm in 2012. Keep in mind that the Omni held this position before Focal released this beast of a headphone. That should tell you where my biases lie, with more musical listening experiences rather than neutrality or super-high resolution. However, the way the Elear presents sound makes it so I don’t feel like I’m missing out on an analytical experience either. There is a good amount of air around stringed instruments so I don’t have to always switch to the HD800 whenever I listen to orchestral/classical music – especially if I’m feeling lazy.
 
I know that the Elear’s sonic characteristics may be a deal-breaker for some, especially the small soundstage and the fact that the imaging is nothing special. However, I would boldly claim that a majority of listeners would really enjoy the sound that this headphone outputs. It’s musical without losing shimmering detail because of any treble roll-off. It’s punchy and fast, with metal music sounding right at home with double-kick drums ringing out clearly in the mix. Most importantly, for this sound signature, it doesn’t lose breath up top – with the treble making it sound very resolving without reaching an area of sibilance.
 
Amping
 
For anyone reading who has gone through the pain of demo’ing various amps to find one that was a good match for their HD800, I understand entirely. I’ve listened through amps that made me feel like my ears were being stabbed with those headphones, but I’ve also encountered amps that made the experience come alive – taming the peaks without losing what the HD800 was created to be.
 
The Elear isn’t like that. It sounds like itself when I use it with my Schiit Magni 2, Cavalli Liquid Carbon or even my portable VE RunAbout Plus. It is not hard to drive either, with its 80 ohms impedance being quite sensitive. While some headphones have a high ceiling, the Elear simply does not – letting you drive these quite easily and get the full-experience. I definitely appreciate that it can sound so similarly spectacular from my $99 Magni 2 and $599 (first-run) Liquid Carbon, with any differences being in house-sound mainly.
 
Comparisons with the Sennheiser HD800, Hifiman HE-500 & ZMF Omni Cocobolo
 

 
Comparison with the Focal Utopia
 
I’m bound to be asked this. Make no mistake, I caught myself wondering if the Utopia was really worth being 4x the price of the Elear when I first tried them both out at the London Can Jam. Such thinking is pointless because we are all well-aware of the diminishing returns of the audio game.
 
The short answer is that yes, the Utopia outperforms the Elear. It has detail that trumped the HD800 even, to my ears, without sounding harsh or treble-emphasized. It was, rather, a natural sounding and dynamically detailed listening experience that impressed me more than the Sennheiser Orpheus did. That being said, it is slightly towards the bright spectrum because of this – while the Elear is slightly warmer and bassier. The Elear provides a stellar amount of detail while retaining a fun sound signature that is compatible with most genres of music, and particularly being forgiving of most recordings of music. The Utopia is more on the analytical side of things.
 
Conclusion
 
Even if you are a lover of vast soundstages and hyper-precise imaging, I would recommend that you demo the Elear. Now that I’ve reached the conclusion, I’m trying to avoid using any clichés, but I’m failing at it because this headphone has made a lot of music come alive with far less discrimination than some of the others I’ve owned in the past. The HD800 is the only headphone in this price-range that I would say holds its own against the Elear on some fronts, (soundstage, imaging, detail) but most other headphones at this price range are going to struggle to match up – be they planar magnetic or dynamic.
 
To a guy like me, who has minimal experience with the dynamic attack of an electrostatic, the Elear took some getting used to – in a good way. Having instruments, especially pianos, pop out in recordings was not something I had consistently experienced before during home listening. Listening to music is simply not a passive experience with this headphone, but rather an engaging one that can even distract you if you were foolish enough to hope for a background listening experience.
 
It’s a little warm, has ample bass, a clean midrange that allows for impressive instrument separation in well-recorded, mixed and mastered music (modern production methods particularly) and has a comfortable treble extension that allows for the resolve and slam to happen. It’s easy to drive, has good weight distribution and is comfortable to wear – all while looking like a premium product.
 
I had never heard of Focal before this summer, but they walked in and took the spot of my highest recommendation of full-sized headphones (under $1000) with such ease that I can see why they took four whole years on the R&D of this headphone and the Utopia.
 
Ridiculous.
 

 
Comparisons

Bass Quantity: TH-X00 > Classic 99 > ZMF Omni = Elear > ZMF Vibro Mk. I > HE400i > DT990 > K7XX > HE-500 > HD600 > HD800

Mids: HE-500 > HD800 > HD600 = ZMF Omni = Elear > Classic 99 > HE400i > ZMF Vibro Mk. I > K7XX > TH-X00 > DT990

Treble Quantity: DT990 > HD800 > HE400i > TH-X00 > Elear > K7XX > Classic 99 > HE-500 > HD600 > ZMF Omni > ZMF Vibro Mk. I

Soundstage: HD800 > K7XX > DT990 > HE-500 > ZMF Omni = Elear = HD600 > HE400i > ZMF Vibro Mk. I > Classic 99 > TH-X00

Comfort: DT990 > HD800 > K7XX > TH-X00 > Elear > HE400i > HD600 > ZMF Omni > Classic 99 > ZMF Vibro Mk. I > HE-500

Aesthetics: Elear > HD800 > Classic 99 > TH-X00 > ZMF Omni > ZMF Vibro Mk. I > HE400i > DT990 > K7XX > HE-500 > HD600

Lightness: HD800 > Classic 99 > K7XX > DT990 > TH-X00 > HD600 > HE400i > Elear > ZMF Vibro Mk. I > ZMF Omni > HE-500

 
Background
 
I would like to start this off by stating that this is not a review of the Sennheiser HD800, but rather a review of “possibilities.” Yes, this is not the stock HD800 I am going to be discussing, but rather one with the Superdupont Resonator mod installed. In short, the mod helps to tame a well-documented treble peak in the headphones that can put off many listeners.
 
When I started in the headphones game, with my Beyerdynamic DT990 in 2012, it seemed that the HD800 was the most coveted headphones that I saw on internet forums amongst the mid-fi crowd. Due to Sennheiser’s place in the industry, it seems that there are three headphones that they have produced that have been in enthusiasts’ journey at one point or another: the HD600, the HD650 and the HD800. What is most interesting to me about this transition is that the HD800 could not be further from the 6XX series. Gone is the veil I heard when I had my HD600. Also, gone is the warmth and traditional design – for the HD800 is one of the most unique looking cans out there.
 
Specifications of the Stock HD800
 
Frequency response (headphones) 14 – 44100 Hz (- 3 dB)
 
Frequency response 6 – 51000 Hz (- 10 dB)
 
THD, total harmonic distortion 0.02 % (1 kHz 1 Vrms)
 
Contact pressure ~ 3,4 N (± 0,3 N)
 
Jack plug Jack stereo ¼” (6,3 mm)
 
Cable length 3 m
 
Weight Without cable: 330 g
 
Nominal impedance 300 Ω
 
Build, Design & Comfort
 
I know people who would not ever think of upgrading from their Apple Earpods who have told me that the HD800 looks “cool.” It does indeed, incorporating a simultaneous industrial and futuristic design that showcases a large diaphragm surrounded by black and silver. Looking at it, I see it as an alien in the design that Sennheiser have gone for in everything from their basic models up to the Orpheus. The HD800 is like Roger from American Dad, obviously the outsider but one that demands all the attention of the audience.
 
The comfort is absolutely stellar. I feel like I’ve been in a semi-abusive relationship with some headphones this year, or rather a love-hate relationship. I love, love the sound they emit but I hate how they fit and the comfort issues. The relatively low (compared to the others) weight is another big plus in my book, as I found the 330g weight a breeze compared to the likes of the Hifiman HE-500 in its full-metal glory. The earcup design is another innovative factor, as it is abundantly large and ear-shaped – due to which the HD800 simply disappears on my head. The headband does not have a high amount of padding, but it does not need it either. It does not slip or fall off my head either if I position them at an angle. Simply put, you can pull these on and not have to worry about them till your listening session is done.
 
The trade-off of such comfort is the build quality. It is not flimsy by any means, but the low-weight was achieved by a design that could very well be damaged if you are not careful. I met a fellow at the London Can Jam who, like me, had brought his HD800 along in his backpack to try with the various amps. Sadly, it had knocked on something while it was in there and one of the soft areas on the diaphragm (in the area behind the ear) had dented inwards. Apparently he had recently bought it too, bad luck. I was already careful with mine, but that made me slightly paranoid going forward.
I do not know where I had read that the HD800 earpad-removal was problematic because it just was not when I needed to give them a good scrub down. As they are so distinct, I cannot imagine mounting any other earpads (Alpha pads, ZMF pads, FocusA pads etc.) on the HD800. I am sure it has been done, but it does not seem all that viable and might be a detriment to the sound – as the padding is quite thin.
 
Overall, a beautiful to look at and comfortable-to-wear pair of headphones and one that I can confidently say is one of the frontrunners in the audio community in this. However, that is not the reason this has been so well-sought for so many years.
 
Sound
 
Well, damn.
 
The HD800 are nowhere near my sound signature preference, but they do so much so well that it is hard not to nod and appreciate the audio characteristics of these headphones. I generally prefer a denser sound, with a rich and warm midrange – something I glean from both the ZMF Omni and Hifiman HE-500. However, the HD800 had a leaner and cleaner sound to it – for better or worse depending on how you like your music.
 
Before I dive into the subsections of sound, I want to state that this headphone is really sonically dependent on what you use as an amplifier, something I will address further down in the “Amping” section.
 
The bass on the HD800 is both easy yet complicated to describe. If someone simply asks you “does the HD800 have a lot of bass?” you can just reply in the negative. If you strip away the layers behind that “no,” you’ll find an answer that goes far beyond a yes/no question. You won’t be listening to EDM on this, that is for sure, but I found the bass to be a superior listening experience than some other headphones with deeper reach and more body – with some genres only. Take classic rock, my “classic” example in my reviews, and stuff like Pink Floyd. I have not owned a headphone that can present Pink Floyd as incredibly as the HD800 for several reasons, but what I want to call attention to is the bass in those recordings.
 
You see, if we talk about the instrument known as the “bass guitar” then the HD800 does a stupendously good job at reproducing the tones needed for a good listen. Not once have I listened to a rock song and thought that the bass guitar was too thin or low in the mix. Far from it, it sounded simply realistic. There is a sharpness to the sound of bass guitars with the HD800 that I have not heard yet in other headphones that I have personally owned – it just feels so tight and controlled. However, I did listen to the HD800S for a bit at CanJam and noticed that they have bumped up the bass to a level where it sounded more “musical” and bloomy – ever so slightly. However, that bump alone, while it may be ideal for more musical genre pairings, made the tight ship that the HD800 was running edge out of its seams a bit.
 
If you throw synthetic genres, and I in no way say this in an elitist manner because I enjoy such music too, at the HD800 – you’re going to have a bad time. This goes beyond just the lack of sub-bass extension and into the territory of top-heavy analytical listening. You won’t feel the rush of the low-end in songs in such genres, so I would really not recommend it for them.
 
The midrange of the HD800 is stellar in a way that is starkly different from how the midrange of the Omni and HE-500 are stellar. While it does not sounded forwarded or, the word I used to describe the HE-500’s midrange in my review, “syrupy” – it holds its own in a manner expected of a top-of-the-line headphone. As with the bass, the mids are leaner yet so much more controlled and accurate than many headphones out there. What really impresses me is how the separation finds different degrees to point directional audio in than what I’ve heard before – for the soundstage is simply vast and the imaging is everything you have heard about them. There is no lower-mids bloom that gives a realistic touch to instruments like acoustic guitars or male vocals, but there is clean reproduction among both instruments and vocals across the board. The transients are quick and relatively accurate, not laid back nor startling like electrostatic headphones.  
 
Guitars and vocals shine so brightly on the HD800. A track I return to often, one I even did so for my recent time slot with the Sennheiser Orpheus, is the third chorus and beyond of Prince’s When Doves Cry. The vocal stacking is brought out so beautifully by the HD800 due to its penchant for detail, pulling out vocal harmonies that would otherwise be drowned out in headphones that push for more musicality over analytics. Following the chorus is a guitar solo that is panned slightly to the left of where I thought it was for so, so long. It stands out in the mix but does not overpower anything else, leaving Prince free to adlib all over the place.
 
However, as nice as I find the presentation of this Prince song, it is helped by the fact that the vocal production is warm. As with the bass example above, your enjoyment of the vocals in songs depends heavily on if they have a natural tint or over-processed and digitised production and mastering. In the latter, it can downright hurt – even with the Superdupont Resonator mod helping to tame some of it. In songs with such mastering, even “ssss” sung will be felt harshly and, for your own sake, volume should be reduced.
 
The treble range also puts it beyond other headphones I own currently. With the mod taming the 6k peak, the listen is far more enjoyable and you can really appreciate what it is exactly that the HD800 does in the top range. While there is the occasional sibilance, especially in the over-processed genres and recordings I mentioned earlier, a boatload of detail is brought forth due to the treble.
The Fostex x Massdrop TH-X00, that I reviewed a few months ago, had some annoying treble peaks to my ears that would get fatiguing after a while. When I briefly demoed the Fostex TH900 at CanJam, I was hit over the head with what sounded like one consistent treble spike. What both lack, especially the TH-X00, is the trade-off – there simply is no immense detail up there that would make me take it in stride due to what it brought to the listening table.
 
I have no doubt that it is the treble extension that is one of the primary reasons that the HD800 sounds as resolving and detailed as it does. Cymbals I never took notice of before in songs are suddenly at the front, and while it can get a bit jarring at times (especially if they sound sibilant), I appreciate that a more complete package of the song I’m listening to is presented. That being said, it almost feels too emphasized. I’ll be honest, there are times where I wonder if the people in the mixing room themselves wanted the cymbals to sound as front-and-centre as they do on some tracks – leading to a slight sense of artificiality.
 
But if that is what it takes for this headphone to sound how it does, then I really can’t fault it. Yes, it sounds thin compared to the likes of the Omni, HE-500, Focal Elear and so many other headphones in this price range – but it offers something they don’t along with the control and analytics that even the HD800S toned down slightly to appeal to the wider market/more musical genres.
 
The soundstage, as mentioned before, is just so vast…man. While I can’t put it in numbers accurately, I’ll just wing it and say that it scores a good ten percent lead over anything else I’ve reviewed yet. This is a level of soundstage that I did not hear in the Elear, the Focal Utopia or even the Orpheus. With so much shift going on in the electrodynamic headphone market currently, it’s safe to say that the HD800 still holds one crown at least – of soundstage and imaging. Best headphone I have heard yet for gaming, although not the most cost-efficient for such usage alone. You might have to turn it down lower than usual because those gunshots can hurt sometimes.
 
Amping
 
I roamed around CanJam London 2016 with my HD800 in my backpack. Why? Because I wanted to try different amplifiers and see how they paired. That is the reputation of the HD800. Literally everything you just read above was with the HD800 being run out of my Schiit Gungnir into my Cavalli Liquid Carbon - from which I have it connected with a copper balanced cable. While I personally really like this setup, it is not the best I have heard – but it sure as hell is better than me plugging it into my Magni 2 which just takes the harshly detailed nature of the Gungnir and pushes it at me. The Liquid Carbon, while being solid-state, has a warmth to it that pairs really well with the HD800. I wish I still had my Schiit Asgard 2 to try it with, for that too was warm and would have made for an interesting listen.
 
The best pairing that I’ve heard yet would be how it sounded from the prototype of the Cavalli Liquid Tungsten, hands down. I would not say that it transformed the HD800 completely, but I did let out an audible “whoa” when I first plugged in. It added some body to the sound while maintaining its clarity, detail and precision. I was very impressed. I also had a really nice sound, with the top end a bit smoothed over, from the Vioelectric amps at their booth. Interestingly, they had a stock HD800 that sounded quite comfortable too so kudos to them for such an achievement.
I don’t want to say that colouration is the name of the game, but it is something I have seen in some owners of the HD800 – that they seem to prefer tube amps to add some warmth and a bit of that coveted musical distortion. A linear amping experience, like the Magni 2 or the Rupert Neve amp I tried at Can Jam, will leave the treble unchecked and make certain genres just that much harder to listen to.
 
As for volume, at 300 ohms it does require a good amount of power to get loud enough. However, I was most surprised by how it sounded out of my Venture Electronics RunAbout Plus – where it not only got loud enough but had a tinge of warmth to the mids. Where the portable amp falls short of the Liquid Carbon, however, is in the bass control.
 
Comparison with the ZMF Omni and Hifiman HE-500
 

 
Conclusion
 
I really, really hope the day does not come around where I have to give up the HD800. A little backstory on me, I rarely am in the same place for longer than a year and this nomadic lifestyle makes it difficult to accumulate possessions. I recently moved and it was such a pain because I tend to break the rule of common sense and get a bunch of headphones that I switch between. I envy some of you who have wall hangars covered in headphones and a long line of headphone stands to pick and choose from. That being said, I do need to keep others in my possession (currently the ZMF Omni and HE-500 in the over-ear department) because I simply cannot get a well-rounded experience, for my library with its vast array of genres, from the HD800 alone.
 
This headphone has its strengths, but I would not classify it as an all-rounder unless you only listen to a small number of musical genres with more “organic” recording methods in their presentation. I also notice that some HD800 owners were getting annoyed at the hype around the Focal Elear and Utopia being unveiled recently, with reviews saying that the Utopia provides incredible detail without the trade-offs of a thin and treble-heavy sound that the HD800 and HD800S provide. While that is quite true, it is $3999 and has a smaller soundstage than the HD800. The HD800 can be found for as low as $899 on Amazon US these days so, while I would not call it economical still for a majority of headphone users, it provides a great price-to-performance ratio for detail and an analytical sound. Simply put, these headphones all do different things – with the similarly priced Focal Elear said to sound like a “HD650 on steroids.”
 
Definitely a keeper for me, barring unforeseen circumstances.
 
Comparisons
 
Bass Quantity: TH-X00 > Classic 99 > ZMF Omni > ZMF Vibro Mk. I > HE400i > DT990 > K7XX > HE-500 > HD600 > HD800
 
Mids: HE-500 > HD800 > HD600 > ZMF Omni > Classic 99 > HE400i > ZMF Vibro Mk. I > K7XX > TH-X00 > DT990
 
Treble Quantity: DT990 > HD800 > HE400i > TH-X00 > K7XX > Classic 99 > HE-500 > HD600 > ZMF Omni > ZMF Vibro Mk. I
 
Soundstage: HD800 > K7XX > DT990 > HE-500 > ZMF Omni > HD600 > HE400i > ZMF Vibro Mk. I > Classic 99 > TH-X00
 
Comfort: DT990 > HD800 > K7XX > TH-X00 > HE400i > HD600 > ZMF Omni > Classic 99 > ZMF Vibro Mk. I > HE-500
 
Aesthetics: HD800 > Classic 99 > TH-X00 > ZMF Omni > ZMF Vibro Mk. I > HE400i > DT990 > K7XX > HE-500 > HD600
 
Lightness: HD800 > Classic 99 > K7XX > DT990 > TH-X00 > HD600 > HE400i > ZMF Vibro Mk. I > ZMF Omni > HE-500
 
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Background
 
It’s safe to say that Massdrop has played a decent role in both introducing new products to the headphone community while highlighting others through their group-purchase system. The headphone I’m going to tackle today is their collaboration with Austrian manufacturer AKG, a Chinese-made version of their K702 65^th Anniversary Edition rebranded as the K7XX that retails for $199 on the site.
I had been interested in this headphone for some time now as praise has been showered on it for its price-to-performance ratio – with special consideration being given to its soundstage and imaging. I got my hands on one recently and this is what I found.
 

