Reviews by Bansaku
Intro
‘Tap tap’ Is the volume ok? Good. Everyone welcome! We have almost all gathered, please, take a seat. Sony, Audio Technical, so glad you could make it. Please squeeze over to make room for Shure. Sennheiser, AKG, I hope your flight wasn’t too bad all things considered. I heard beyerdynamic had a bout of air sickness. Fostexxxx, how’s it going buddy?! Great party you hosted last month, we have to do it again. Anyway, my good cans, it is so good to see so many familiar faces gathered in one place. This meeting will now begin.
Sony: Why have we been summoned here?
AKG: Yes, a meeting of this nature is most irregular so soon after CanJam. A murmur of chatter irrupted amongst the members.
Please, gentlecans, I know you all have questions, and I assure you all they will be answered in good order. I have called this emergency meeting of the Guild of Studiophones today in regards to a newcomer who has emerged. This new studio monitor makes claims of unprecedented sound reproduction, while offering premium construction and comfort done with such elegance and beauty as to be worthy of the goddess Saraswati herself.
A roar of grandiose laughter filled the room as the attendees keeled over, tears streaming from their eyes, and many knees slapped.
Austrian Audio: Is this a joke?
beyerdynamic: Not a very good one. We all are well established and respected. Even you were born from the highly renowned AKG!
AKG: Thank you for your kind words cousin, and you are most correct! We have been on the heads of great artists and directors! We were there when legends and classic were made!
Sony: I am not threatened so easily, and neither should we all! We have stood the test of time with honour and dignity!
Rhode: Hey guys, I am just happy to finally be here, why all the fuss?
Please, PLEASE! Gentlecans! I am empathetic to your hesitation to welcome a new competitor into the industry. You all have been the workhorse in the field of studio monitors for many. ALL of your services over the decades are both appreciated and will never be forgotten. However, one can not deny nor ignore the technical marvel this fresh face brings to the table.
Sennheiser: Enough already! WHO is this fool of a can who dares to insult us with their very existence?
My Good cans… this closed back planar magnetic studio monitor… the Audivina… it’s HiFiMAN…
The room became silent. Some attending members just stared blankly, others were, with all their might, attempting to restrain the look of fear in their eyes while desperately trying to hold on to their composure. The rest simply started to weep. It was some time before anyone had the will power to overcome the shock when Fostex suddenly stood up, calmly walked over to retrieve the coat on the hanger, and headed towards the exit. Steps away, Fostex turned, and in a tone of disappointment yet acceptance, simply asked:
“ Well, anyone want to join me in a few rounds of golf? “
My good readers, the above is obviously fiction, yet in this review of the new HiFiMAN Audivina I will attempt to put into words why the into was in fact both silliness and yet factual. HiFiMAN over the years has released some of the most technical and well regarded headphones in the industry. From the entry level HE-400 to the end game Susvara, HiFiMAN’s offers outstanding performance at any price point, and have become favourites amongst audiophiles and music lovers alike. However, HiFiMAN’s lineup while diverse has always focused on the music loving consumer end user and not the professional market. As demonstrated by the intro, the studio headphone monitor space is saturated by legends of the industry, yet HiFiMAN is boldly treading into new waters. Have they succeeded with the Audivina in making a highly technical studio monitor that can not only compete but out-class the competition? Read on to find out.
Disclaimer
The Audivina were sent to me direct from HiFiMAN as part of the review tour. I was given two weeks for evaluation before sending them off to the next participant. I have not been compensated for this review and my words are my own without influence by HiFiMAN or 3rd party reviews.
First Impressions/Unboxing
I got the notification from FedEx that the package had arrived on my doorstep a whole 30 minutes until I was off work; Longest 30 minutes ever! I was over the moon knowing that I was one of the first reviewers to be sent the new Audivina and couldn’t wait to get home and unbox these bad boys. Upon arrival I saw the package safe and sound on my doorstep, and quickly snatched them up with one hand while trying to unlock my front door with the other. I actually double check to see if these were in fact the Audivina as the package was surprisingly light. Inside the shipping box was the box containing the Audivina. An absolute delight greeted my eyes; A plain brown cardboard box with a thin sticker down the front. A delight you say? Yes!! Gone are the days of faux stitched leather with a silk lined inside, replaced with something that’s not going to sit on one’s shelf taking up space. Look, I appreciated the dressing of old, I really do. HiFiMAN’s packaging always made you feel like you were receiving a premium product. As my boss used to say, presentation is everything. I agreed at the time, and is still relevant in some degree. It’s just that why go to the lengths to impress when the feeling is fleeting once time passes, and eventually for 99% of users, the box just sits there as it’s just too darn nice to throw away. Good job HiFiMAN for being environmentally friendly while keeping down cost.