 
Specifications:
 
Configured by Massdrop
 
Manufactured by AKG
 
Open-back construction
 
Pre-selected dynamic transducers
 
Flat-wire voice coil
 
Varimotion two-layer diaphragm
 
Genuine leather headband
 
Memory foam earpads with velour covering
 
Individually tested and numbered
 
Detachable 9.8 ft (3 m) straight cable with 1/8 in (3.5 mm) jack
 
Frequency response: 10 to 39,800 Hz
 
Sensitivity: 105 dB/V
 
Maximum input power: 200 mW
 
Rated impedance: 62 Ohms
 
8.3 oz (235 g)
 

 
Build, Comfort & Features
 
 
I have not felt a full-sized headphone as effortless to wear as this since I sold my Beyerdynamic DT-990 600 Ohm. There is no incremental adjustment on the sides, much like the Meze 99 Classic, so you just pull it over your head and it stays in place. Comfort is supreme, absolutely supreme. The only issue I can imagine is during intense summer heat, which my locale actually had last week during a heatwave. Without air conditioning in such weather, the soft velour pads of the K7XX can get quite hot and bothersome.
 
The build itself can be described in a single word: plastic. That really is all there is to it. I was briefly fooled by one part and mentioned in my video review that it looked like a small piece of thin metal, but that is just brushed plastic too. While on one hand, this keeps the cost low and the weight light, these are not very durable and I’ve read of many accounts of creaking issues after some time of use.
The box really does not include much. Just the headphones, the cable and a small 1/8 to ¼ adapter. The cable is one of my favourite aspects of the K7XX as it is removable. I applaud such a quality showing up in a $199 pair of headphones just as much as I lament it not being included in $399, $449 and $499 pairs of headphones also being sold on Massdrop.
Sound
 
Before I even dissect the bass, mids and treble of the K7XX – I must address its most conspicuous feature. The soundstage is the widest I have heard yet on a pair of headphones, beating the previous champion of my list – the Beyerdynamic DT-990 600 ohm edition. The soundstage and imaging go hand-in-hand to create an out-of-head-space experience that truly lends credence to the term “surround sound.” A good test of such an attribute is a binaural recording, and this headphone was able to let me pinpoint a person’s almost inaudible movements while standing behind the binaural microphone setup. What really helps with the imaging is the speed of the headphones. They are in no way a planar magnetic level of speed, but they provide an excellent experience and fast transient response for $199. Panning audio in songs is effortless and not laid back at all.
 
I have read that the major change to the K702 65^th Anniversary Edition, and therefore the K7XX, from the original K702 was a three decibel increase in bass. How I wrap my mind around such a number is by imagining two bass ports on the ZMF Vibro Mk. I that I used to have, each one controlling one-and-a-half decibels of bass. With that knowledge, it is a substantial increase and by no means a basshead-pleasing one – but one to round off the low end and add body to the music played. Due to this, I would not characterize the K7XX as being a bright headphone but rather a warm one. The bass is fast but, obviously, not planar magnetic levels of fast but it is very smooth. There is definite roll-off so some genres of music would not be suitable for use – such as really bass-dependent EDM and hip hop tracks.
 
The midrange gives a clean feeling to it. It is not recessed, stark nor syrupy sweet – like the Hifiman HE-500. It’s just there, and vocals and instruments utilizing it will be heard as such. It just exists, if that makes sense. If the K7XX was a sports team, the midrange would be a role-player and not the star of the show – which the soundstage is. By all means, do not take my words as negative in this matter because music does sound quite full bodied in the midrange for most genres. It’s just those certain times where you feel like vocals and instruments sound a little thinner than they should. This could probably be changed with the right amp setup, for I do hear a slight improvement using my Cavalli Audio Liquid Carbon in this regard.
 
The treble takes my old term of “comfortably extended” and raises it just a slight amount more. Suddenly, there is more sparkle to music and the “air” around instruments is more distinguishable. Sibilance is only reached rarely in music that was not mixed/mastered properly. One can be grateful for the treble extension and detail because of how drum cymbals are so easily elevated from the rest of the instruments, and then be grateful for the immense soundstage because where they can rest in the mix accurately.
 
Is it a performer? Absolutely. Will it take down the more expensive and heavier hitters in the audio world? Not really. While the sound itself has been a welcome surprise for the price range, the actual selling point of these headphones is definitely just mid-fi all-round usage and immense soundstage. This actually influenced me to come up with a new sub-section for this review.
 
Gaming
 
Yes gentlemen and gentler men, the K7XX is by far the absolute best gaming headphones I have ever heard. If you have the budget, and it is indeed a budget you will require for reasons that will follow below, then do away with your Razer, Steelseries, Kingston and other gaming headsets and buy these instead. I have not had a comparable experience with audio clarity when it comes to gaming from anything I have owned before. I play Overwatch these days and every footstep and ability trigger/voiceover rang out incredibly in the overall game sound design thanks to how well the K7XX was keeping up.
 
All those aspects that gaming companies’ marketing divisions like to yell about is indeed present in the K7XX, to a realistic level. You can actually make out where an enemy is by the sound of their footsteps growing louder or softer in a direction. Will it give you that L337 gaming edge you’ve been looking for since you first jumped into Call of Duty: Modern Warfare’s online-mode? I can’t say, only you can, champ.
 
Amping
 
This is where it gets a bit tricky. You might be fooled by the 62 ohms impedance of the K7XX, but these are not very easy headphones to drive. They are nowhere near Hifiman HE-6 levels of difficult, but they do need proper amping if you want to enjoy all aspects of its sound. I have three amps in my possession and let’s see how they compare:
 
Cavalli Audio Liquid Carbon
 
While this amp adds a little body to the midrange due to its warm characteristic, my specific model is not one I would pair with the likes of the K7XX because it does fall into the “low impedance” realm that is problematic with some first run Liquid Carbons such as mine. There is a humming issue, greatly exacerbated if on high gain (which I don’t recommend with these headphones in general).
 
Venture Electronics RunAbout Plus
 
This portable-sized amplifier actually packs a good punch to it and a sound signature that isn’t quite warm but isn’t quite neutral. It even drives my ZMF Omni, a planar magnetic Fostex T50RP mod, somewhat decently. However, the K7XX loses a fair amount of its bass response and tightness when paired with it. It’s the same problem I notice if you try to run the headphones through the likes of a smartphone, the bass becomes quieter and a tad distorted.
 
Schiit Magni 2
 
I keep calling this “probably the only amp you’ll ever need” and I keep being proven right. The clean power that it provides synergizes very well with the K7XX. I keep it on low gain and it is more than enough to control the bass and have the sound blazing on all cylinders – just don’t expect an especially melodious or magical pairing. It is just adding volume and power, nothing more.
 
Conclusion
 
I am satisfied with the K7XX. That is the best way I can put it. I didn’t expect magic but I did receive some in a small way, the soundstage and imaging is a great selling point as it its allrounder functionality. In terms of build, mine don’t creak so much and I bought them used so your mileage may indeed vary if a new pair starts to do so after a few weeks.
 
Ultimately, I see the K7XX as a very capitalist pair of headphones. This took an item that was limited edition and priced over $400 and brought it down to $199 simply by switching some build materials and moving production to China. However, unlike Walmart, you can’t really hate on Massdrop and AKG for the birth of the K7XX because it is indeed bringing a quality headphone within the reach of those who are starting out in the audio game or those who want something relatively inexpensive but different to complement their main set of cans. If you can amp it, go for it I say. I’ll be using these for gaming and movies for sure.
 

 
 
 
Comparisons
 
Bass Quantity: TH-X00 > Classic 99 > ZMF Omni > ZMF Vibro Mk. I > HE400i > DT990 > K7XX > HE-500 > HD600
 
Mids: HE-500 > HD600 > ZMF Omni > Classic 99 > HE400i > ZMF Vibro Mk. I > K7XX > TH-X00 > DT990
 
Treble Quantity: DT990 > HE400i > TH-X00 > K7XX > Classic 99 > HE-500 > HD600 > ZMF Omni > ZMF Vibro Mk. I
 
Soundstage: K7XX > DT990 > HE-500 > ZMF Omni > HD600 > HE400i > ZMF Vibro Mk. I > Classic 99 > TH-X00
 
Comfort: DT990 > K7XX > TH-X00 > HE400i > HD600 > ZMF Omni > Classic 99 > ZMF Vibro Mk. I > HE-500
 
Aesthetics: Classic 99 > TH-X00 > ZMF Omni > ZMF Vibro Mk. I > HE400i > DT990 > K7XX > HE-500 > HD600
 
Lightness: Classic 99 > K7XX > DT990 > TH-X00 > HD600 > HE400i > ZMF Vibro Mk. I > ZMF Omni > HE-500
 
Song Impressions
 
Equipment used: Foobar200 WASAPI Event > Schiit Wyrd > Schiit Gungnir USB Ver. 2 > Venture Schiit Magni 2.
All tracks in lossless FLAC in at least 16/44.1
 
Aerosmith – Dream On (2012 Remaster)
 
A headphone’s soundstage always makes or breaks this song in my opinion. With the ability to space out and separate the instrumental, the K7XX does this song justice in a manner that is out of reach of headphones like the TH-X00. The low end is not overly bassy, but well-rounded so that the bass guitar finds itself comfortably in the mix. Nothing is drowned out either in the instrumental.
 
a-ha – Take On Me
 
While missing the incredibly low reach of the TH-X00’s sub-bass, the K7XX does an admirable job of opening up the song’s instrumental and vocal layering so that the 80s synthesizers have more of a sparkle to them – so far removed they are from the low end. The superior imaging of the K7XX really plays well into the panning synthesizer runs in the bridge section.
 
Alan Parson’s Project – Sirius
 
This track synergizes very well with the K7XX, which delivers warmth and body to the low end while maintaining a treble extension that allows the shimmering string section and synths to stand out in the mix rather effortlessly. The song is a builder, and every instrument is represented well as the layers stack.
 
Black Sabbath – Planet Caravan
 
While the soundstage is undoubtedly incredible, there is a certain artificial nature to Ozzy’s voice in this song compared to the likes of the HE-500. I chalk this up to the superior mids of the Hifiman headphone. The piano on the left channel at the end does not sound as natural either. Not by any means a poor listen however – owing to the really good allrounder status that the K7XX has.
 
Prince – Controversy
 
While not oozing effort in the midrange, the K7XX does quite a good job at holding the song’s driving nature at the seams. The presentation is disciplined, but the sub-bass of other headphones in my possession is missed for that oomph sound in the beat.
 
Billy Joel – We Didn’t Start the Fire
 
One of my favourite listens with the K7XX. The production gels with the strengths of the headphones to provide a complete and fun listening experience. The overdubs ring out clearly due to the large soundstage with the bass-boosted nature of the headphones providing a good sense of fast pacing with the kick drum.
 
Blink-182 – I Miss You
 
The two acoustic guitar tracks ring out incredibly on the two channels. Not quite a punk rock song by a pop-punk band, the mature melody and instrumentation is really well served by the K7XX on all fronts.
 
Chris Isaak – Wicked Game
 
I return to this song with every song impression and with good reason as it is very good at highlighting the strengths of various headphones. In this case, as aforementioned, the incredible soundstage benefits the song in a large manner. The warmth also makes the acoustic guitars sound rich and lifelike. However, the vocal is not as pleasing as it would have been on the HE-500 or ZMF Omni, but one must consider the incredible price differences in making that comparison. As also mentioned before, it is still a great listen on its own and quite excellent for $199.
 
Clint Mansell – Lux Aeterna
 
As the string sections creep up on the listener, the fast nature of the K7XX comes into play as the whole presentation is very controlled and effortless. The different sections are spaced out well. The higher pitched main melody, played on a violin, maintains a decent amount of air around it but not an incredible amount due to the extension of the treble being as a “comfortable” level. What is most impressive is that I can name a number/degree from 0 to 180 for exactly where each string section is in the mix.
 
Coldplay – Clocks
 
The K7XX separates the tracks incredibly in this densely layered track, giving the backing ethereal synth-pad a lot of body. The piano rests in the right channel, far from the guitar work on the left – all while Chris Martin’s vocal rings out above it all.
 
Eminem – Without Me
 
I was taken by surprise here, the 3 dB of bass bump that is present on the K7XX compared to the K702 really shows on tracks like this. While the bass is not the centre of attention like it is on the TH-X00, it isn’t entirely lacking either. If anything, the whole song sounds “clean.” The extended treble makes the snare and hihat bite through the mix however, something to consider if you are treble sensitive.
 
Fleetwood Mac – Dreams
 
The cymbal on the right side is further to the right than with any other piece of audio gear I own currently, another fact attesting the vast soundstage. The bass guitar work does not feel as tight however. The vocal layering in the chorus is not as rich as the HE-500 either. What is done the best is the sense of space and the treble lending a decent amount of air to the production.
 
Metallica – The Unforgiven
 
The Black Album probably has the best production on a Metallica record to date, but it can feel a bit hollow on some headphones due to how much it relies on low end and midrange body. So what I hear is a lot of sparkle in the cymbals and crashes but not so much weight behind the guitar section except with the acoustic guitars kick in in the intro and chorus. The guitar solo however sounds pretty good, with its overdubs adding to its presence. However it is only a small section of the song.
 
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Background
 
When was the last time you used a pair of earbuds? Perhaps you use your Apple Earpods at work to remain inconspicuous, or maybe you are one of the many who have purchased the VE Monk out of curiosity and adhere to that. I have reviewed the latter before and added my declaration of its stellar sound quality for a low price to the many, many impressions that have made their way online in the past year or so. I consider the Monks to be a great marketing tool along with being a great product, it generates interests in the capabilities of Venture Electronics and their engineering.
 
Why did we all leave earbuds? I remember my own reasoning. I had equated the mediocre sound quality of earbuds with my Sony Walkman from the 1990s, when I had used cheap Sony and Panasonic ones. They emitted sound, and my younger self was happy with that. I abandoned earbuds for good when I bought my first Sennheiser PX-100 and Sennheiser CX95 and never looked back.
 
The Monks changed that earlier this year, in a big way. The soundstage, the quality of the mids and the clarity sold to me the potential of earbuds again. I eyed the Zen, priced at $148 on AliExpress in its basic form, and wondered what could be achieved. As the meme from the film Inception went, I had to go deeper.
 

 
 
Specifications
 
Plug Type: L Bending
Communication: Wired
Connectors: 3.5mm
Resistance: 320Ω
Frequency Response Range: 8-25000Hz
Line Length: 1.2m
Sensitivity: 120±5dB
 
 
Build & Features
 
The Zen is comprised of the same exact shell in use by the Asura 2.0 and the Monk Plus. It is made of a transparent plastic casing with the drivers clearly visible underneath. The main visible attribute separating the three earbuds is that the Zen has a transparent cable with the red wiring showing underneath – whereas the other two have the standard black rubber wire. I appreciate that the cable is as sturdy as that of the original monk, thick (double) in length and not abrasive to the touch. I find that it does not tangle easily, which is always a big plus with smaller earphones and earbuds.
 
Beyond that, I would describe the design as “no thrills.” I have neutral feelings towards the earbuds themselves when it comes to aesthetics, simply because it is not advertising any sense of design and because it is not dictating audience perception due to its looks. To the untrained eye, these look like sturdy but cheap earbuds and that is that. Make no mistake, the Zen’s casing and appearance is not for the followers of headphone porn, but rather simply just a shell for the wonders lying inside. These wonders and characteristics cannot be merely gazed upon, but have to be heard to be believed.
 

 
The VE Zen 2.0 Black Edition however is a slightly different affair. It consists of the same earbud shell and casing design but with a vastly different (braided) cable and, depending on your choice, termination. According to the listing on AliExpress, the default model of the Black Edition terminated in a 3.5mm straight plug from Oyaide. Other options are 2.5mm balanced, 3.5mm balanced, XLR Neutrik and a 3.5mm in an L-shape. The cable itself is a Cardas Golden Selection AWG 26.5 and any of these configurations will cost $358. Based on appearance alone, the Black Edition has a significantly more premium look to my basic Zen. Beyond appearance, I cannot comment because I have not had the chance to hear one.
 
I have heard of some experiencing slight fit and comfort issues with the size of the casings that Venture Electronics use. I personally do not face many problems, but I do admit that they benefit from the addition of foam for in-ear traction. However, this is not quite feasible for the VE Zen for reasons I will mention later on in this review. Essentially, if you do not get an optimal fit then you will not obtain the optimal sound – the full potential of the Zen. I am confident that this will fit most people however.
 
 
Sound
 
It can be safely said that most of us here share the goal of obtaining a quality of audio that satisfies our needs. The spectrum for this is vast, with those happily discovering and using the likes of the Audio-Technica M-50X to those searching far and wide for their favourite amplifier for a Sennheiser HD800. It continues into the land of electrostatics and DAC/AMP systems as large as video-cassette players stacked on top of one another. Our experience, as well as my own, may have caused us to disregard some products – if not downright scoff at others. I admitted earlier that I was biased against earbuds until I heard the VE Monk, but now I have another conundrum. It is hard for me to view the VE Zen 2.0 as an earbud.
 
This will doubtlessly sound ridiculous. If it looks like an earbud, feels like an earbud, has the same length cable as a standard earbud, can be used as a lasso to capture cockroaches like a standard earbud and can be stepped on by your clumsy feet if you aren’t careful (destroying them forever with a sickening crunching sound) then of course they are an earbud right? Well, yes and no. Yes it has all the physical characteristics of an earbud, but it does not sound like one – at least to me.
 
Another strange claim, an earbud that does not sound like an earbud. I will seek to explain this by simply saying that this sounds like a full-sized pair of open headphones. I had no notion that sound like this could be achieved in the confines of an inexpensive plastic earbud shell, and I was shocked on first listen. There is a body to the sound that does not sound unnatural or forced in any sense. It effortlessly reproduces music as a full-sized can would, but without the band around your head.
 
The bass of the Zen is very controlled and disciplined, but present enough to add a good punch and warmth to music. It does not extend incredibly low, but does delve deep enough to be satisfying for most genres of music. Instruments like 1980s synth bass sound just as they should on the Zen, as well as kick drums in rock music. The warmth of the bass and lower mids also lends to the lifelike recreation of acoustic guitar recordings, one of my favourite aspects to listen for when I listen to a new headphone/earphone/earbud. EDM and electropop music will not shine on the Zen however, it does not provide the sub-bass required to make those genres sound whole. For literally anything else, you can turn to this comfortably.
 
It should be noted the Zen is less flexible than the other earbuds by Venture Electronics. Where I could modify my Monk Plus with two foams as well as a ring, any material placed on the Zen will drastically alter the sound – often to the point of stuffiness. The Zen, with its body and warmth, is tuned specifically for naked use. I found that even the usage of the earhooks impacted the optimal fit a bit, although that could be just for my ear shape. Bottom line is, if you want to experience the Zen with all of its strengths, don’t cover it up with even the thinnest of foam.
 
The mids are the highlight. They are what you will reach over to pick these up for. They are also the aspect that is most like a full sized set of cans, and ones which from my memory sound like the Sennheiser HD600. They are warm and sweet. They have a lot in common with the mids of the original Monk, although not as forwarded and far more articulate and detailed. It would be strange to just simply say that vocals shine on the Zen, but they do. It would also be odd to say that instruments, particularly guitars, shine on the Zen – but they do and in abundance. Make no mistake, the original Monk, Monk Plus and Asura 2.0 all have impeccable midrange representation, but they all pale in comparison to the sheer juicy steak that is the Zen 2.0. To hear such a natural, clear and full-bodied sound from an earbud is an incredible achievement in audio engineering and design.
 
The treble is never sibilant but does well with intricate cymbal patterns. There is some air, although not as much as the Asura 2.0 with its brighter sound signature. I find it to be a satisfactory level of detail, extension and comfort – quite similar to the treble of the Meze 99 Classics in terms of how it doesn’t fail to impress nor does it cross the line.
 
The soundstage is vast and the imaging is spot on, although slightly less immediate than the Monk Plus. I’m chalking this down to the warmer nature of the Zen. Listening to binaural recordings on the Zen sounds lifelike and satisfactory. The soundstage is similar to the other earbuds in VE’s range, which I am guessing has to do with the shell design. Live recordings sound truly live and panning instruments in recordings go from 0 to 100 effortlessly and clearly.
 
Overall, this is what you are paying for. The sound has to be heard to be believed. This is problematic because of the ordering process, through AliExpress and Venture Electronics own website, and its long ship time. If you get the chance to demo these (at a meet or through an acquaintance), absolutely do so. I invited a friend over to try them out, a long time user of the original Monk and now the Monk Plus, and he absolutely confirmed the jump in quality from the $5 wonder to the $148 juggernaut.
 
Amping
 
320 ohms. That is the impedance of the VE Zen. This is another thing I would have never thought necessary or possible a year ago, the idea of needing an amplifier for earbuds. The Zen is quite hungry and can benefit from some clean amping. Plugged directly into my phone yielded nothing satisfactory in both quality and volume. Plugged into my friend’s Ibasso DX90 proved to be a far better fit, with some amping taking place to bring out the power of the Zen. An actual amp is absolutely necessary however, and I tried all three of mine with it.
 

 
Schiit Magni 2
 
Added volume and drive to the sound, as it should, but felt like it was a touch too harsh in nature. The snare in songs had a thudding sound to it for some reason.
 

 
Cavalli Liquid Carbon
 
Great sound quality, but a sense of colour that cannot be shaken due to the amp’s own warm sound signature. Also lessened the shimmering detail in the mids and treble a slight amount compared to the third option.
 

 
 
VE RunAbout Plus
 
It makes sense the VE’s own amplifier, in a portable size, is far beyond being adept at powering their highest-end earbud. It is a happy medium between the sweetness and warmth of the Liquid Carbon and the neutrality and bite of the Magni 2. On top of that, its small form factor and battery-powered option makes it a great addition to portable setups. The thought of the Zen in public might seem counterproductive due to its very open and sound-leaking nature, but it is still an enticing thought – made possible by the RunAbout Plus.
 
 
Conclusion
 
Once again, my eyes have been opened by a product sold by Venture Electronics. First I had learned to love earbuds again, but now I have been purely amazed. Whatever small disadvantages that the Zen has do not hold a candle to the level of sound quality achieved through such a small and easily-overlooked physical design. I could recommend this to anyone, as long as they have an amp, and look forward to what the company concocts next.
 
As for the overall design itself, the KISS Principle comes to mind: “Keep it simple, stupid.” It is with that mindset that the Zen shines.
 
 

 
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Song Impressions
 
Equipment used: Foobar200 WASAPI Event > Schiit Wyrd > Schiit Gungnir USB Ver. 2 > Venture Electronics RunAbout Plus.
All tracks in lossless FLAC in at least 16/44.1
 
 
Aerosmith – Dream On (2012 Remaster)
 
Great benefit of the soundstage from the get-go, with the guitar tracks separated clearly with the string section squarely in the middle. Vocals have a lot of weight to them. Drums have impact and bass is clear and present.
 
a-ha – Take On Me
 
Besides how great the 80s synths and vocals sound, I always listen for the subtle acoustic guitar playing in the background. It has come out well with the ZMF Omni and the Meze 99 Classic, and now with the Zen too.
 
Black Sabbath – Planet Caravan
 
Soundstage and imaging galore with the percussion parts comfortably panning from channel to channel while the clarity of the vocals, guitar (on the right channel) and bassline continue on.
 
Prince – Controversy
 
A song that showcases punchy sound signatures in audio gear as it marches along at a steady pace. The clarity is such that the guitar on the right channel and the “oomph” vocal sample that repeats is clear and lifelike.
 
Chris Isaak – Wicked Game
 
A natural warm sound representation of a delicate and subdued track, instrumental wise. The clean guitar layers perfectly on top of the acoustic guitar as Isaak croons on. I fully appreciate how the slight “this world is gonna break your heart” female backing vocal line is clearer than most gear I have tested.
 
Clint Mansell – Lux Aeterna
 
There is more of a low-end to the string section than on the Monk Plus, giving it the body I described in my review. The overall presentation of the song sounds more cinematic in nature.
 
Coldplay – Clocks
 
Vocals and guitars are audible on top of the repeating piano riff, with every little sound flourish represented accurately. Martin’s harmonization is natural and clear too.
 
Eminem – Without Me
 
While the instruments and vocals sound great, I can’t help but feel like something is missing with the bassline and drums, lacking the rap-loving impact that headphones like the TH-X00 have. That is not a fair comparison however, and the soundstage really aids as the layering of the rap tracks can be clearly heard.
 
Fleetwood Mac – Dreams
 
Warmth and body infuse this track, with the cymbal hit on the right side moving just slightly more toward the right than most headphones I have. Vocals are extremely clear, bass is clear and with body and the acoustic guitar is lifelike. Vocal harmonies gel effortlessly.
 
Metallica – The Unforgiven
 
The incredible production on this track shines with the likes of the VE Zen. Every guitar note is just so clear, with the low end control of the Zen aiding the chugging guitars greatly too. All while the drums thunder on and James Hetfield’s vocal growls on.
 
Lana Del Ray – Summertime Sadness
 
First impression was how incredible the string section sounded. This is a cinematic track in both instrumental and vocal performance, and the Zen does incredibly well with it. The vast soundstage also aids the wall-of-sound production.
 
Led Zeppelin – The Battle of Evermore
 
The intro creeps up in a lifelike manner, as if someone was slowly turning up the volume of a live setting. The layered guitars and mandolins are represented greatly by the Zen, as is Robert Plant’s vocal work.
 
Marcin Przybyłowicz – The Fields of Ard Skellig
 
The Celtic vocals blossom over a mandolin and delicate instrumental, making this peaceful piece shine on the Zen. Nothing feels lacking, with the soundstage separating all instruments properly.
 
Queen – Bohemian Rhapsody
 
Complex vocal harmonies? No problem for the Zen at all. Everything sounds balanced and pleasing, particularly the famous middle section – panning expertly with the vast soundstage.
 
Ramin Djawadi – Light of the Seven
 
This haunting track is well served by the Zen, with the piano and string section ringing clearly. The choir vocals that come in as the song builds up is clear, transitioning into the cinematic sound that the Zen handles so well.

 
Background
 
It was a curious moment in my recent history of trying out various headphones, the day I first put on the Meze 99 Classics. I already knew, judging from other reviews, that I wasn’t in for a neutral experience, but rather one with a “fun” sound signature. Yet again, I find myself reviewing such a headphone – but this time I ran into far fewer shortcomings than I have in the past.
 
The idea of this sound signature is that neutrality be damned, music is for pleasurable listening. They accentuate traits that sound enticing, vibrant and joyous at the sacrifice of an overall balanced sound. The ZMF Omni did this by having a very natural mids and bass-centric sound at the cost of slightly rolled off treble. The Fostex TH-X00 did this by having excellently deep and present bass, enjoyable lower-mids and extended treble – but it struggled to reproduce upper-mids and female vocals well. The treble also got quite harsh and sibilant to my ears at times. The Shozy Zero had a slightly bassy and mids-forward sound signature that did incredibly well with electronic music genres, but it too had slightly rolled off treble that prevented it from shining with other genres.
 
Knowing full well that the 99 Classics were out to achieve a similar listening experience, one that lies to you in terms of presentation but in a way you can easily forgive given certain parameters, I was honestly surprised – and in a good way. But more on that later.
 

 
 
Specifications (from the Meze website)
 
Transducer size: 40mm
Frequency response: 15Hz - 25KHz
Sensitivity: 103dB at 1KHz, 1mW
Impedance: 32Ohm
Rated input power: 30mW
Maximum input power: 50mW
Detachable Kevlar OFC cable
Plug: 3.5mm gold plated
Weight: 260 gr (9.2 ounces) without cables
Ear-cups: walnut wood
 
 
Build, Design & Comfort
 
I find the design of the 99 Classics to be a rather contentious issue in the headphone community. I rarely find any indifference toward it as individuals either seem to love it or think it is tacky. My first thought was “this is rather unique.” Given my biases in headphone aesthetics, the Meze offering fell well into my spectrum of appreciation because I have a strong affinity for wooden earcups. However, the reason I like the design goes beyond that. Out of all the headphones I have seen yet, this looks the most like something out of a steampunk setting, and that by itself is unique in a world populated with plastic and Beats style brand-shouting. If Corvo from Dishonored owned a pair of headphones, it would look a lot like the Meze 99 Classic.
 

 
On further inspection, you will not find plastic in its construction either. There are three visible materials to the eye – walnut wood, leather and metal. Apparently the construction does not make use of glue either, preferring screws. The slider adjustment is without any incremental changes, rather going for an approach where you pull the earcups into place, after which they hold steadily.
 
It comes in three color configurations: Walnut Gold, Walnut Silver (which I have with me) and Maple Silver. The Maple Silver makes use of white pleather, cables and metal in its design to complement the paler wood. If I had to choose between the three, I would choose what I have – the Walnut Silver. Once again, my bias is showing because I prefer darker wood in both the construction of headphones and acoustic guitars.  
 
These are very light headphones indeed. After bouts with the Hifiman HE-500 and ZMF Omni, the 99 Classics are very much an unencumbered fit on my head for long periods of time. The clamp force is a bit high at first, but adjusts over the course of a few days. The seal provided is a very good factor in its isolation, which is a great deal higher than the other full-sized headphones mentioned in this review. However, the earpads themselves are only big enough to just fit your ears. Mine just about make it and I have medium-large ears. As summer comes to England, I have found the pads to get quite hot on extended usage. Due to the extremely fitted design, there is less space for the ears to breathe – a tradeoff for an incredibly good seal and its musical benefits.
 
I could not find any discernible difference in earpad width on either side as they are quite uniform. Any distinguishing of the left and right channels will purely rely on the placement of the attached cable – which have the markings on them rather than on the headphones themselves.
 
Lying down with these headphones can be a bit awkward due to the metal ring on top. Leaning against a pillow or wall can be met with a sharp knock against it, making it so you have to re-adjust. Lounging around in these will take some getting used to.
 

 
 
Features
 
On that note, I am very satisfied with the two cables provided by Meze. One is a cable for portable use with your smartphone as it has a play/pause button attached and is at the preferred length. The other is 10ft and for home usage. Both cables terminate in 3.5mm, with a 1/4 adapter being provided in the box. They are lean, flexible and braided and will last a good while. There is no neck adjustment however. The existence of detachable cables alone is a big plus in my book and makes for easier transportation.
 
And speaking of transportation, the carrying case provided in the box is another feature I am quite impressed by. It is sturdy and quite handsome, ready for a home in any backpack for easy transport. The box itself is not easily discarded either, it too has a premium look to it.
 

 
 
Sound
 
A major reason I like my ZMF Omni Cherry is because of how it reproduces acoustic guitars. It has a very natural sound to it, making it an excellent pairing with acoustic songs. My first big, and lasting, impression from the Meze Classic 99 was just how well it did in this regard too. One of my favourite tests for a headphone’s capability in this field is to run my own recorded acoustic guitar playing through it. It had a similar natural feel that the Omni had, with the major differences being in how it was not as laid back and how the soundstage was far more intimate.
 
The sound of the Meze’s goes into the “fun” tuned realm, with a major element of doing so being its slightly boosted bass. The bass extends quite far down too, undoubtedly aided by the isolation provided by the seal. After switching back and forth with the Fostex TH-X00, I found that it was the second deepest sub-bass in my current headphone collection after those. I never found it to be too much, too overbearing or too artificial. Instead, it has a very punchy sound signature with a lot of oomph to it that goes immensely well with electronic music genres. I don’t hear any bleed into the mids either, the separation is quite clean. However, the bass has a slight earthy quality that removes from any sense of cleanliness, with a tiny bit of distortion that isn’t audible on most recordings. However, I find that this might aid the sound signature rather than hinder it as it is a very organic sound.
 
The mids are very, very impressive. I would sing an ode the lower-mid magic that is taking place that allows the reproduction of acoustic guitars to be so inviting, similar to the Omni but a bit more energized - to the slight detriment of a natural touch. There is a smoothness to the midrange that insists on reproducing the body of vocals, both male and female, quite amply with quite stellar clarity. If a song, such as Stairway to Heaven or In the Air Tonight, chooses to build up slowly - you will hear each and every instrument addition in the mix and be able to discern it quite aptly. I find this a feat on a headphone with this narrow of a soundstage, with this isolated and closed of a design. I do not know if it is the walnut wood cups, but it feels like the midrange has more room to breathe than a plastic pair of headphones would. Therefore, separation is quite good to say the least.
 
The treble is the region I slightly feared for before I put these on for the first time. I had heard good things about the bass and mids, but in my experience such characteristics are often at the cost of the high end. It would either feel too artificial and forced, be too rolled off to make way for the other frequencies or be too sibilant. Interestingly, it was none of these things. It does not venture into problematically sibilant territory and neither does it seem to linger around, banging on a ceiling limit that would stifle cymbals and other instruments that make use of treble.
 
I would even go so far to call this a balanced pair of headphones, to an extent. Yes, the bass is a bit boosted – but it does not take away from just how well the other frequencies are represented. A  pleasant low-end, coupled with a warm and accurate midrange (vocal harmonies and the like showing with ease) and a comfortably extended high-end makes this a definite fun listen. The only detraction in terms of how it presents sound would be the soundstage. I’m not a designer, but I feel that it couldn’t be helped much with the closed design – which also lends to just how impressive it is that the mids separate so well.
 
This is one of the few headphones I have come across that I can recommend for all genres of studio-recorded music. Live recordings could be heard on open cans, for the soundstage and the like, but a well-recorded studio track will come out and play just fine on the Meze 99 Classics. I don’t face trouble from older genres like classic rock any more than I do with electronic dance music. It just does it all so, so well for its price range.
 
Amping
 
Rated at 32 ohms, these headphones are not hard to drive at all. Meze themselves allude strongly to this because they provide the play/pause switch on the shorter cable for smartphones. I did however try them with my three amplifiers on hand to see what differences occurred. All were fed from my Schiit Gungnir USB Version 2 DAC.
 

 
Schiit Magni 2:
 
Simply made louder. The same effect can be reproduced by the volume knob on your portable player of choice.
 

 
Cavalli Audio Liquid Carbon:
 
Sadly, the sensitivity of the Meze is such that I heard the first-run Liquid Carbon power issue – with a slight hum intruding on my listening. I did gauge that the sound was overall warmer, as expected from the amp.
 

 
Venture Electronics RunAbout Plus:
 
Now this was impressive and the pairing I chose for listening to the Meze from now on. The portable RunAbout Plus does not emit much power on paper, but in practical usage it is a little powerhouse. Its signal has a tiny touch of warmth and sweetness to it, but it is overall quite articulate. It greatly aided the strengths of the Meze’s – particularly in the midrange and its stellar pairing with acoustic guitars.
 
The bottom line of this, to my knowledge, would be that it does not require amping, but it can benefit from it with the right pairing. Of course, as efficient volume can be easily achieved, you could obtain a magical sound signature with your DAP of choice as they all have their own characteristics that are brought to the table.
 
Comparisons
 
Bass Quantity: TH-X00 > Classic 99 > ZMF Omni > ZMF Vibro Mk. I > HE400i > DT990 > HE-500 > HD600
 
Mids: HE-500 > HD600 > ZMF Omni > Classic 99 > HE400i > ZMF Vibro Mk. I > TH-X00 > DT990
 
Treble Quantity: DT990 > HE400i > TH-X00 > Classic 99 > HE-500 > HD600 > ZMF Omni > ZMF Vibro Mk. I
 
Soundstage: DT990 > HE-500 > ZMF Omni > HD600 > HE400i > ZMF Vibro Mk. I > Classic 99 > TH-X00
 
Comfort: DT990 > TH-X00 > HE400i > HD600 > ZMF Omni > Classic 99 > ZMF Vibro Mk. I > HE-500
 
Aesthetics: Classic 99 > TH-X00 > ZMF Omni > ZMF Vibro Mk. I > HE400i > DT990 > HE-500 > HD600
 
Lightness: Classic 99 > DT990 > TH-X00 > HD600 > HE400i > ZMF Vibro Mk. I > ZMF Omni > HE-500
 
Conclusion
 
There is no two-ways about it, colour me impressed by the Meze 99 Classics. Yes, the clamp and earpad warmth will take some getting used to, but the sound is very impressive for the pricerange in which it sits. Aesthetically, whether you love or hate how it looks, it is unique and that alone is something to be considered with just how many headphones are being designed and released every year as the audio industry blossoms and grows further.
 
I’m mostly about the sound quality however, and I respect this headphone most of all for how effortlessly it goes with my vast and diverse music collection. I would wear this on a flight and not miss my other headphones at all as a playlist continues on – each song being well served.
 

 
 
 
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Song Impressions
 
Equipment used: Foobar200 WASAPI Event > Schiit Wyrd > Schiit Gungnir USB Ver. 2 > Venture Electronics RunAbout Plus.
All tracks in lossless FLAC in at least 16/44.1
 
Aerosmith – Dream On (2012 Remaster)
 
The low end reminds me of when I listened to this song through the TH-X00, but with more lush and present mids and overall balance. While the soundstage is not as vast as the HE-500, there is no confusion in the instrumentation and overall sound structure.
 
a-ha – Take On Me
 
A punchy and immediate listen due to the low-end representation, but without losing the warmth and smoothness of the vocals or the delicate background acoustic guitar and cymbal patterns.
 