So… What’s in the box?! I will tell you but first please excuse me a moment, I need to shoo a flock of pigs that landed on may lawn. Upon opening the lid I was greeted with… a hard case? A HARD CASE! I was honestly expecting what I got with my Ananda SE which was a neat headphone stand. Nope, a freaking hard case! I think the Fates have listened as us HiFiMAN headphone owners wanted an included hard case for years! Hallelujah! What’s next, decent cables?! Speaking of so, the three included cables were all bundled together in a ziplock bag. Nothing fancy, yet appreciative that only one bag was used. I wasn’t about to use them though as I already had my own aftermarket cable for my Anandas however I did check them out later. They just weren’t a priority at that time, getting the Audivina out of their case and hooked into my system was!
When I unzipped the case and laid my eyes upon the Audivina, I was greeted with an absolutely gorgeous pair of headphones! The bright orange lacquered willow wood cups literally glistened in the sunlight as I gazed upon them and the anodized aluminium body! Wow these are beauties! Pictures simply do not do the Audivina justice! Remember what I said about feeling like you received a premium product? Well, HiFiMAN may have forgone the luxury box, but OMG did they nail it with the design of the Audivina! I got the “full experience” all right simply by opening the hard case! But looks are secondary to both comfort and sound. Time to take these babies out!
The first thing I notices immediately upon their removal from the case was how solid their construction was yet how light they were. Placing them upon my head yielded a similar reaction. The Audivina felt light with no uneven or hard pressure against my head or jaw, my ears had ample room, and the headphones felt secure on my head. I always found HiFiMan headphones comfortable but the Audivina not only surpasses their brethren but are one of the most comfortable pair of headphones I have ever warn! These are definitely shaping up to be one heck of an experience and I haven’t even plugged the Audivina into the amp yet!
So what song did I choose for the ceremonial listen? Normally I peruse my favourites list and select what ever comes to me as I am scrolling without having any really specific in mind. With the Audivina I had the track chosen well in advance, in fact HiFiMAN made the choice for me. To quote:
“ Accurately capturing a chamber string quartet is one of the biggest dilemmas in the studio. The significant difference in volume between the violins and cello combined with the erratic nature of the viola add up, making it a challenge to make a proper mix. But thanks to Audivina’s broad frequency response and superiors dynamic, it is up to the task of reviewing the mix and assisting the engineer to achieve precise equalization and overall presentation of a string quartet. “
I am sorry, what was that HiFiMAN?! You want me to play Brahms - String Sextet? It would be my absolute pleasure! For those unfamiliar with this movement, it features 2x violins, 2x violas, and 2x cellos. A perfect first track wouldn’t you say? Well, it most certainly was! HiFiMAN cleverly name chose the name Audivina by combining the Latin word Audi which means to listen, and the Vina which is the Sanskrit word for sitar, a South Asian sit-down plucked instrument. In essence, it was time to sit down and listen! And I listened, listened, and listened some more. When the last track had finished, I took the Audivina off and placed them on a waiting mannequin head, stood up and walked over to my couch to start on my after work cup of coffee and smoke. I had such mixed emotions. I was absolutely gobsmacked at what I just heard, and yet felt a crushing pressure build as every second of the songs passed. I can not unhear what I just experienced, and everything else I own and have heard simply can not compare!
Technical Information
Frequency Response: 5Hz - 55KHz
Sensitivity: 97dB
Impedance: 20Ω
Weight: 470g
Connectivity: Dual 3.5mm
Driver Type: NEO “supernano” planar magnetic diaphragm
Magnet Type: Stealth Magnet
Build/Comfort
The Audivina sport a very familiar look. Featuring an anodized silver aluminium headband assembly, accented by a perforated tan leather headband and polyester/leatherette ear pads, the Audivina retains the classic HiFiMAN premium aesthetics found in their top tiered lineup. However, unlike their siblings, there are no “ Window Shade “ grills, instead replaced by CNC willow wood acoustic chambers. If the HE-R10 are the closed back variant of the Susvara, the Audivina are akin to a closed back HE1000 Stealth Edition.
The hi-gloss finish is simply stunning!
Yes, you will look like a 1950's sci-fi robot while wearing the Audivina.
Every pair of the HiFiMAN Audivina have their own unique grain pattern.