Nine Inch Nails – Closer
 
The Meze absolutely conveys the attitude of this song. The deep bass extension aids the heartbeat drum beat while the mids and highs accentuate the swirling synthesizers and cymbal loops. All the while, Trent Reznor’s tortured vocal takes centre stage. Great listen due to the Meze’s strengths.
 
Black Sabbath – Planet Caravan
 
Geezer Butler’s bassline drives this song but never intrudes into the vocals/mids. The pleasing mid-bass is at work here. The soundstage, while constricted, does reproduce the separated and panning instrumentation quite well – particularly the hand-struck drumming by Bill Ward.
 
Prince – Controversy
 
From the first hit, you know the Meze means business due to how this funky track’s bassline just digs deep and steady as the drums accompany it. As the clean-guitar work on the right track strums, quite clearly, you can clearly hear Prince’s vocal and the repeating voice going “OOMPH” in the beat.
 
Childish Gambino – Heartbeat
 
I always turn to this song when I want to test sub and mid-bass response. Compared to the TH-X00, which handled the sub-bass frequencies effortlessly and quite impressively, the Meze doesn’t dive as low but does a far better job with the rest of the frequencies. Also, the snare sounds a lot more immediate – with more body bouncing off the vocal as the song continues.
 
Chris Isaak – Wicked Game
 
Once again, the Meze 99’s impress me with how they reproduce acoustic guitars. Couple that with the fact that the midrange brings forth the sultry vocal so well makes this a great listen. If I had to find a flaw, it would be that the backing vocal “this world is only gonna break your heart” is slightly less pronounced than on some other headphones like the Omni or the HE-500 – which are in different price categories. This is one of my favourite songs of all time, and I really appreciate what the Meze can do for it.
 
Clint Mansell – Lux Aeterna
 
The mids shine further on this track due to how well they manage to separate the different string tracks, an important and distinguishing feature because of how easily overlapped they can be on some headphones. The percussion has a lot of impact due to the bass impact, helped by the seal.
 
Coldplay – Clocks
 
While the soundstage is constricted, it is notable that this highly layered track maintains a good amount of separation in its presentation. The vocal absolutely soars, as it should.
 
Daichi Miura – Unlock
 
The TH-X00 reproduces the vocals in this song in a sibilant manner so I was glad to see that the Meze absolutely did not. The rest of the instrumentation is well served, only hampered due to the soaring and reverb-laden nature of the song and just how well it does with a large soundstage.
 
Eminem – Without Me
 
While the synth bassline doesn’t sound as incredible as on the TH-X00, the tradeoff is that the instrumentation is much more immediate and clear – especially the vocals/rap.
 
Fleetwood Mac – Dreams
 
A song I re-visit with every new piece of gear and one I know as well as the back of my hand. While it is much more intimate than the Omni and the HE-500, the superb separation the Meze possesses aids greatly in the vocal harmonies of the chorus. The acoustic guitars and vocals sound warm and are well distinguished from the bassline.
 
Peter Gabriel - Flood & Mercy Street
 
I choose both these tracks because of how intricate the instrumentation is. The 99 Classics do really well with both, particularly in the shimmering cymbals/percussion of mercy street and the acoustic guitar in Flood. Coupled with just how nicely the vocal harmonies ring out in both, this is a great listen.
 
Metallica - For Whom the Bell Tolls (2016 Remastered)
 
The Meze properly represents the fire and brimstone production of this thunderous track. The drums hit hard and he guitars absolutely bite as they should, all while Cliff Burton's basswork is audible beneath it all. I'm especially impressed with how vibrant the cymbal crashes are in the mix.

 
Background
 
To some, it may seem pointless to do a review of the Hifiman HE-500 in June of 2016, years after it was phased out in favour of their new product line – specifically the HE-560. However, I feel that this can be a useful guide for those looking to pick up one on the used market, as I did.
 
My previous experience with a Hifiman product was in January this year when I bought myself a HE-400i and it was my first set of planar magnetic headphones. I’ve since sold them and moved on to other cans, but I missed the speed that it had. With that in mind, and the hopes of finding a more neutral pair of headphones, I picked up a HE-500.
 
Specifications
 
Driver: Planar Magnetic
Sensitivity: 87 dB
MFR: 15 Hz – 50 kHz
Nominal Impedance: 38 Ohms
Leather Earpads
Cable: 10 Feet, Silver Conductors
Connector (to Amplifier): 1/4″ Phone Plug
Dimensions: 3.8″ Diameter x 1.8″ Deep
Weight: 1 Pound
 



 
Build, Design & Comfort
 
After my time with the HE-400i, the HE-500 simply looked like a bulkier version of it in dark grey instead of black. The HE-400i used plastic materials to lend to a lightweight build, but the HE-500 utilises sturdy and thick metal in places where the newer iterations have a thin piece instead. The adjustment does not use any form of incremental markings or place holders, it smoothly adjusts and holds in place wherever you choose to stop. As far as headphones go, this is built like a tank – which has its advantages and disadvantages.
 
One major disadvantage is the weight. I do not have exact measurements, but the HE-500 falls slightly north of a full pound of weight. It is even heavier than my ZMF Omni (one of the lighter wood configurations, cherry) and I have definitely found it cumbersome at times. Documented mod guides exist to alleviate this issue, but I do not want to undertake them myself. A major one involves replacing the headband with the one the HE-400i uses, which is an aluminium chassis with a light and thin headband. The HE-500 is, again, from a time before this design became preferred by the company. What you have here is a thick leather headband with metal inside and slight padding. I’m, simply put, glad that they did away with this design since.
 

 
 
 
It feels anachronistic now, at the time of writing, to complain about the screw-on proprietary connectors that Hifiman used to use and the ones that are present on the HE-500. They have since switched to dual 2.5mm connectors, such as the one my HE-400i used. I can see why people consistently complained about them for years, bringing about the change. At one point, one slightly unscrewed itself and the sound began skipping out on the channel – leading me to believe the wire itself might have been faulty. It’s easy to believe so because the wire is a silver cable that does not lend much to confidence in terms of build quality. I used it for amp comparisons as my Schiit Magni 2 does not have a balanced output like my Cavalli Liquid Carbon, but I avoid it otherwise in favour of a balanced cable. I took issue with the default cable on the HE-400i as well, finding it too short and rigid – prone to excessively fast wear and tear according to other owners. With both headphones, it is better to seek out sturdier third-party options.
 

 
 
 
The HE-500 comes with two sets of earpads, one pleather and one velour, and both are quite mediocre. This is another improvement Hifiman has made since then, introducing the FocusPads and FocusPad A’s (the one on the HE-400i) that are more comfortable. At first, I did not want to order a pair of FocusPads A’s from China and tried other options – specifically a pair of ZMF lambskin earpads that I had lying around unused as I prefer the cowskin on my Omni. Anyone familiar with Hifiman’s earpads will tell you how a ring exists inside them that must be removed and then inserted into any other earpads you want to use in order to mount them onto their products. It is quite a delicate process because the rings can indeed break if handled harshly, leading to earpads not being able to be put on. This is something that has not changed in Hifiman’s design.
 

 
 
My Frankenstein HE-500 consisted of ZMF lambskin earpads with the ZMF Pilot Pad thrown on top of the headband for good measure. I reckoned that, with this much padding, comfort would be greatly increased. However, the thickness of the pads put a lot of pressure on my face when coupled with the, by default reasonable, clamp of the headphones. It was a fatiguing feeling so I switched back to the velour and ordered a pair of FocusPad A’s in the meantime. I was pleased on their arrival, they really add to the comfort while maintaining the sound signature and transients the headphones are known for. The lambskin introduced more bass into the mix, but I have other options for that, like the Omni or the Fostex TH-X00. What I wanted was what the HE-500 provided.
 
Sound
 
You might be wondering at this point why I would bother with these headphones, given all the complaints above about its comfort and build. The answer is simple: the sound quality. I have surrounded myself with “fun” tuned headphones such as the Omni, TH-X00, Shozy Zero and the Meze 99 Classic, and really wanted something that is somewhat neutral in presentation.
 
I won’t sit here and tell you that the HE-500 is truly neutral, but it is a lot more than other options I have. As an owner of the Sennheiser HD600 in the past, I would actually compare these to them. I previously thought that the HE-400i was a planar magnetic version of the HD600, but the HE-500 is closer and superior in some ways to the popular Sennheiser cans.
 
The bass on the HE-500 does not sound bumped at all, as even the HE-400i did. It is very clean and articulate and does not intrude outside of where it should be. It’s a very impressive sound, but not what a basshead would want as there is a distinct lack of mid-bass. It also extends fairly low, lower than the HE-400i and definitely the HD600 – both of which had rolled off bass extension. This does not mean that the HE-500 goes into TH-X00 levels, but there is a sense of presence and control that is very pleasing for several genres. Where the TH-X00 excels with EDM and electronic music, the HE-500 does extremely well with more “organic” genres such as rock, metal, classical/orchestral music and classic rock. The bass frequencies leads to the bass guitar being clear and present in songs but never drowning out the rest of the frequencies. It is also very, very fast – something I love about both the Hifiman products I have used to this point. I don’t have the HE-400i on hand to compare, but it does seem that the HE-500 is more immediate in its bass response. It simply does not linger or overstay its welcome, the decay is really fast.
 
The mids are another reason I will hold on to these headphones despite any comfort issues I may have over long periods of listening. They have a very musical tone to them and are slightly warm, but are not forwarded in any sense. They sound natural but sweet. Vocals and vocal layering shine on the HE-500 as do electric guitars. However, I found the presentation of acoustic guitars to be less realistic than the Omni, but still very clear and resonant nonetheless. The mids, and the headphone overall, have immediacy and very low decay – which is very useful for genres where analytical listening is necessary such as jazz. Even the HE-400i, comparatively, had more of a mid-bass bleed into the mids – and I thought those sounded remarkably stark and clean at the time. If anyone recommends the HE-500 to you, it will definitely be because of the mids.
 
The treble is at a point where it sounds detailed but never sibilant. It is something in between the veil of the HD600 and the far extension of the HE-400i, which could at times be sibilant depending on song choice. The HE-500’s treble extension breathes life into classic rock recordings, which can easily be bogged down by roll-off due to their older production methods and large dynamic range, and thus I heavily prefer it for the genre over the Omni, TH-X00 and HE-400i. Led Zeppelin are a band whose songs have been at times problematic for several pairs of headphones I have owned because their overall warmth can dampen the bite of Jimmy Page’s guitar work. Where the TH-X00 heavily favoured the rhythm section and bumped it up in the mix where all else felt drowned out, the HE-500 eagerly displays all the colour and resolution that is necessary for listening to the band in incredible balance.
 
This is the most analytical pair of headphones in my possession right now and one that my Schiit Gungnir benefits from the most due to the detail retrieval. Of course, it might pale in comparison to the likes of the Sennheiser HD800, which I have not heard at length, but it fits right into my needs. I challenge you to find anyone who would classify the sound of the HE-500 as sterile or cold. It walks the tightrope admirably between resolution and overly “fun” warmth.
 
The soundstage trumps both the HD600 and the HE-400i quite a bit. I expected it to be similar to the latter, but it is far wider. Upon careful consideration, I’d actually place this second in terms of soundstage in full-sized headphones I have owned – right after the Beyerdynamic DT990. The wide soundstage complements the fast nature of the headphones as swirling instrumentation in songs travel far and wide without any sense of lag or inaccuracy.
 

 
 
Amp Pairings
 
While the Schiit Magni 2 is more than enough to power these headphones, the Cavalli Liquid Carbon pairing is now my favourite of all time – with the previous favourite being the HE-400i with the Schiit Asgard 2. This is because of the amp’s slightly warm but still detailed nature, adding to the sweetness of the HE-500 quite a bit. The Magni 2, which is transparent, shows the headphone’s true sound and it is still warm and inviting, but the Liquid Carbon just goes that extra step to my ears.
 
To sum up: not portable, need adequate amping as they are planar after all.
 
Conclusion
 
If you have good neck strength, these could easily be on your list of cans to try out. Sadly, they are indeed discontinued. It is likely that very few people will even dare to call these a pair of beautiful cans, or even largely comfortable, but the sonic benefits far outweigh the disadvantages. What you ultimately have here is an incredibly balanced but tonally rich and lush pair of headphones that does not lack in detail – coupled with the best transient speed planar magnets can offer. I would pick it over its younger brother, the HE-400i, any day due to its balanced and natural sounding strength that is well within my comfort zone for treble extension.
 

 
 
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Comparisons
 
Bass Quantity: TH-X00 > ZMF Omni > ZMF Vibro Mk. I > HE400i > DT990 > HE-500 > HD600
 
Mids: HE-500 > HD600 > ZMF Omni > HE400i > ZMF Vibro Mk. I > TH-X00 > DT990
 
Treble Quantity: DT990 > HE400i > TH-X00 > HE-500 > HD600 > ZMF Omni > ZMF Vibro Mk. I
 
Soundstage: DT990 > HE-500 > ZMF Omni > HD600 > HE400i > ZMF Vibro Mk. I > TH-X00
 
Comfort: DT990 > TH-X00 > HE400i > HD600 > ZMF Omni > ZMF Vibro Mk. I > HE-500
 
Aesthetics: TH-X00 > ZMF Omni > ZMF Vibro Mk. I > HE400i > DT990 > HE-500 > HD600
 
Lightness: DT990 > TH-X00 > HD600 > HE400i > ZMF Vibro Mk. I > ZMF Omni > HE-500
 
Song Impressions
 
Equipment used: Foobar200 WASAPI Event > Schiit Wyrd > Schiit Gungnir USB Ver. 2 > Cavalli Liquid Carbon.
All tracks in lossless FLAC in at least 16/44.1
 
Abba - Gimme! Gimme! Gimme! (A Man After Midnight)
 
The soundstage and separation of the HE-500 is very apparent from the first notes that ring out in this song, as the melody is played on electric piano and guitars panned on the left and right. The bass guitar work is clear, with a good amount of extension into the bass region, but the vocals take the centre-stage of the song along with the amazing synth-riff that repeats. The beat is punchy but not overly bassy and the quick string sections and stabs have power behind them due to the speed of the headphones.
 
Aerosmith – Dream On (2012 Remaster)
 
The rock genre in general does extremely well with the HE-500 and this song showcases such strength. Steven Tyler’s vocal representation on the headphones capture the body and emotional power, flanked by the incredible dual-channel guitar work that also ring out due to the strong mids.
 
a-ha – Take On Me
 
80s synth and beats with speed. Beyond that, the shimmering backing synth and the vocals sound clear and present. However, the synth bass sounds a bit more rolled off compared to the likes of the TH-X00 – which made the song a more bassy affair at the sacrifice of vocal and synth pad clarity.
 
Alan Parson’s Project – Sirius/Eye In The Sky (2005 SACD)
 
The HE-500 does very well to capture the mystique in Sirius’ instrumentation in perfect balance. Quite often with other headphones, I’d find that some aspect would drown out another and lead to a less pleasing listen overall. That is not the case with the HE-500 at all. The soundstage lets each note breathe well and the speed lets nothing linger in the mix. The vocals sound right at home coupled with the shimmering acoustic guitar work that chimes in effortlessly through the track.
 
B.B. King – The Thrill Is Gone
 
For the first time to my ears, this song feels like a live recording rather than a studio effort. There is a very wholesome quality to it all. King’s guitar Lucille rings out in the mix as should be, but the backing track is clear too. The melancholy yet funky bass work is set up to ring through the song and give it a sense of pacing and body. As the song progresses, more guitar instrumentation and string instrumentation builds up but is never muddy on the HE-500. The fact that King’s hurt vocal rings out clearly over all this detail is astonishing and a superb achievement on the part of these headphones.
 
Billy Idol – We Didn’t Start the Fire
 
This track’s grandiose production is aided by the HE-500. The large but controlled soundstage really brings out all the musical intricacies that are going on that would seem hectic to a less resolute headphone. Very fun listen that helped me hear details I had missed before.
 
Black Sabbath – Planet Caravan
 
Clarity, warmth and balance are three words I’d give to this song’s representation on the HE-500. It benefits vastly from the soundstage too, as the percussion jumps from end to end and the instruments take up their places in the mix – with Tony Iommi’s melodious guitar soloing on the right channel and the piano on the left. Very impressive listen.
 
Blink-182 – I Miss You
 
The piano in this demure track stands out better than I have heard on my other headphones. The vast separation of the two tracks of acoustic guitars is a joy to listen to on the HE-500. The sense of space in the mix really comes through with this much room to grow that the headphones provide.
 
Blue Foundation – Eyes on Fire
 
The vocals sound ethereal and full-bodied simultaneously thanks to the excellent mids that the HE-500 possesses. You can also clearly hear the difference in guitar effects on the two guitar tracks while the gently shimmering synth sequencer continues to add atmosphere to the track. As the song picks up, every instrument and vocal note is presented in a balanced manner over a thundering drum track. The balance of the two vocal lines, the male and the female, are also clear and present where on some other headphones the latter would take priority.
 
Childish Gambino – Heartbeat
 
The kick drum in the intro moves faster than on other headphones that I’ve heard, but not necessarily as loud. The bass saw-synth riff does not sound as pleasing as it does on the TH-X00 due to its immense bass extension, but the surrounding instrumentation of the song overall is superior. Little details like extra percussion from the separate channels and the electric guitar in the second verse are picked out very well by the HE-500. Donald Glover’s higher pitched backing vocal in the chorus is also clearer than I’ve heard before.
 
Chris Isaak – Wicked Game
 
Gentle rock/vocal songs such as this are magnificent on the HE-500 due to its controlled resolution. The delicate and emotional guitars and vocals go hand in hand over a clear and subdued bassline and gentle, brush-tipped snare hits. The faint backing vocals singing “this world is only gonna break your heart” have more body to them than before. One of my favourite songs and I have not heard it better, to be honest.
 
Clint Mansell – Lux Aeterna
 
The dramatic string section creeps up to the listener with power and precision and the high notes retain the starkness they require to cut through the mix as a result of the fantastic yet comfortable treble extension on the part of the HE-500.
 
Coldplay – Clocks
 
This reverb-soaked track is easy to get wrong on different sound signatures because of varying frequencies being favoured over others. Thankfully, the HE-500 makes a statement with how it presents everything in a way that is both accurately balanced yet never boring with plenty of detail.
 
Daichi Miura – Unlock
 
The mood of this track is accentuated by the HE-500 due to how it handles the demure vocals and layering along with the impressive reverb effects in the production. The low end doesn’t sound as “club” like as on some other headphones, particularly the TH-X00, but there is clarity and body throughout the rest of the track’s mix.
 
Emerson, Lake & Palmer – From the Beginning
 
The acoustic guitar has a lot of body to it, but is not natural enough to go head-to-head with the ZMF Omni. However, it fits in better in the mix than the Omni because of its balanced presentation. A magical listen due to just how in sync everything is.
 
Eminem – Without Me
 
A more detailed listen than the TH-X00 with respectable bass, but the Fostex just synergizes better with the rap genre in general. Despite that, the separation is again excellent and the verses’ musical transitions flow far more naturally than on the Fostex. The snare is also impactful, yet not sibilant at higher volume like the TH-X00.
 
Fleetwood Mac – Dreams
 
A song I re-visit with every new piece of gear and one I know as well as the back of my hand. A wonderful listen due to it playing to the HE-500’s strengths. Vocal separation is incredibly clear as is the high pitched synth in the back that adds to the atmosphere – of which the soundstage adds tonnes.
 
Kavinsky – Nightcall
 
The kick drum falls right into the realm of possibility for the sub-bass extension of the HE-500. Not the best pairing of song overall due to its reliance on mid-bass, but the chugging electric guitar and the vocals are benefitted by the strength of the mids. The backing vocal in the verses, singing “we’ll go all night long” repeatedly, sounds clearer than on the likes of the TH-X00.
 
Lana Del Ray – Summertime Sadness
 
A stunning listen. Sublime vocal layering of Lana’s incredible studio voice flanked by so much instrumentation over a mournful marching funeral beat. The strings ebb and swell to their potential as the rather odd choice of samples of children shouting (and a scream in the intro) are clearer than I’ve ever heard before. Nothing is drowned out, no detail is lost - the only way you would get more detail out of this is with a more analytical audio chain at this point.
 
Led Zeppelin – Achilles’ Last Stand
 
As mentioned above in the review, bands like Led Zeppelin benefit a tonne from the HE-500’s balanced yet musical nature. The guitars ring out clearly along with the vocals as the rhythm section stands where it should – not drowning anything out like on some other headphones like the TH-X00. The amazing guitar work is present on both channels with detail and resolution.
 
Marcin Przybyłowicz – The Fields of Ard Skellig
 
The power and precision of the HE-500 brings this track to life as the vocal soars over a lushly produced backing track. The Gungnir, Liquid Carbon and HE-500 truly highlight the “air” around the violin and other instruments due to the quality of production, mixing and mastering.
 
Queen – Bohemian Rhapsody
 
All the balance I have been praising above again brings forth this song in a new and incredible way. You just know that the vocal layering and harmonisation is something to behold on the HE-500, especially in the famous bridge section. The delicate piano flourishes never get drowned out by anything else in the mix and the bell sound effects never lose any of their nuance.
 
Ramin Djawadi – Game of Thrones Theme Song
 
The thunderous and cinematic percussion maintains its body and impact while the marvellously separated string sections churn ahead to present the epic title track in full glory. Another mention must be given to the track A Lannister Always Pays His Debts, also by Djawadi, for just how incredible it sounds on the HE-500 for the same reasons as the title track.

Cavalli Audio will not sell the Liquid Carbon headphone amp anymore, with the second and final run ending a month ago, but I hope the following is useful to those looking to pick one up on the used market.
 

 
Background:
 
My Schiit Asgard 2 had served me very well from when I purchased it in mid-2013 to earlier this spring, when I found that it made my ZMF Vibro Mk. I sound a bit too stuffy – an overabundance of warmth due to both headphone and amp being of warm sound signatures. I then opted for a more neutral Schiit Magni 2, which fared far better as a pairing. Even later, when I was using a ZMF Omni as a daily driver and had sold the Asgard, I missed some aspects of its warm sound signature. I thought back to my favourite two pairings of the Sennheiser HD600 and the Hifiman HE-400i with the Asgard, the latter being especially pleasing to my ears, and missed its abilities. It was with this mindset, of wanting character rather than neutrality, that I began searching for a Cavalli Liquid Carbon on the used market.
 
I wasn’t aware before my search began, but Cavalli Audio and Dr. Alex Cavalli’s designs were incredibly well-regarded in the audio community. The Liquid Carbon was made as a way for the small Texan company to thank their staunch supporters, offering their house sound in a small and affordable offering that had balanced input and output options. From what I have gathered, its popularity exploded due to demos at meets and conventions because of its compact form factor and sound quality. A second run was started, this being the final one, and the original price of $599 was bumped up to $799 due to releasing it again with the original pricing not being viable for Cavalli. To sweeten the deal, the company offered brand T-shirts and an Audioquest NRG-X3 power cable – of which neither Cavalli nor I will make any claim of improvements in sound quality. Finally, they also included a full license of Sonic Studio’s Amarra Hifi Music Player software.
 
Seeing the long wait ahead, and my own limited budget, I found a used one from the first run with the serial number 00202. I was, honestly, awed by the fact that the warranty was transferable and I contacted Cavalli CEO Warren Chi to have it done. He asked if I had any impressions of the unit, and boy did I ever. 
 
Specifications (From Cavalli Audio’s website, of the second run models)
 
Gain: 1X (0db) and 3X (10db), hot switchable from front panel to adjust for different headphones
Maximum Power: ~1.5W into 50R
Inputs: 1 x XLR  (Bal); 1 x  RCA; 1 x 3.5mm - front panel selectable; RCA and 3.5mm are the same input.
Outputs: 1 x 4-Pin XLR; 1 x TRS, 1 x RSA.
THD: 0.004% at 1kHz/500mW (4VRMS) into 32 ohms (resistive)
Input Impedance: ~10k
Output Impedance: ~0.12 ohm balanced, ~0.08 ohm single-ended
Size: 5" (W) x 7" (D) x 1.75" (H);12.7 cm (W) x 17.8 cm (D) x 4.5 cm (H)
Weight: 1 lb, 7 oz (0.7kg)
Stand-Offs:  Adhesive rubber feet 
 

 
 
Build:
 
Cavalli, thankfully, didn’t opt for a glossy finish on the back and sides of the Liquid Carbon. The matte black is still a dust magnet, but you won’t see fingerprints adorning it. The front panel, however, is not quite glossy but still susceptible to the aforementioned problems. I found the unit to feel hefty yet light in my hands, which along with its small size makes it really useful for a nomadic person such as myself. It felt solid and premium.
 
The volume knob turns in a very measured and smooth manner and has a brushed metallic feel to it. It does not produce any undesirable noise when adjusted. The front panel is also home to a SE ¼ pin output as well as two balanced connections. I have read that someone damaged their amp by having headphones plugged into the balanced output while simultaneously having another set plugged into the SE output so please do not make the same mistake. The gain switch is a small button on the side of the volume knob and is red when activated. Finally, the far right button is an input selector. The back panel consists of one pair of RCA inputs, inputs for balanced Neutrik XLR connectors and a 3.5mm input. The power cable was not a wall wart, as was the case with the Schiit Magni 2, but rather an 85-265vac/1a connector for a full-sized power cable.
 
The original run did not come with rubber feet, which I feel are sorely needed for this unit. I bought my own from a third-party seller on eBay. The second run did, however, have rubber feet included.
Overall, a sturdy and handsome piece of audio technology that would find an easy home on any desk. I also, personally, like the Cavalli Audio logo’s design and it being emblazoned on the top. The font used throughout the model is also unique and interesting.
 

 
Sound:
 
Schiit Wyrd > Schiit Gungnir USB Version 2 > Cavalli Liquid Carbon > ZMF Omni/Hifiman HE-500/Fostex TH-X00/VE Monk Plus
 
Now to the main event – the reason why I blind bought this amp. The Cavalli house sound is widely praised but has been, by far, out of my financial reach because the very next amp in terms of price (ascending price) is the Liquid Crimson, which costs $2,999. As you can well imagine, the promise of the Cavalli house sound being present in a $599/$799 priced unit was a curiousity creator.
 
Upon plugging in, my first reaction was along the lines of “this is definitely not trying to be transparent.” I had grown accustomed to the Magni 2 and was hearing a more refined version of the musical warmth I had once known so well over the period of several years with the Asgard 2. Do not let the description of it not sounding very neutral throw you off, this is still very much a solid state amp and music sounds as it should without any unnecessary changes. My ZMF Omni, which was now plugged in for the first time using a balanced output, felt more controlled. The T50RP mod is quite power hungry, and although the pure wattage of the Liquid Carbon is not substantially higher than the Magni 2, it did a far better job at refining the sound and keeping the bass in check. Suddenly, my music had gone through a transformation not so dissimilar to when I switched to the Schiit Gungnir in terms of presentation and control. A sense that my audio chain had morphed into a well-oiled machine was prevalent as the days and weeks passed since I first put it all together.
 
I would say that the Liquid Carbon is not an analytical amplifier as is the likes of the Schiit Mjolnir 2, which offers superior resolution. What the Carbon is, however, is the provider of a smooth and syrupy audio experience that does not lose out on much of its detail and texture. All my praise for the Asgard 2 had much to do with how it warmed up the mids and made vocals and acoustic instrument sound genuinely live and organic. The disadvantage of the Asgard, in this regard, was that when faced with a warmly-tuned headphone, it stumbled and led to the sound becoming boomy with too much bleeding of the mids and bass. The Liquid Carbon also toasts the mids to a light golden-brown but does not overdo it, leading to the backing tracks in songs sounding far more measured with no hectic detractions. The warmth is in no way overbearing, but rather to the exact sweet spot where it feels pleasing to the ears without making it incompatible with headphones – making the Liquid Carbon enhance the sound of headphones rather than being picky about pairings.
 

 
The Omni’s performance on the Liquid Carbon is the one I have spent the most time with, and the one that impressed me the most. Zach’s T50RP mod, which the Vibro also is, took a great liking to the Carbon – through balanced output. The strengths of the Omni were amplified, no pun intended, as the authentic acoustic instrument recreation became just a touch more vibrant and lively. The bass, of which the Omni has a large amount, became punchier than it previously was and seemed to dive just a tiny bit deeper. The forwarded mids were a delight, with vocals sounding breathtaking and not cold at all – even with overly processed genres such as electropop.
 

 
The Fostex TH-X00 (with the standard non-removable ¼ cable) saw benefits to its lower mids, with male vocals and harmonies becoming a lot more pronounced. The largest benefit was to the bass, of which the TH-X00 has the deepest I have heard on any headphone. A/B’ing it between the Carbon and Magni 2 also showed that the highs, to my ears, were slightly less strident on the former. The W-shaped sound signature sounds like it has slightly melted, leading to less stark peaks and more to an overall effort at musicality.
 

 
The Hifiman HE-500, also with balanced output, saw as large an amount of benefit that the Omni did. The soundstages of both the Omni and HE-500, both of which are quite vast (especially the Omni, being semi-closed as it is) are spread a touch further by the Carbon. Instrument separation on the HE-500 benefits greatly from the Carbon, with an understated power taking over to lend weight to each musical note you hear – be it from acoustic or electronic instruments. This pairing is my new favourite of all the headphones I have owned, overthrowing the Asgard 2 + Hifiman HE-400i reign. A/B’ing it with the Magni 2, which powers it as needed in terms of volume, the HE-500 took a great liking to the Carbon’s gentle simmering nature. The sound has far more body, to put it simply.
 

 
The 64-ohm VE Monk Plus has additions to its sound made by the Liquid Carbon too – with the already excellent soundstage opening up further and a more acute low-end opening up. With portable devices, I tend to use foam on the earbuds – but the Carbon adds enough body and warmth that I can’t help but prefer the Monk to be bare.
 
What the Liquid Carbon does is take a light to all your headphone pairings without disturbing the balance that the manufacturers worked to achieve. Sound becomes more punchy and warm, particularly in the mids. However, the disadvantage of this choice of presentation is that the sound feels “candy-coated” compared to more analytical amps that prioritize neutral resolution. This is not the amp to use if you want to hear every note come out at you with the impact of a whip cracking. The Liquid Carbon is, rather, an overall effort to add a certain character to your audio chain – without resorting to the likes of a tube amplifier.
 
It should also be noted that I do hear a very slight hum if I plug the likes of my Shozy Zero or Zero Audio Carbo Tenore into the SE output jack. This is a known power-related problem with the first run of Liquid Carbons that related to the use of sensitive IEMs, a problem that has apparently been remedied in the second run. It does not bother me so because I use higher impedance headphones, particularly power-hungry planar magnetics. I do not hear it with the VE Monk Plus, so that further lessens any worry.
 
If you are going to use the Liquid Carbon, I would highly recommend using the balanced output if you can. It provides far more power than the SE output. I would also generally recommend making greater use of the volume knob rather than the gain switch. Low-gain offers a greater soundstage and less distortion in the sound. The 3x/10 dB high-gain, however, is a very good pairing with the ZMF Omni when I want to listen to electronic genres that require ampler and more controlled bass – times I care about impact over the aforementioned qualities.
 
Conclusion:
 
I have to commend Dr. Cavalli and Warren Chi for coming up with the Liquid Carbon, an affordable and compact slice of their impact on the audio industry. Their product takes all the detail my Schiit Gungnir emits and wraps it gently in a blanket of musicality, warmth and pleasurable listening. Most importantly, there is a home to all genres and headphones with the Liquid Carbon – its sound signature is not a bad match with anything I have tried. Ultimately, I hope they come out with another offering that is competitively priced and offers stellar sound and build quality in the future. 
 
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I am a big fan of overachieving gear of any kind. What I mean by overachieving is the “they sound way too good for the price” factor. This is a highly subjective mindset because the worth of an item is not based primarily on its cost but rather its overall performance, aesthetics and compatibility with the end user. However, some items are just almost “too good to be true” for their price – such as the VE Monk and Monk Plus by Chinese company Venture Electronics which deliver astounding quality for $5, a well-documented fact in the portable audio community online at this point. However, the competitive nature of the audio industry has birthed many a company to try their hand at producing premium sound at a competitive cost.
 
One of those companies is Shozy, who are based in Hong Kong. A quick browse through their website shows that they have been focused on amplifiers and DACs till now, along with a DAP called the Alien – which is said to have incredible phone-out sound quality at a comparatively low price compared to others in the market. It achieves this, however, by not having a screen – merely a few buttons that are reminiscent of the iPod Shuffle experience from the early 2000s. Shozy has exactly one earbud and one IEM and this is a review of the IEM.
 
Disclaimer:
 
I was provided with the Shozy Zero IEM after being approached by a representative from the company. I was told that I would be given a b-stock model, sent in an envelope with three sizes of tips and no packing or carrying case that the retail model will have.
 
I was given instructions to burn them in for 200 hours before being given an accurate sense of the sound. I found this to be an unusually long period of burn in time, but I carried out the deed due to an acute curiosity as to whether or not it would achieve anything. Thanks to Shozy for the review model.
 
Specifications (From Shozy’s Website):
 

1. Audiophile quality Litz structure cable with enhanced shielding.
2. Sensitivity (at 1khz) 94 dB.
3. Frequency Response: 20 Hz – 18 kHz.
4. Input connector: 3.5mm / 1/8 inch gold-plated stereo TRS plug.

 
Initial Impressions:
 
As I pulled them from the small, padded envelope they arrived in, I was startled by just how small they were. I had scoured their site for photos of the product and I came away with the impression that they were bigger than they actually are. I chose the medium tips, feeling that they give the best seal, and plugged the IEM into my Samsung Galaxy S6. I went straight for some electropop, a genre with prevalence on my phone due to it being good music for commuting – for me anyway. My first two thoughts were that the warm sound signature felt pleasing to my ears and that the mids were not bad at all – to say the least. I listened for a while to gather impressions of the performance and found it to be quite good. They had a fun sound signature that didn’t sound V-shaped. The sub bass extended quite well and the mid bass made EDM and electropop sound punchy and fun. I was strongly reminded of my time with the ZMF Vibro Mk. I and for good reason, but more on that later.
 
After a few hours, I put them aside at a burn-in station in a corner of my room and forgot about them.
 

 
Build and Comfort:
 
Before I talk about the sound quality and any changes that may or may not have happened as the burn-in process continued, I should note the build quality of these IEMs. As you can see from the photos, it utilizes rosewood on the monitors, the splitter and the 3.5mm jack. I found the latter two to be an interesting design choice, but it does lead to the uniformity of the entire design. The rosewood is a nice dark grain, not quite unlike my acoustic guitars that gives the IEMs a premium look. A nice wood housing can make many high-end components simply gain aesthetical appeal, and I’m glad to say that Shozy did not skimp on that aspect because the rosewood is indeed real and the entire design choice using it does not come across as gimmicky.
 
As stated before, the monitors are incredibly small. Even with the medium tips, they simply disappear comfortably into my ears. I, personally, found this preferable to oversized monitors that I have seen before – with their plastic or metal casings. However, this also means that the Zero is not the most durable of earphones and thus should be treated with care and respect. Basically, don’t damage the wood folks.
 
As for the cable, I approve of the colour scheme matching the rest of the unit, but the rubberized and sandpapery traction felt overly synthetic and displeasing to the touch (irony considering the kosher nature of the monitors themselves). I also found it to be a bit thin and would have preferred a thicker and more durable cable for the price. Ultimately, however, the cable did not make any noise when moved and adjusted and was still far, far better than my Zero Audio Carbo Tenore and Zero Audio Carbo Basso cables. There is also no neck adjustment for the Shozy Zero, which is another detraction.
 

 
Pictured Left to Right: Shozy Zero, Carbo Tenore and Carbo Basso
 
Comfort is excellent and I can’t find anything wrong with how long I can wear them. The only people who would have trouble wearing a Shozy Zero for several hours on end are those persons who dislike the feeling and experience of using IEMs in the first place. I especially preferred it to the Carbo Basso, which is extremely thick (with an extremely thin cable) and comparatively uncomfortable.
 
The left-right markers are in black…on top of black, which makes them a pain to distinguish in anything but the best lighting conditions. I fully understand Shozy not wanting to desecrate the rosewood with the letters “L” and “R,” but I feel that the lettering should have been given a matching reddish-brown tint to make it at least readable while maintaining the overall aesthetic. The Zero’s logo itself is chiseled into the wooden cable splitter, but could have been made a bit bigger and bolder in my opinion. I am in no way arguing for Beats level of brand-shouting, but a little more visibility of the logo would be nice.
 

 
The audio jack itself is straight, which works for my phone as the 3.5mm connection is on the bottom – but I can see it being an annoyance for those who have DAPs and phones with it on the top. Again, I can somewhat understand why a straight connector was chosen – so that Shozy could add more of the beautiful rosewood somewhere. The beauty does come with a cost however in this regard, if this sort of thing is a hindrance to you.
 
Sound:
 
The above comparison to the ZMF Vibro Mk. I made more sense to me the more I listened to the Shozy Zero. For those who do not know, the Vibro is a mids and bass centric pair of headphones that has rolled off highs.
 
The bass is not very tight by any means, but it is very filling and has good extension into the sub-bass area. The mid-bass is very clear and present and has a delicate balancing act with the mids as to not drown them out. I would actually consider the bass as treading the line between chaos and discipline carefully. Its strength at this is musical genre-dependent.
 