Comfort wise, as stated in my first impressions, the Audivina have supreme comfort and wearability. They feel light on my head, with no un-even pressure from both the head band and ear pads. They fit snug, but not tight in fact despite feeling a touch loose, I could shake and move my head about organically without feeling like the headphone will slip out of position. Not once did I ever have to reposition due to the headphone shifting, nor did I ever feel like the headband was getting too hot staying in one position for hours. Likewise the ear cup remained cool against my face and my ears never felt like they needed a breather. This is fantastic for studio use! I got my start in headphones with studio monitors. In the past I have had many models of beyerdynamic, Sennheiser, Sony, Shure, AKG, and Audio Technica; I still own representations of the latter 3. One commonality is that they are utilitarian, and as such make use of sturdy materials. Sturdy, yet uncomfortable. Granted while some are “not too bad” (beyerdynamic), overall they all need to be taken off every hour for a breather. With the Audivina, I literally wore them for 4 hours straight and the only reason I took them off was to empty my bladder and grab a new drink. I am not being hyperbolic, the Audivina are the most comfortable headphones that have ever graced my head.
The Audivina's ear cups have plenty of room. Left - width. Right - depth
450 grams without cable.
Normally I wouldn’t give a special mention to the 3.5mm jacks but in this case it is warranted. While whole heartedly welcomed, a big complaint about HiFiMAN’s move to 3.5mm connectors was the fact that the jacks themselves were not that snug resulting in the cables a touch too easy to accidentally pull out if caught or snagged in just the right way. While I myself never had any issues, I can most certainly understand why this would be of concern to others. Thankfully HiFiMAN listened, and the 3.5mm jacks not only have a more firm, snug fit the plugs snap and lock in with a VERY satisfying and reassuring ‘click’. I am going to go out on a limb, not too far, by saying we can probably thank Wave Theory for this change.
And what of the cables themselves? Well, they, are… good?! Gone is the old surgical tubing, replaced with anti tangle, free-flowing soft rubber that feels and behaves like how professional cables are supposed to. They feel high quality and durable. All 3 connector types, 3.5mm, 6.34mm and XLR are sturdy and durable feeling with ample strain relief on the ends. All in all, no complaints. Good job HiFiMAN, it only took you, what, 15 years?! I tease but seriously, thank you!
Sound Impressions
Gear Used
Primary
Topping A30/D30 Pro
- Furutech IEC power cables
- Balanced: Cardas Cables OCC XLR
- SIngle Ended: Furutech OCC RCA cables to Tube T1 pre-amp
- iFi AC iPurifier and iPurifier 3
Supplementary
- Topping E30/L30 stack
- iFi MicroCAN SE and xDSD
Bass - As with most of HiFiMAN’s offerings, the Audivina’s bass is fast and tight. Notes are presented with a great sense of power and weight that is both controlled and authoritative. While not quite as linear as others model, the bass hump is as small as a baby’s bottom and is uniform in curvature from 20Hz-250Hz. Technically the sub-bass is rolled off, but only relative the the mid-bass peak. The sub-bass extends down deep with some of the most articulate performance I have heard in a pair of headphones. It possessed deep, weighty rumble and presence, yet sounds coherent alongside the upper-bass. Think of the Audivina’s sub-bass sounding like it came from a woofer that is truly capable of full bass extension rather than a “sub-woofer” like effect. The mid and upper bass exhibited great speed and control while delivering dynamics that presented excellent punch and slam. Never did the lower frequencies come even remotely close to bleeding into the upper frequencies, nor was the bass overpowering. When it comes to bass reproduction, the Audivina has proper tact and decorum. I am no bass-head, but I am a bass-connoisseur. From Muse to Mahler, It mattered not what genre I threw at them, at no time did these headphones falter. If the track demanded it, the Audivina sure brought it with ease, control, and precision.
Midrange - Once again HiFiMAN buck’s its own trend with the Audivina’s midrange. Moist of their consumer line-up feature a midrange response that essentially mirrors the Harman curve, however the Audivina take a different approach. At almost the inverse, there is an obvious rise in response directly after the bass hump at around 250-300Hz that levels out once it approaches the upper midrange and linearly transitions into the treble. Instruments possess true to life timbre with outstanding texture. They sounded incredibly detailed and focused yet smooth and fluid. Vocals alike were rendered with great clarity and sibilance was accurate to the source yet handled with great control. Male and female vocals came through with excellent body, never sounding detached nor hollow.