The mids were the biggest surprise to me as they sound really smooth. Vocals sound quite warm with a slightly forward tilt. The mid-bass and mids combine with well-recorded acoustic guitars to lend a quite authentic impact to the strumming and plucking. The biggest strength of the Zero’s tuning was its ability to give body to the vocals of a song with a large amount of instrument layering both in electronic and acoustic genres. Vocal harmonies were quite easily picked out as separation is robust and detailed. With the quality of bass that these IEMs have, I was surprised and grateful that the mids did not sound muddy or rolled off, as was the case with the Carbo Basso. I preferred the coloured and warm mids of the Zero to even my previous favourite IEMs, the Carbo Tenore, as they sounded lusher to my ears rather than incredibly neutral.
 
The treble is what reminded me the most of the ZMF Vibro Mk. I initially as it felt a noticeable degree rolled off. Unlike the sibilant V-shape of the Carbo Basso or the neutral presentation of the Carbo Tenore, the Zero halts the extension past a certain point to provide a warmer experience that is never sibilant. This did, initially, prove a little problematic with certain genres such as classic rock and orchestral music, but the highs definitely opened up by fifty hours of burn-in. Interestingly, I did not hear a difference past fifty hours, but continued to run them through my burn-in station regardless. I am confident that I now hear these IEMs at their fullest potential, and they sound good.
 
The treble is what denies these earphones from being classified as all-rounders to me, so if that is a consideration for the reader then the Carbo Tenore wins out. The listening experience is heavily dependent on the production quality of the audio played through the Zeros. At one point, you’ll hear a song where some instrumentation struggles to be heard, but at other times all will be right with what you hear. Hello by Adele is one such song that sounds great on these IEMs as her voice rings out clearly in the mix while the backing track retains a dramatic and cinematic sound due to the low-end being so well represented.
 
The soundstage is quite vast, comparable to the Carbo Tenore and far, far better than the Carbo Basso. Recordings with spread out instrumentation, as well as “3D” positional audio and ASMR will be well served by the Shozy Zero.
 

 
 
Driving:
 
I am comfortable in saying that these are very easily driven earphones to the point where I would recommend not using an amp at all. For the purposes of testing, I hooked it up to my Schiit Gungnir  and Cavalli Liquid Carbon, but found that it became way too warm. Switching the amp to the transparent Schiit Magni was a better match, but still unnecessary. It sounded better from my Samsung Galaxy S6 honestly. I don’t have a DAP at my disposal currently but once I do, I will update this section of the review.
 
Conclusion:
 
While writing this, I realize just how few “neutral” earphones and headphones I’ve actually had the chance to review. The Shozy Zero is another in the line of “fun” headphones that I’ve had that don’t try to, simply put, do it all. This makes a product like this harder to gauge so I just go by what I enjoy in music listening and apply it to my findings. Your mileage will doubtlessly vary, which makes it difficult to recommend based on written descriptions alone. That and the large amount of recommended burn-in time makes it so these are earphones I would highly recommend you finding some way to demo – unless you are into warm and bassy sound signatures by default.
For my purposes, these IEMs do well and I will be using these out in public because they are:
 

1. Easily driven and not picky about sources.
2. A good pairing with electropop and other high-energy genres of music that I primarily listen to in public.
3. They look good.
4. Comfortable and provide a great seal.
5. The bass and lower mid emphasis is good for commuting in noisy conditions. This is the opposite effect of the ATH M-50X that I used to have, that would become tinny and sibilant outdoors. This never changes in such a way and that is a big plus to me.
6. They combine aspects of the Carbo Tenore and Carbo Basso  – taking the strengths of the former and losing the deficiencies of the latter.

 
 
Do they sound like something in the several hundred dollar range? I can’t say because I have not heard IEMs of that pricing in recent years. Do they sound like they are worth more than $60? Yes. There is a refinement to the mids that is something to be appreciated. However, these do not fall into the range of critical listening. They are bassy, musically tuned and coloured IEMs and should be approached and appreciated as such
 
 
Song Impressions (lossless FLAC files in at least 16/44.1):
 
Abba - Gimme! Gimme! Gimme! (A Man After Midnight)
 
Does far better than the Carbo Basso at presenting the driving low-end of the beat without sacrificing the vocal impact. The bass guitar and bass synth-line are the clear focus while listening on these IEMs.
 
Aerosmith – Dream On (2012 Remaster)
 
Very warm with really good separation in the intro, with both guitars ringing clearly alongside the distant sounding string section. Steven Tyler’s vocals have a lot of body to them while the backing beat has a fair amount of discipline in its bassy yet refined presentation.
 
a-ha – Take On Me
 
A punchy piece of 80s synthpop being represented well, especially by the soundstage due to the swirling synth section.
 
Alan Parson’s Project – Sirius/Eye In The Sky (2005 SACD)
 
What I find most interesting about listening to these tracks on the Zero is just how detailed the guitar work can sound over a backing track that feels a bit too warm - especially the acoustic guitar in Eye in the Sky. While these recordings are incredibly produced, they don’t play to the Zero’s strengths.
 
ATB – Move On (Feat. JanSoon)
 
It doesn’t dive as deep with the sub-bass as the likes of a Fostex TH-X00 obviously, but still a decent presentation of electronic music.
 
Billy Joel – We Didn’t Start the Fire
 
A pleasurable and punchy listen, with the melodies spread out the vast soundstage. The vocal harmonies in the chorus ring out clearly.
 
Blink-182 – I Miss You
 
A nice representation of the acoustic guitar sound on both channels. The rolled-off treble tames Tom’s vocal quite a bit but in a manner that doesn’t detract from the song.
 
Childish Gambino – Heartbeat
 
A great match for the Zero. Donald Glover’s tortured rap and vocals ring out as the hectic backing track is compartmentalized while being well represented. The cinematic quality of the song is also well-served by the soundstage. The repeating piano melody sounds even more haunting than it would on a neutral pair of earphones.
 
Chris Isaak – Wicked Game
 
The gently-strummed guitars sound lifelike and well-separated. Isaak’s crooning vocal has even more body behind it thanks to the sound signature.
 
Clint Mansell – Lux Aeterna
 
This production plays to the Zero’s strengths again as it utilizes the soundstage and low-end on string section to add to the dramatic nature of the composition. The violins ring out clearly without sounding sibilant.
 
Coldplay – Clocks
 
A great match. Chris Martin’s vocal is encompassed by a warm and pleasing wall-of-sound as the uniform beat drives on. Vocal harmonies are well represented with the piano riff taking center-stage of the entire song clearly. 
 
Ellie Goulding – Lights
 
This is an example of a song that actually benefits from the Zero over a more neutral IEM. Goulding’s vocals in this track are quite thin in the upper-register, but the chorus is aided by these IEMs bringing forward her lower-note harmonization – leading to the overall sound feeling fuller.
 
Emerson, Lake & Palmer – From the Beginning
 
The acoustic guitar has a lot more body to the sound than some other headphones I’ve listened to this track with. The bass guitar is louder than those other headphones too. The separation of instruments is impressively well-done. The vocal volume feels a little lowered however.
 
Eminem – Without Me
 
The snare has a bit of a thud to it, but the rest of the track sounds as it should. The driving bassline does not clash with Eminem’s rap and the organ motif rings out in the mix.
 
Fleetwood Mac – Dreams
 
The mids of the Zero do this song immense justice. The vocals sound lifelike and well separated (the chorus has four vocal lines harmonized) while the acoustic guitar sounds lifelike. The bassline does not drown out the delicate balance of the rest of the song.
 
Kanye West – Jesus Walks
 
The backing track sounds bombastic but Kanye’s vocals feel slightly lowered in the mix.
 
Kavinsky – Nightcall
 
A lot of sibilance in this track is tamed by the Zero without taking away from the impact of the snare or female vocals.
 
Lana Del Ray – Summertime Sadness
 
Vocals ring out clearly with plenty of body while the cinematic and dramatic backing track does not clash with them. Sounds as the song should. Very good synergy.
 
Led Zeppelin – Achilles’ Last Stand (2015 Deluxe Edition – HDTracks)
 
I was a bit apprehensive going into this song because it did so poorly on my TH-X00, but those fears were alleviated once it kicked in. The soundstage helps this song immensely, which is the major advantage this has over the Fostex, as the guitar tracks are far to the sides while the bass and drums take center-stage. Everything rang out cleanly and Plant’s vocal was unencumbered.
 
Linkin Park – Breaking the Habit
 
A slight clash here because the frantic and heavily digital sounding backing track fights with the vocals a bit. Still a good listen.
 
Lorde – Royals
 
This more laid-back track benefits from the sound signature and soundstage. The sub-bass rings out without entering the region of the heavily-harmonized vocals.
 
Machine Head – Davidian
 
The song retains the power it absolutely should have, with the guitars having a warm sound to them.
 
M83 – Midnight City
 
This song mixes shoegazing elements with electronica/house. Probably one of the best pairings of IEM and song that I’ve heard as the vocals feel beautifully ethereal but maintain the body and clarity on top of the wall-of-sound backing track that absolutely pulls no punches. The only time anything feels drowned out, it is the saxophone solo at the end.
 
Pendulum – Set Me on Fire
 
The drop’s lower-end has the impact, but the upper ranges have detail that gets drowned out by the pounding bass. Not the best match.
 
Queen – Bohemian Rhapsody
 
Vast soundstage? Check.
 
Good vocal representation with the harmonies? Check.
 
So you just know the middle section is going to sound great, and it does. Interestingly, the tone of the distorted guitar in the last section benefits from the warmth too.
 
Queen – Another One Bites the Dust
 
Superb balance across all ranges. The vocals and guitars sound the most impressive, particularly Brian May’s clean-strummed lines.
 
Rage Against the Machine – Killing in the Name of (2012 20^th Anniversary Edition Remaster)
 
Zack’s vocal sounds good but the backing track feels louder than normal. Interestingly, it doesn’t bleed into the vocal. Despite this, the attitude and power (especially in the final refrain) is present and accounted for.
 
Ramin Djawadi – Game of Thrones Theme Song
 
Overly warm, but very good representation of the now classic theme song. I feel this has more to do with the production than the Zero however.
 
Slipknot – Wait and Bleed
 
I wasn’t able to listen to Slipknot out in public before the Zero because my other IEMs didn’t do the hectic production justice without losing out on the impact. I’m glad to say that this has changed.
 
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When the TH-X00 first appeared on my radar last year, I had only a little knowledge of who Fostex were and their wide reach in the audio game. I saw Massdrop advertise the headphones as $399, marked down from $1000, and wondered what the quality must be. At the time, I was switching between a Sennheiser HD600 and a Beyerdynamic DT990 600 Ohm as my daily drivers, with more emphasis on the former.
 
About a half-year later, I finally have a pair in my possession. By this time, Massdrop is on their third run of the mahogany version and have just completed a run of the $450 Purpleheart version of the TH-X00. I’ve watched thousands being sold and people waiting anxiously as they shared their enthusiasm and impatience with others online. I daresay that the TH-X00 and the AKG K7xx are the most successful Massdrop collaborations thus far.
 
Specifications, from Massdrop:
 
50 mm dynamic transducer
Magnesium alloy construction
Mahogany earcups, brilliant gloss finish
Leatherette earpads, matte black
Magnetic flux density: >1 tesla
Impedance: 25 ohms
Sensitivity: 94 dB/mW
Maximum input: 1,800 mW
Frequency response: 5–45,000 Hz
10 ft (3 m) thick, braided Y cable
1/4 in (6.3 mm) gold-coated stereo phone plug
Weight, without cable: 12.3 oz (350 g)
Weight, with cable: 17 oz (482 g)
 
Build:
 
The TH-X00 is an impressive looking pair of headphones. The cups are a glossy pair of mahogany craftsmanship of which no two are alike due to natural wood grain. It’s a bit difficult to describe, but I get an “old-meets-new” vibe from the design. The wooden cups add an old-fashioned beauty and class to it, but the rest of the design is very much modern. The headpad is cushioned just to the point of necessity, leading it to look lean and smart while providing ample comfort. There’s no room for excess in the overall design, which results in its astonishingly light weight. Maybe I’ve just been using a ZMF Omni (in cherry too, one of the lightest) for too long, but the light weight, and therefore comfort, of these cans can itself be seen as a major selling point – especially given its sonic characteristics that I will discuss further on.
 

 

 

 
 
A major detraction comes in the form of an incredibly thick 10ft cable that isn’t detachable. I feel this design choice to be strange, given how much headphone-enthusiasts enjoy customizing their experiences with cables both standard and balanced. Due to how easy it is to drive, it would have been a comfortable and fun wear on trips and other situations that could call for portable use. This is all hampered by the cable. I’ve seen some modify theirs into a detachable version, but I feel Fostex should have themselves given this option given the TH-X00’s price tag. Interestingly, the Fostex TH610 that is supposedly based on the TH-X00 (and retails for around $750, pictured below) has detachable cables.
 
 

 

 
 
The cups themselves are well finished so that they gleam and look very inviting to onlookers, but aren't very rugged so care must be taken when handling these cans – which is a given to anyone who prizes their audio possessions but is still something worth mentioning. The lightness of the cups is very surprising as the other headphones I’ve used with wooden earcups (the ZMF Omni and Vibro Mk. I) have both been really heavy in comparison. On each cup there is a FOSTEX logo written in black, which is something I could have done without honestly. Unlike on the TH900, where the logo pops out on the silvered and candy-like red earcups, the logo on the TH-X00 looks dull by comparison.
 
The left side of the headphones has the Massdrop label printed on it while the right side has TH-X00 and the serial number of the pair written. The slide adjustment has two prongs and adjusts in small and satisfying increments – a far cry from the large bronze slider of the Fostex T50RP. The cups don’t rotate a large amount, but there is plenty of leeway for comfortable adjustment. These are meant to be closed cans, but the isolation isn’t the best. I would describe it as just adequate in that aspect. The clamp isn’t harsh at all so most of the seal comes from the rectangle/oval indents in the earpads. The earpads themselves are made from protein leather so vegans can rest easy purchasing these.
 
Overall, a very light and comfortable design that looks very premium and stylish. The only disadvantage being, to me, the logo on the outer cups and, to most, the non-detachable cable.
 
Sound:
 
“Fun” headphones and tuning is such a subjective term honestly. Some in the audio game scoff at those who have Beats by Dre, but then at times themselves derive less pleasure than those whom they poke fun at simply because they are so caught up in the technical aspects of their gear to just sit back, relax and listen to some good music. If you are a listener who likes to be incredibly discerning of their listening experience to the point where it intrudes on the enjoyment of it, then these are not the headphones for you. That being said, these are the headphones those who enjoy Beats should have instead and this is why.
 
The bass on these is simply incredible for cans in the mid-fi range. The bass extends lower than my ZMF Omni, which held the sub-bass crown before the TH-X00 showed up. How it did this while being a dynamic driver instead of planar magnetic is a mystery to a guy like me – but it’s extremely impressive. It comfortably emitted bass frequencies that many headphones would struggle with.
 
A good example of this is in the song “Rap God” by Eminem, which utilizes sub-bass frequencies in its beat that would disappear on many headphones – or be very light and unsatisfying. The TH-X00 tears into it just fine and does so with ease. For the bass characteristic alone, these headphones are incredible for rap and electronic genres of music and they effectively beat the ZMF Omni for the low-end championship in my collection. It’s also quite fast, only falling short in this price range to the HE400i, which is planar magnetic. The HE400i has nowhere near the level of sub and mid bass however, but it is punchier.
 
The bass frequencies are quite disciplined but some genres can definitely show signs of bleeding into the mids – leading to too much bloom/boominess in the overall sound reproduction. This is especially apparent in classic rock where production methods were not as slick and advanced as they are nowadays. Led Zeppelin especially loses out in this regard, with the rhythm section feeling bogged down.
 
The mids are recessed, but not quite as much as I anticipated. I had read about this being a W-shaped pair of headphones rather than V-shaped, and I can see and hear that being the case. The sound is quite warm which especially stood out to me as my other experience with V-shaped headphones was the very cold and bright DT990. The lower-mids, male vocals and rap, are incredible clear and full and the trouble really begins in the upper-mids, female vocals and the like losing their body. A song like “Show Me the Meaning of Being Lonely” by the Backstreet Boys, which has many vocal layers stacking, has its overall impact lessened by the TH-X00. This is not unexpected however, given what the headphones try to achieve.
 
The highs can get a bit shrill at times, depending on what it is you are listening to genre-wise. Electropop with female vocals can especially be quite strident. Still, this aspect pales in comparison to the likes of the DT990 and makes for much more comfortable listening. The treble extends past the rolled-off nature of the ZMF Omni and HD600 with ease, which lends to a more impactful sound in snare-hits – giving the beat more “snap” to follow the intense kick that the bass reproduction provides. This further adds to the excellence of the TH-X00 for the likes of rap and electronic music.
 
Overall, the sound plays to the design that Fostex had in mind when it came to the TH-X00. They are simply the best I have heard to date when it comes to the genre-compatibility I praised above. They stumble at others but still sound quite good. There hasn’t been a point where I found anything problematic to the point that I would even characterize it as average.
 

 
Soundstage:
 
Are you seriously asking? Why even read this section, just move on. You insist on knowing? Very well.
 
The soundstage is intimate, to say the least, even for a closed pair of headphones. Listen to ASMR or “3D” directional audio and you’ll hear just how the simulated world you knew before just got smaller – you went from a concert hall (if you have the HD800 or DT990) to a small room. I would describe this as the narrowest soundstage I’ve heard in full-sized headphones that I’ve owned in the last couple of years. It is narrower than even the ZMF Vibro Mk. I, which is also closed.
 
This shouldn’t even really be a consideration if you are looking into the TH-X00 as there are other headphones that can provide this but lack what these do offer however.
 
Amping:
 
I have two amps at my disposal currently, the transparent Schiit Magni 2 and the slightly warm Cavalli Liquid Carbon. I found both, which are vastly different in price, to be more than sufficient in amping the TH-X00, which has an impedance of 25 ohms. You won’t be increasing the volume past a third of your amp’s capabilities and that will be louder than many can handle. Even my Galaxy S6 powered these adequately, which adds to the fact that the cables should have been removable so that a small and comfortable 3.5mm cable could have been used for portable devices.  
 
If you do manage to get a pair modified to do just that, a portable amp will do wonders for your sound. You won’t get good enough isolation to have a noise-free experience during a flight, but these sure as hell beat the standard headphones airlines offer.
 
Comparisons:
 
Bass: TH-X00 > ZMF Omni > ZMF Vibro Mk. I > HE400i > DT990 > HD600
 
Mids: HD600 > ZMF Omni > HE400i > ZMF Vibro Mk. I > TH-X00 > DT990
 
Treble Quantity: DT990 > HE400i > TH-X00 > HD600 > ZMF Omni > ZMF Vibro Mk. I
 
Soundstage: DT990 > ZMF Omni > HD600 > HE400i > ZMF Vibro Mk. I > TH-X00
 
Comfort: DT990 > TH-X00 > HE400i > HD600 > ZMF Omni > ZMF Vibro Mk. I
 
Aesthetics: TH-X00 > ZMF Omni > ZMF Vibro Mk. I > HE400i > DT990 > HD600
 
Lightness: DT990 > TH-X00 > HD600 > HE400i > ZMF Vibro Mk. I > ZMF Omni
 
Ordering Process:
 
Obviously, as it’s a collaboration between Massdrop and Fostex, you can only buy these during one of the drops it’s placed on over at the website. As it so happens, at the time of writing this there are still 14 days remaining for the mahogany version. Sadly, the $399 does not get you a case. Only a dust-proof bag is provided in the box.
 

 
EQ:
 
I'm still quite inexperienced with EQ so any feedback would be appreciated. I find the following settings on Foobar to make the TH-X00 retain its fun sound and bassy sound signature while taming the sibilance.
 

 
Here's a preset if you'd like to try it on your own Foobar2000 + TH-X00 setup.
 
Conclusion:
 
When the smith-wizards over at Fostex made the prototype of the TH-X00, it asked what its purpose of existence was – sentient as all headphone prototypes are obviously. It was told that it was to entertain the masses, to whom bass quality resulted in increased enjoyment of modern music. That is, ultimately, what the TH-X00 was born to do. This is in no way the best mid-fi all-rounder, that crown still belongs to the Hifiman HE400i in my eyes, but it doesn’t offend while being stellar at its strengths. For $399, this is an easy purchase to make if you want an indulgent set of cans lying around for when you want a break from your high resolution and analytical system. It’s up to you if you want to wait several months for Massdrop to complete your order though.
 

 
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Song Impressions:
 
Equipment used: Foobar200 WASAPI Event > Schiit Wyrd > Schiit Gungnir USB Ver. 2 > Cavalli Liquid Carbon.
All tracks in lossless FLAC in at least 16/44.1
 
Abba - Gimme! Gimme! Gimme! (A Man After Midnight)
A lot more intimate than I’m used to, but with a far more pleasing lower end – which is very enjoyable due to its synth and bass guitar driven beat. The TH-X00 does especially well with the breakdown section, every bass note and slap rings out in the mix effortlessly.
 
Aerosmith – Dream On (2012 Remaster)
The TH-X00 does well with Steven Tyler’s voice. The rhythm section in the second half of the song does get a tiny bit congested however. Again, much narrower in soundstage than I’m used to.
 
a-ha – Take On Me
Now we’re talking. I haven’t heard this song sound as nicely as right now. It is delectable synthpop and the backing vocals are well represented.
 
Alan Parson’s Project – Sirius/Eye In The Sky (2005 SACD)
The TH-X00 adds a substantial amount of kick to the low end of these tracks, which kind of upset the delicate (and very well produced) balance of the instruments that I’m used to. The rhythm section of Sirius especially muffles the synth melodies a bit.
 
ATB – Too Soon (Feat. JanSoon)
The TH-X00 was made for tracks like this. It simply bumps.
 
B.B. King – The Thrill Is Gone
This is an interesting one. There is more mid-bass bloom than I’m used to but it works well with the track as a whole, with the bass guitar being a lot more pronounced in this blues classic.
 
Bee Gees – Stayin’ Alive
The TH-X00 actually adds to the disco attitude presented, although the vocal melodies don’t ring out as well as I know they can. Again, not an incredibly analytical pair of headphones but the tradeoff is that the beat has a lot more impact in both kick and snare.
 
Big Black – Kerosene
This song is pretty punk rock in production and attitude. Steve Albini’s voice transcends a noisy, jangly and treble-heavy wall of guitar sound in some of the most charismatic low-fi I’ve heard to date. What the TH-X00 brings to the experience is the more pronounced drum machine and drone bass, making it a fatter sounding song than it usually is.
 
Billy Idol – White Wedding
Just like a-ha, this song simply pops with the TH-X00. I think 80s synthpop/new wave production will generally sound really nice with these headphones. The production has more room in it for the low end to feel accentuated while not losing the detail.
 
Billy Idol – We Didn’t Start the Fire
This song is a lot catchier than I remember thanks to the TH-X00 with its driving beat. The higher vocal harmonies in the chorus feel subdued however.
 
Blink-182 – I Miss You
While the acoustic guitars don’t sound as lifelike as they do on my ZMF Omni, they do sound incredible and far closer to your ears than you previously knew. The mid-bass bloom doesn’t affect Tom’s verse so much due to his high pitched voice but does clash slightly with Mark’s lower register.
 
Blue Foundation – Eyes on Fire
I always liked the drums that come in later on in this track, and now I do so more. The impact and cinematic quality of them is breathtaking thanks to the Fostex.
 
Childish Gambino – Heartbeat
I feel like I finally understand the point of that harsh saw-bass riff that this song has because the low end that accompanies it is far more pronounced on the TH-X00 than any other pair of headphones I’ve ever owned. Very impressive. It does drown out the vocal harmonies and the vocal-ah synthesizer in the chorus however, but I’ll let it slide due to how immense the low end sounds. The guitar work in the second verse is, surprisingly, a lot more pronounced than I remember too.
 
Chris Isaak – Wicked Game
This is one of those songs that ranks amongst my top songs of all time and thus one I return to every time I have a new piece of audio gear. It has such a delicate and charismatic sound to it and I’m glad to say the TH-X00 does it justice in all aspects – emphasizing the bass-work while maintaining the delicate guitars and exuberant vocals.
 
Chromeo – Night By Night
Songs like this are purely enhanced by the TH-X00 with no detraction whatsoever.
 
Clint Mansell – Lux Aeterna
This haunting and cinematic piece feels more congested than usual, but still a nice listen.
 
Coil – Going Up
Coil’s last song feels even more haunting due to the increased droning mid-bass frequencies and the one vocal line being unaffected by it due to its high pitch.
 
Coldplay – Clocks
The TH-X00 does really well with this track and its driving beat. There is increased impact in the piano riff and driving bass/drum work. Chris Martin’s vocals don’t feel hampered due to the mid-bass bump.
 
Daichi Miura – Unlock
While the driving low end sounds sublime, I’m surprised by how sibilant the guy’s vocals sound compared to every headphone I’ve listened to this song on before. The reverb effect on the vocals feels less impressive than I remember too.
 
Darude – Sandstorm
Song name? Anyways, this early 2000s club banger does immensely well with the TH-X00, as expected due the electronic genre.
 
Ellie Goulding – Lights
She already has a thin and rather nasal voice in the upper register, but this makes it have even less body. However, the rest of the song is on point. Not sibilant however, interestingly.
 
Emerson, Lake & Palmer – From the Beginning
The acoustic guitar work feels a lot thinner than other headphones that I’ve owned, except the DT990. The body of the song comes from the low end again, but it isn’t how this track was originally structured to be. The bass guitar, as usual, is more audible however along with the synth solo that comes in later.
 
Eminem – Without Me
Another testament to just how incredible these headphones are with the genres they were meant for. The ebbing and throbbing bassline that makes the song sound so addictive has never sounded better to my ears. The treble extension makes the snare hit hard as well. A+ synergy.
 
Fleetwood Mac – Dreams
Songs like this struggle with the TH-X00 because of how the vocal and guitar centered they are. Even the bass guitar and instrumentation doesn’t sound as filling as it does on my ZMF Omni or the VE Monk Plus earbuds. A subpar match but still alright.
 
Kanye West – Jesus Walks
Very addictive bass thump but less controlled than on the HE400i. It feels looser.
 
Kavinsky – Nightcall
Enhances the song in every way except the female vocals, which sound a bit thinner and slightly sibilant. Sounds, overall, more brash and bombastic - as it should due to its cinematic nature.
 
KMFDM – Megalomaniac
Industrial music you can dance and headbang to. The bassline sounds a lot more club-like than what I heard previously. The guitars also sound filling, lending to the overall sound having more immediacy and impact.
 
Korn – Falling Away from Me
This is a song that I was absolutely sure would feel extremely stuffy with the TH-X00 due to how it is mixed, but the headphones surprised me with their perseverance…to an extent. Still really boomy but enjoyable.
 
Lana Del Ray – Summertime Sadness
This mournful ballad feels simultaneously more and less “cinematic” in presentation with the TH-X00, which add a drive to the slow and measured drum-beat but take away from the swirling string section that accompany Lana’s incredible studio voice – which itself is represented well in comparison to most female vocals. Overall, I don’t prefer it over other headphones I’ve heard but it’s still a good match.
 
Led Zeppelin – Achilles’ Last Stand
A bit of a mismatch here, with the TH-X00’s emphasis on the low end drowning out Page’s guitar work substantially – which is a no-go for Zeppelin listening. The drums and bass are a bit overpowering. Plant’s vocals survive however.
 
Linkin Park – Breaking the Habit
The clean and electronic-sounding production of this track are benefitted from the audition of the TH-X00 largely but there’s a sibilant nature to the processed vocals now.
 
Lorde – Royals
The bass and drums steps into Lorde’s main and backing vocals substantially, but the overall listen is still quite stellar.
 
Machine Head – Davidian
The strong yet undisciplined low-end power that the TH-X00 pulls out of this track is extremely impressive. The guitars sound as heavy and distorted as they should while the incredible drumwork gets its absolute due thanks to the sound signature.
 
M83 – Midnight City
This song mixes shoegazing elements with electronica/house. Interestingly, the TH-X00 gives it more structure due to the beat and bass being more pronounced, while some headphones loses this aspect to the huge wall-of-sound that the production has. Very enjoyable listen that handles the atmosphere well.
 
Martin Garrix – Animals
If you had to use just a single track to convince a basshead why they should buy the TH-X00, this is the track you would show them if you want the best result. The sub-bass in the rise and drop is just ruthlessly massive and breathtakingly deep. 
 
New Radicals – You Get What You Give
This song is a good representation of what I meant in my video regarding how the TH-X00 doesn’t sound as “natural” as some other headphones that I’ve owned. A large amount of the packed instrumentation that this 90s classic has is reduced by the Fostex to sound more linear and with more emphasis on the beat and vocals. The piano is quite lost in the mix.
 
Nirvana – Smells Like Teen Spirit
I daresay that you’ve all heard this song before. The guitars sound a tad recessed but still very “dirty” and grungy (pun intended) while Dave Grohl’s drums take center-stage along with the simple driving bassline. Cobain’s tortured vocal maintains sufficient body to command the attention it deserves and has always deserved. The TH-X00 delivers.
 
Pendulum – Set Me on Fire
Just like the Martin Garrix song, the drop in this is exactly what the TH-X00 was designed for. The headphones do extremely well with the chaotic drop and dish out all the detail necessary for its enjoyment. The 90s-video-game-like synth that follows is also done justice as it isn’t muffled by the bass frequencies. Again, a song that I haven’t heard sound this good on other cans I’ve had.
 
Queen – Bohemian Rhapsody
The ahead-of-its-time production really does well on the TH-X00. Even the famous bridge section with the stacked vocals falls right in the region that the headphones is rendered admirably. The closeness of the vocal layering provided a new experience to my ears over the other cans I’ve had. I heard more detail, ironically, due to how close it was. Overall a good match of song and headphone.
 
Queen – Another One Bites the Dust
Alright, this has to be heard to be believed. It hasn’t sounded punchier and more aggressive before, before. Extremely good synergy. All the instrumentation and vocals fall squarely in the regions that the Fostex excel in.
 
Rage Against the Machine – Killing in the Name of (2012 20^th Anniversary Edition Remaster)
Another great pairing. The TH-X00 gladly joins in the attitude the band exhibits with Tom Morello’s guitar overdubs sounding just where they should on top of the driving low end.
 
Ramin Djawadi – Game of Thrones Theme Song
While the low end instruments sound satisfying, a lot of the upper-mid detail is quite recessed. The main melody feels drowned out by the thunderous percussion section. A lot of nuance is lost, but that was to be expected given what these headphones were designed to be.
 
Slipknot – Wait and Bleed
The warm and powerful sound signature lends greatly to this relentlessly aggressive track. A lot of the extra percussive elements (Slipknot has two percussionists along with their drummer) ring out in the mix. Some of the cymbal hits can be quite sibilant however.
 
The Glitch Mob – We Can Make the World Stop
Another good pairing, but don’t turn it up too much because a lot of percussion and “glitch-breaks” can be quite sibilant. The low end is simply stellar however.
 
The Weeknd – The Hills
Sub-bass galore. The snare is a little piercing but it’s easily forgiven for how much the TH-X00 brings out in this song. The sparse production prevents any drowning out of instrumentation too.
 
Zack Hemsey – Mind Heist
This low-end driven “epic” orchestral piece is served well the TH-X00 to add to its power. A lot of nuance in the percussion is reduced but the tradeoff is immense power when the song fully builds up.
 

 
It is nearing two months since I was introduced to the original Monk earbuds by Venture Electronics. They left quite the impression on me and my views on price-to-performance ratio in audio gear, not to mention reviving a medium that I had long since abandoned. In fact, I believe my last experience with earbuds was in 2005 when I had an Apple iPod. I then found a pair of Sennheiser PX-100’s and never looked back at earbuds again.
 
 
That is, until this March when a classmate let me demo his, run from an Ibasso DX90. In those short moments, I heard oodles of clarity and soundstage emitting from what looked like extremely cheap earbuds. The name of the company was not even written on them. I would compare the moment of when I first looked upon the original VE Monk to what audiences must have thought when before Susan Boyle opened her mouth on national television to sing “I Dreamed a Dream” way back in the day. I went home and ordered two, marvelling at the fact that they were 5 pounds each shipped.
 
 
It turned out that I had come across the original VE Monk right at the end of its production run. Unbeknown to me, Venture Electronics had mapped out upgrades to their bestselling item and dubbed it the Monk Plus/+. I was intrigued by the details I had gathered regarding the differences and managed to procure one with an expansion pack.
 

 
 
The day arrived and I had them in my hands. I plugged them into my Fiio X1 player and put on a song I was very familiar with on the original Monk, Dreams by Fleetwood Mac in FLAC from HDTracks. I was very surprised by the sound. Very, very surprised.
 
 
I was confused at first because the sound signature had changed quite a bit. The forwarded mids and warm tone of the original monk had been changed to a more neutral presentation. I found this quite uncharacteristic of what I had perceived the Monk’s selling point to be. I won’t lie, I was confused and felt that it might not have been the right move by Venture Electronics to change a winning formula in such a manner. I discussed it with Wild Lee, the outspoken head of the company who assured me to keep trying it with different sources and configurations. I did, and I found exactly what worked for me.
 
 
 
You see, the Monk Plus is incredibly detailed – so much so that I found its resolution superior to most full-sized headphones I have tried in the past. I had found the original Monk quite detailed too, but the treble felt a bit hazy with its mids-centric sound. The bass on the original felt “full” but never suitable for more electronic genres of music. The Monk Plus has situated itself as an incredible all-rounder pair of earbuds because of its neutral, detailed and resolving sound. It is very clear in both mid and treble regions and does not get overpowered by more hectic recordings like the original Monk sometimes did. Another improvement took some experimentation to discover, but once I found it I was sold on the sheer quality of these new earbuds.
 
 
As mentioned earlier, the bass on the original Monk had shortcomings in the extension and impact – especially with more electronic genres such as Electronic Dance Music, Electropop music and Techno. I chalked up this quality to the fact that it was an earbud…a $5 earbud. It would be foolish, I told myself, to expect a $5 earbud to be able to accomplish more than its chosen sound signature – which I had incredible for classic rock recordings. I saw the original Monk as a clearer model from the Grado line in earbud form – where bass is never meant to be the focus but rather the mids and overall open soundstage.
 

 
 
The Monk Plus has more bass extension that I thought possible from a pair of earbuds with this design. You must understand that the soundstage of the Monk, and increasingly so the Monk Plus, is vast with incredible imaging. This quality is hard to achieve in the closed off, plastic earbud design that all Apple product users are familiar with. The Monk/Monk Plus succeed at this because of their very light plastic shell and minute drivers. There is no attention given to making them look “cool” or “trendy,” but rather to accomplish the best sound experience possible. When using the original Monks, I appreciated this aspect and switched off my need to have, simply put, “more bass” as I listened to rock recordings.
 
 
The Monk Plus turned my expectations on their head as I can now happily listen to all the electronic genres that I found myself avoiding with the original. This is due to my chosen configuration and setup, which utilizes two full foams on each side. The new foams are thinner than the original Monk’s, so I found myself wanting more damping for bass impact. However, I found that using one of the original Monk’s full foams caused the Plus to sound muffled and very unsatisfactory. This told me that this is an entirely different entity from the original, even to the point where it required different thickness in foams. I rummaged through my expansion pack and experimented with different configurations – leading to my finding that two of the thinner foams on each earpiece yielded increased bass extension and impact without losing more than a tiny amount of the clarity and resolution that is this earbuds’ main selling point.
 
 
Suddenly, the Monk Plus had trumped the original to become what I went to for portable listening sessions. The better soundstage, the cleaner sound overall with the more neutral mids and extended highs, the impressive bass extension and the clarity and resolution put this head and shoulders above any other earbuds I had tried in my life – with most costing more too.
However, I will say that the Monk Plus is quite a bit revealing but not in the manner you would imagine. I found that it made the phone-out jack on my Fiio X1 sound dull, but had renewed vigour and energy being driven from my Samsung Galaxy S6 with its coloured sound. I found this amusing at first but then I found it hard to return to the X1 – leading to me selling it. I dub it the Monk Plus’ victim and I hope it finds peace with its new owner.
 

 
 
Deciding to truly go guns blazing into what could be achieved with the Monk Plus, I plugged it into my Cavalli Liquid Carbon SE output on low gain. Music was played using Foobar2000 on my Laptop connected to a Schiit Gungnir DAC with USB Version 2. I find this DAC to provide an immense amount of detail and resolve to even my ZMF Omni – which is tuned to be a musical pair of headphones that has slightly lessened resolve and detail compared to others. The Monk Plus showed me more of the warm but charismatic characteristic of the Liquid Carbon coupled with the incredible clarity and resolution of itself and the Gungnir. It was simply the best I’ve ever heard on a “portable” set of listening apparatus.
 
 
This setup convinced me I needed a better DAP, but I’ll have time for that later. I’m very grateful that the Monk Plus gives a punchy and fun sound from my Galaxy S6. I also found that the earbuds responded very well to equaliser adjustments such as the one below that I sometimes, when the need for bass is overwhelming, use for more electronic music.
 

 
 
I would recommend the expansion pack if it is available for purchase, as they notably tend to run out quickly due to the product’s popularity. I haven’t quite figured out how to use the earhooks yet but they comes in two sizes in soft and comfortable rubber. Rubber rings in white and black are also provided for those who want more traction for the Monk Plus in their ears. I count myself as one of the individuals who find that the earbud just “disappears” during wear, leading to an open sound emitting from the room around you as it barely feels like anything is being worn. I have heard that some struggle with its width, but I have not personally so I cannot speak to this issue.
 