Treble - If you are familiar with the HiFiMAN house sound, you are aware of the extra attention they like to give the treble. For some it borderlines on being bright. For others, it’s just right. There is simply no denying though the treble’s silvery timbre; Airy yet solid with excellent shimmer and sparkle. The Audivina however completely smashes the trend and offers the most tame treble I have heard in a HiFiMAN headphone, and I have heard and/or owned literally everything HiFiMAN has made under $1000 USD. Well extended with excellent technical performance, the Audivina’s treble presentation is precise and crisp. To my ears there are no discernible peaks, nor any gaps and never did it sound fatiguing. Not to say though the the Audivina is lacking in areas like sparkle and air. Rest assured every aspect of the treble is whole and complete and will be able to render every nuance present in the mix. Honestly, I find the treble to be perfect in every regard with zero complaints.
Detail Retrieval - Simply put, jaw dropping! Absolutely nothing is overlooked in the mix, nothing! The Audivina highlights every nuance, no matter how subtle. Butterfly farts could be easily heard. Seriously, if the little critter flew past the mic and let out a toot, your ears will tell you exactly where that sound is in the mix without having to search for it. I am not about to use the old cliché “ I am hearing things in the mix I have never heard before “ because simply put, between my PSB M4U1 and HiFiMAN’s very own Ananda Stealth Edition, I have heard it all. However unlike the aforementioned, with the Audivina I never have to go searching for them. Every single micro, macro, tardigrade sized detail and micro dynamics were presented in full. My minds eye never had to shift from sound to sound, it was all just, there! From a purely musical perspective, it creates an engagement I have never experienced before. I was able to sit back and just listen. From a sound engineers perspective, time is money and having the ability to hear it all without having to replay a section multiple times to hear potential problems both increases productivity as well as quality of work.
Soundstage and Imaging - To quote : “ Soundstage of Open-back Headphones, Precision of Studio Headphones “. Those are pretty bold claims HiFiMAN, and your words do not misrepresent. The Audivina’s soundstage is HUGE! Large, spacious, layered, and accurate to a fault. While certainly possessing a soundstage that is as large and open as a pair of open-backed headphones, they do still sound closed. I will point out that this is not due to the sound itself, rather how the sound “feels” in regards to the sound pressure. It’s like how your ears feel being in a closed room vs being out doors. There is no “open” feeling. However that said, the Audivina’s ability to sound open is quite impressive. I have yet to hear a closed back headphone that sounds as large, spacious, and airy. As for the precision of the sound, simply put laser like pin-point accuracy. Every performer and instrument had its space accurately portrayed down to the most minute detail. When listening to orchestral or choral tracks, I could not only count the rows, the position within said rows, and even the angle at which they were facing. If a musician was both performing back up vocals as well as playing say, a guitar, there was a precise, distinct sense of where the performers vocals were resonating from while maintaining position of the instrument in relation to the body. Simply remarkable!
Oh, and let us not forget about a very important aspect of the mix that is often overlooked, the room itself. It’s easy to accurately reproduce the sound a vocalist or instrument produces, the room however can be problematic. Studios and venues go through great lengths to perfect how the sound resonates within. This can be tricky to capture accurately, and even worse when the sound engineer has to work with the end results. A studio, and likewise a headphone, has to dampen the sound to control the reflections while still maintaining control. Sadly, open-backed headphones are not a good option for true studio work. While being able to render the room or venue giving the listener a sense of environment, it’s not absolute. What I mean by that is that often the “room” has a depth of field effect meaning walls, floors, and ceilings are not as focused as the performers themselves. It truly takes a closed-back headphones to bring these boundaries into focus. So, how do the Audivina handle the room? With flawless perfection! Every wall, ceiling, ledge, overhang, seat, and riser were rendered with a palpable sense of position and space! One could tell exactly where the microphone was set within the venue including if it was hanging from the ceiling or placed on a floor mount. Every nuance captured in the environment was accurately rendered within the mix with a sense of intimacy or grander, depending on the mix. HiFiMAN obviously put in a lot of engineering hours as the Audivina’s acoustic chamber puts the competition to shame as nothing even comes close, not even my beloved PSB M4U1 with “Room-Feel Technology” developed by the great Paul Barton himself. The Audivina truly does have the best of both Worlds; Soundstage and precision!