 
Even when I was knee-deep in Monk Plus listening, I told myself that I would alternate between it and the original depending on genres I was listening to. However, this simply never happened except for review notes and comparisons. I find the Monk Plus to be the superior earbud in both build quality and sound. The clarity in the vocals and acoustic instruments in the aforementioned song Dreams by Fleetwood Mac burst into life on these earbuds, with vocal harmonies sounding crisp and distinct with a lot of body to the sound. The casing itself has been upgraded from the original, using what feels like a better quality plastic shell that is see-through so you see the drivers at work. The name is also written on the shell now too so hooray for branding. I'm also glad to see that the original thick double-wire from the original has been retained in the new design.
 

 
 
Branding and marketing is what commands attention in the audio world in many cases. We all lambast Beats headphones for their sound quality but evidence shows that the company spends more on marketing campaigns than most audio companies spend period. It worked, they got their name out there and now most headphones I see being worn in public are Beats. Venture Electronics went with a different approach, one I truly respect. A little digging on AliExpress will show you that they make quite a few products from other earbuds to an Electrostatic amplifier. Their other products have premium pricing, as such products do in the audio world – but the Monk Plus stands alone at $5. It is such a simple but effective marketing tool, to draw in customers with such a small investment bringing amazing quality. For most casual listeners, some of whom I have bought the Monk Plus as a gift and have been given very positive feedback regarding, this earbud will be all they need to enjoy music on their smartphone. To the rest of us, it makes us wonder. It whets our appetite for the kind of experience that Venture Electronics can provide for more payment. Indeed, I have read rave reviews of the $150 earbud the Zen 2.0 and I hope to try it myself someday when situations can allow for it. Until then, I’m happily using my Monk Plus.
 
 
In a hobby with known diminishing returns the higher you go, the Monk Plus makes all earbuds' price-to-performance ratio curve start damn early. 
 
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In the audio world, nobody can say we don’t have a tonne of choice available to us. Some audition gear with slight differences to find the piece that truly stands out to them. This customizable experience is what drives enthusiasts in this hobby.
 
 
But what of the everyman? What of the student on a tight budget who needs the best “bang for your buck” experience? Some will point at the O2, but I would honestly recommend the Magni 2 instead in its basic form – the non-Uber $99 version.
 
 
One reason for this is that the O2 has a slightly bright sound signature while the Magni 2 has an incredibly uncoloured and neutral sound. There is a time and place for amp colouration, with tube amps being sought after for this very reason, but don’t discount the strength of transparency in an amp source. I previously used a Schiit Asgard 2 from May of 2013 to mid-March 2016. It has a nice and slightly warm sound which went well with my previously owned headphones, the Beyerdynamic DT990, the Sennheiser HD600 and the Hifiman HE400i. However, when I got my hands on a ZMF Vibro Mk. I, a headphone with rolled-off highs, it felt almost stifling as a pairing. It was then that I bought the Magni 2.
 
 
The clarity of this made a large difference with the Vibro. Some previous problematic recordings (with the Asgard 2) were cleaned up for listening as nothing was preventing the headphones from sounding as they should – at their tuned level of warmth. The Magni 2 also provided the same amount of power, 1.0W at 50 ohms, that the Asgard 2 did for my needs with the Vibro being a T50RP mod at 50 ohms. It had plenty of power and, with low gain, I never had to increase the volume dial over 11 ‘o clock.
 
 
Enter my ZMF Omni, another warm pair of headphones with much more extension in the highs than the Vibro. The Omni and Magni 2 paired really well, especially after I introduced a Schiit Gungnir into the mix. The detail of the Gungnir fed through the Magni admirably to give a clean and powerful signal to the Omni.
 
 
What the Magni does really well is keep it simple, stupid. Schiit’s marketing is famously anti-marketing and they don’t cry out the virtues of their products very much, letting the quality speak for itself. It has one 1/4 headphone jack, one pair of RCA inputs, a gain switch, an on-off switch and it uses a wall-wart as a power supply. There’s no balanced input or output and, quite honestly, that is a non-issue for $99. The $149 Uber version has preamp output and slightly more power wattage but also succeeds at providing a simple quality experience.
 
 
I strongly feel that this amp is all that is necessary for the “apparently I need a headphone amp?” crowd. It can power headphones up to 600 ohms quite easily, with only problems arising (I predict) with the extremely hungry pairs like the Hifiman HE6. I would also recommend it for those who want an inexpensive but transparent amp lying around for certain genres that require the solid-state bite that tubes can’t give. It’s also incredibly small, so just put it to a side and forget about it until you need it.
 
Make no mistake, this is not a "natural" sounding amp. It doesn't give that sweet sound many seek. It's rigid in design and implementation. This is the amp for those who want the headphone to do all of the talking.
 
Build quality is standard Schiit fare, sharp edges and incredibly sturdy industrial design with metal being used. My one gripe is that it takes quite a while to start up, about 20 seconds approximately. Otherwise, it’s a fine product by Schiit audio. Comes with rubber feet too which are always good.
 

 
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Ask yourself this question, what do you seek from a pair of headphones? Now I know this may seem like a strange question, as most of you probably have multiple pairs for different purposes – but what draws you to your favourite pair?
 
Is it neutrality? I’d guess you absolutely love the likes of the Sennheiser HD600 then.
 
Is it accurate imaging, a huge soundstage and an analytical and revealing sound? Well then the Sennheiser HD800S must be what you seek.
 
You can see where I’m going with this, and I’m only using Sennheiser products as an example because of how well known they are. I’m well aware that there are many factors that go into the enjoyment of your favourite pair of headphones, no matter what they are. But let me tell you about what makes this particular pair of headphones stand out for me, and why they are a good fit for my needs.
 
                                                                         
 
 
A little background first. ZMF stands for “Zach Modified Fostex,” and was founded a few years ago by Zach Mehrbach, a resident of Chicago who has always had an affinity for the artistic re-purposing of wood. On his blog, found on zmfheadphones.com, he claims that this started with an appreciation for baseball bats – a sport he played a lot of as a kid. Later in life, he fancied himself a bit of a luthier and took to making acoustic guitars with various tonewood. This is important because the concept of tonewood is central to acoustic guitars. I myself have two for their different sound, an all mahogany one for its deeper and richer sound and a spruce one for its brighter tone. Over time and experience, guitarists swear by certain woods – just like how some in this community swear by certain headphones. Some like exotic woods like koa and the ever elusive (and hard to obtain legally) Brazilian rosewood.
 
From my understanding, there was a fad of modifying the Fostex T50RP headphone a few years ago – when the likes of ZMF and MrSpeakers started doing so commercially. Zach’s approach went back to his love for wood and tonewood. However, he didn’t start like that. The original ZMF mods had repainted OEM cups at most. It wasn’t until the introduction of the ZMF x Vibro that he decided to add the element of wooden cups to further shape the sound. With cups made of soft cherry wood, the Vibro was the first time the man used something other than the stock earcups.
 
When I first plugged in my ZMF Vibro Mk. I earlier this year, I was taken aback by the sheer amount of bass – despite having two ports in to tame it somewhat. This was my introduction to the ZMF house sound. The bass was strong but didn’t extend incredibly low, rather it stayed in the mid-bass region where it blended with the strong mids to create a unique sound that I hadn’t heard before in a pair of headphones. It was delightful for some genres but didn’t suit others much at all because of the rolled off treble. It should be noted that ZMF now sells the Vibro Mk. II, which is said to have better bass and treble extension than the Mk. I that I have experience with.
 
After some time with the Vibro, I began to dream big and turned my attention to the Omni – waiting for an opportunity that would allow me to grab one. Fast forward a while, and I’m listening to one now – in cherry wood just like my Vibro.
 
Now keep in mind that this is ZMF’s flagship model. This is the culmination of all the effort in tuning and experimentation that Zach has put in since he started his company a few years ago – one in which he seems to do most of the work alone and to order (hence the somewhat long order lead time of 4-6 weeks). This is a personal, boutique touch that is far more customized than factory made headphones, not that there is anything inherently wrong with mass production – it meets demands just fine. However, I’m fairly sure ZMF isn’t even Zach’s main occupation – rather a hobby that grew in popularity and reputation that he must probably devote most of his free time to now. Customer service with Zach is also stellar as he's happy to answer any questions you may have and custom tune your order to suit personal tastes. 
 
This flagship model on my head right now isn’t even the most expensive or "unique" offering. The Omni Cherry and Walnut are priced $100 under the Blackwood and exotic tonewoods that appear in limited number from time to time. Each wood lends to the overall tonality in subtle ways. I would like to steal ZMF’s own description of the various (and currently available) wood options:
 
                                                       
 
Blackwood:  Smooth. Quick/fast transients. A dark resolving sound with OOMPH.  Most sub-woofer effect of the three, with great detail retrieval and very "black" background.
 
Walnut:   Most neutral presentation. Has much of the speed/depth/extension of the Blackwood and the soundstage/openness of the Cherry.  Has good speed but also a touch of decay.
 
Cherry:  Romantic and resolving presentation. Greater decay than Walnut or Blackwood, but with lifelike instrument timbre, especially for acoustic instruments.  A touch of bloom and warmth for that "je ne sais qois" that you need in your life. Still fast, still deep. LARGEST soundstage due to slightly slower decay.
 
Cocobolo (limited edition): A touch harder than Walnut, and with much smaller pores, Cocobolo has a great soundstage, smooth extended top end, and the right mixture of decay and impact in the bass. It's also gorgeous!
 
Bocote (limited edition):  Close to Blackwood with a touch of decay added and beautiful detailed yet easy going mids.  Bocote has a very nice oomph that is super natural because of the added wood pore size over blackwood. Very resolving and musical.
 
As I waited for the cherry Omni to reach me, a long and arduous process that I’m sure anyone with any sense of anticipation is familiar with, I tried to picture what Zach meant by “lifelike instrument timbre.” I listened to acoustic recordings on my Vibro and felt that its reproduction of instruments was quite accurate – just a bit hampered by the fully closed aspect of it and the rolled off treble preventing the shrill but somehow satisfying squeaks as fingers glide over fretboards. A friend of mine already had the Omni blackwood and sang praises of how incredible, yet heavy, it was. Upon long last, I got mine and plugged it in. These felt lighter than my Vibro, which took me by surprise.
 
Straight off the bat, I will tell you that ZMF headphones are in no ways bright. Both the Vibro and the Omni share a warm sound signature. The product line is said to be “musically tuned” and doesn’t claim to be the highest resolution or analytical cans around – which they aren’t. However, that isn’t what I wanted from it. What I did obtain, and enjoy, was primarily a deep sub-bass sound that I hadn’t heard any other headphones reach yet. I was surprised just how leaps and bounds beyond the Vibro it was in this regard. For the first time, I was able to hear Cliff Burton’s bass work quite clearly in the mix in Metallica’s legendary Ride The Lightning and Master of Puppets albums. The bass took centre stage of any recording I threw at it in the most satisfying fashion.
 
The mids sound a lot more natural than my Vibro Mk. I but are in no way neutral. Both headphones have forwarded mids, but on the Omni it sounds very appropriate because of the semi-open design and quite large soundstage – larger than the Vibro (of course) and even my open Hifiman HE-400i. There is a lot of effortless separation in the mids, with vocal layering piling on clearly and majestically. Listening to Michael Jackson’s discography reveals a lot of this attribute as he was a big proponent of layering ad libs jumping from channel to channel. A song like “Don’t Stop Till You Get Enough” really shows off the capabilities of the Omni in its reproduction of instruments, particularly because all of the percussion instruments. Yes, this is indeed a very accurate reproducer of instrument timbre. I’m constantly amazed by how real it makes acoustic guitars sound in songs, given that they’re well recorded. Hell, it makes my own recordings playing my acoustics sound better than I’ve ever heard them – and I only recorded in my room with a MXL 990 condenser microphone. If you listen to the “Hell Freezes Over” live recording of the Eagles playing Hotel California in 1992 (a bit stereotypical I know) you’ll be amazed by how natural it sounds. The Vibro did a good job here, but the Omni trumps it because of the wider soundstage and more natural mids.
 
The Omni also has the ability, that I haven't come across before, of dragging the acoustic guitar track in a song to the front so it becomes more noticeable. I had no idea that most songs in Green Day's American Idiot album had an acoustic guitar track mimicking the distorted guitars to lend a percussive sound throughout the recording. It was only with the Omni that I truly noticed this for the first time since I heard the album for the first time in 2004.
 
A make or break aspect with this headphone for many of you will be how you perceive the treble. Like the Vibro, it's a bit rolled off to avoid any sort of sibilance - but it extends far further. Cymbals have no problem being heard clearly in a mix. Despite this, this makes the Omni slightly unforgiving in the sense that if the source recording isn’t a certain degree of well-mastered and mixed, it will sound quite muddy. The Vibro was even more unforgiving in this regard, while the Omni is actually a very good pair for all the genres that I’ve thrown at it – but bad apples in sound production can dampen its capabilities.
 
As with all T50RP mods, the Omni is power hungry. Luckily for my wallet, it sounds incredible being amped from my Schiit Asgard 2 or Magni 2 – both delivering 1.0W at 50 ohms. The Vibro would sound way too stuffy with my Asgard 2, itself a warm and slightly coloured amp, but the Omni sounded just fine. However, I prefer the more neutral and transparent sound of the Magni 2 paired with it. This being said, a tinge of “what if?” and upgradetitis is afflicting me slowly as I turn my gaze towards more powerful offerings like the Cavalli Liquid Carbon and the Schiit Lyr 2 to drive these. I have read in many reviews that the T50RP mods, and particularly the Omni, scale very well and I wish to hear it for myself. When that day comes, I will update this section of the review.
 
The cherry wood Omni (with lambskin and cowhide earpads, more on that later) also don’t seem to be able to compete with my HE400i in terms of speed and punchiness, but that is entirely to be expected. For those seeking those characteristics, look to the blackwood Omni. This is a more laid back headphone that can still punch hard though. I hear absolutely no problems listening to EDM and electronic pop. Quite the opposite really, I feel the sub-bass and the cinematic mid-bass gives me a great listening experience.
 
For those who think the Omni is too warm, there are options to modify your experience. Zach himself, in the Head-fi thread for the Omni, gives advice to those wishing to do this. Underneath the pads are two dampening materials – a small square foam pad and a thinner round foam sheet pad. They cover the driver and can be removed or changed around (my personal favourite is having the square foam piece diagonally placed on the square driver magnets. Basically, the more that he driver magnets are showing – the more the sound will brighten. However, the trade-off is the strong bass so keep that in mind.
 
Speaking of earpads, Zach provides two pairs of them in each purchase of the Omni. There are three options: lambskin, cowhide and protein pads.
 
The cowhide are coarse and tough sons-of-bitches. They require a long time to break in and can get quite hot. They are also the thickest of the three because they contract the least, leading to a larger soundstage and deeper bass. Make no mistake, taming these is a commitment you must make (unless you use a leather conditioner to help you out - Zach recommends products by Blue Magic) if you want to get the perfect seal with them. Also keep in mind how warm these can get, especially in humid summer heat without air conditioning.
 
The protein pads, on the other hand, utilize a different foam than the lambskin and cowhide and have a linear sound that shares a lot with my HE400i. This is the “fastest” pairing, with more punch and speed and least amount of mid-bass. For this reason, I find this an ideal pairing for metal because, while it lessens the sub-bass a tad, it lets the distorted guitars bite harder and the cymbals appear louder. Those wanting a less overall warm sound can also look into the protein pads to assist this preference. While these advantages exist for a reason, the Omni loses its overall ZMF sound a bit with these and I would only use these situationaly. Thankfully, the earpad switching process is pretty simple.
 
The middle of the pack option is the lambskin. It is softer than the cowhide and still has a lot of bass the former contains. Best of both worlds really. I find this preferable for most situations.
 
Made of protein leather, the pilot pad headband covers up the FOSTEX logo present on the rubber headband and gives a clean and premium look to the overall presentation. It’s also very soft and comfortable. I much prefer it to the other option, the buffalo leather strap pictured below.
 
 
                                                        
 
 
Another reason the soundstage is such a pleasant surprise to me is because these are still semi-closed after all. They provide a really good amount of sound isolation. I currently live in a somewhat noisy flat, depending on whether or not a certain flatmate decides to blast his music on his Harmon Kardon Soundstick III's. It overpowers my HE400i, but the Omni blocks it out - as does the Vibro but the soundstage isn't nearly as wide.
 
As I said earlier, the Omni is quite customizable depending on what earpads are being used and what dampening material is put on the driver. My current favourite setup is cowhide pads the white square foam piece on the driver - essentially removing the grey circle foam piece.
 

 
The weight of the Omni is something I have read a lot of comments on. As is the case with most planar magnetics, (my HE400i is unique in its lightness) they are quite heavy headphones. However, the cherry omni is quite a bit lighter than the blackwood – according to my friend who compared them to his. This makes sense, blackwood is a hard and heavy wood while the cherry is soft and light. I don’t feel the weight as a bother because of the pilot pad and comfortable earpads causing a good seal on my ears. I’ve worn my Omni for many hours on end and don’t feel any fatigue. However, your mileage may vary regarding this.
 
If you are a fan of how polished and refined wood can look, you will doubtlessly love the Omni. I was in awe of some of the photos that I managed to take of mine, it had a statuesque beauty that I hadn’t seen in a pair of headphones that I’d owned before. I now know why headphone porn is a thing, and indeed I’ve made my contribution to the phenomenon over on r/headphoneporn. The Omni transcends the looks of a mere pair of headphones, they look like a heirloom you want to buy a good stand for. It isn’t hard to imagine it catching the eye of visitors and becoming a conversation piece. It’s artisan woodworking, plain and simple. Some of the limited edition tonewood options, like cocobolo, are simply breathtaking.
 
The name of the game for the Omni is fun. I neither know nor care how it measures in graphs as I only know how it sounds to my ears – the most pleasing sound I’ve ever owned. I know they aren’t for everyone, but I’m fairly sure everyone can take some aspect of them to heart in an impressed fashion. The sub-bass is incredible, the soundstage is wide, the mids are natural and lifelike, the treble is never sibilant and it all bundles into a beautiful looking set of headphones you would be glad to own. I applauded Zach earlier for his work with the Vibro when I reviewed it, but now I absolutely and eagerly expect what he comes up with next. I don’t know if he’ll stick to modifying T50RPs, despite the company name, or make his own from-scratch pair. That’s something we’ll all know at a later date.
 
Or he could just finish up his orders, including the 25 rust-stained zebrawood Vibro Mk. II’s that were sold out in a little over an hour on Massdrop yesterday, and close up shop to work on his next wood-based hobby. Maybe designer birdhouses. Who knows? I bet they’d look wonderful regardless.
 
                                                             
 
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