Pairing - With a sensitivity of 97dB and impedance at 20Ω, the Audivina is fairly efficient and you don’t need a powerful amp to hear their full potential. With the Topping L30, A30 Pro, and iFi microCAN SE I had more than enough headroom while on 0 (or medium) gain. With the xDSD for most music the volume sat in the yellow with a few tracks pushing into the red. As for amplification architecture, the Audivina sounded just as fantastic with both iFi’s solid state class A as well as Topping’s NFC class D. I won’t go into detail class A vs class D as it’s been covered at nauseam all across the Internet, however if I had to choose one over the other, I would go for the squeaky clean ultra transparent analytical sound found in class D. Being a studio headphone, this makes sense for the Audivina. You want to hear every sound for what it is when engineering the mix without colouration, plain and simple. However, there is a 3rd option; Tube buffer!
It is important to note that if you want the tube sound with the Audivina, you need either a tube pre-amp or a hybrid tube-amp that has the valves on the input and solid state on the output. Going full on OTL tube amplification will yield poor results due to their high output impedance. Anyway, adding in tubes and coupling them with OP amps of choice, combined with the “classic” sound that the willow wood resonance chamber brings is simply sublime! The Audivina’s ability to accurately render what it’s being fed makes tube and OP amp rolling both rewarding and engaging. While the tubes will dirty up the S/NR and up the noise floor a touch, the trade off is well worth it. Pour yourself a drink, pack your pipe’s bowl, throw on your favourite jazz or classical album, sit back and be taken away on a magical journey! It’s a match made in heaven of pure musical bliss!
Break-in - I only had the Audivina for 2 weeks so in fully honesty I can’t fully gauge the overall progress. That said, I do have experience with HiFiMAN headphones and can tell you they are all very similar. Firstly, to my ears all HiFiMAN headphones fresh out-of-the-box have a glare to them. It’s not bad but it does settle down after a modest amount of break-in. The Audivina were no different. This was apparent with certain vocals and upper-mid sounds. Thankfully after about a week of daily use this was brought down, and I suspect there is more to be had. Planar magnetic headphones do take on average 100-200 hours to reach their “final sound”. Comfort wise, I didn’t notice any change as the Audivina were already just so darn comfortable, even for their first fitting!
Test Tracks
For this next section, all tracks will be played through Audirvana Studio and are either DSD native or unconverted to DSD from lossless Hi-Res FLAC/AIFF files. The Topping A30/D30 Pro was used exclusively in balanced mode.
Bass
Shake The Street - HDEND is always my go-to album for testing the sub-bass response of any system. It’s all about the bass baby and the three tracks I chose are fantastic for demonstrating just how far down we can go while maintaining coherency and control. System Checka and Low Revs focus on centred, mono sub-bass designed to test the overall power of the response. The former being a series of slow building rise and fall the sub-bass while the latter is a the same but at a much faster rate muck akin to riving a revving engine. The Audivina handled the deepest of lows in both tracks with authority. The sub-bass was weighty and presented itself with a deep, controlled rumble that never overstayed its welcome. It was clean, controlled, and distortion free, even after replay at a much louder volume. To test the Audivina’s speed, Quad That Throbs was played. This track is comprised of almost a freestyle sub-bass beat that pans left to right and back throughout with the tones alternating speed and intensity. This track demonstrates the gears ability to handle the deep, fast moving erratic transient response, and the Audivina absolutely handled it with as much grace and ease much akin to a Yokozuna! The speed, weight, power and control were rendered with complete transparency, control and precision. I must mention, this track also features a subtle electronic symbol-like sound that is suppose to be clearly distinguishable and audible throughout the track. If this sound is masked in any way it means the sub-bass is too overpowering and uncontrolled. Again the Audivina absolutely nails it with this sound not only being clearly audible throughout, its micro-dynamics were clearly rendered as the sound simply floated above the background that is the panning sub-bass.
Moving along to something more organic and mid-bass focused, I always like to turn to The Dialogue with Bass - Takeshi Inomata. This simple track features Takeshi Inomata on drums with an accompanying bassist, jazz style, and is excellent in highlighting a headphone’s ability to handle both the mid-bass punch and impact accompanied by deep resonance while not intruding upon the more subtle and delicate sound produced by the snare and symbols. The Audivina had no trouble maintaining coherency and separation throughout the frequency range. The deep plucky bass of the double-bass resonated within it’s own space in the centre back while the impact of the drums, taut and tight, having excellent slam and perfect resolve were precise in position within the sound stage with at no time become lost or overshadowed. And let us not forget about the overall transparency. The timbre of each sound was spot on, as well it’s technicality. Every drum had a clear and distinct, strike, impact, reverberation, and finally exit; The shape of each shell was tangible. Every brush strike of the snare had a sense of weight yet maintained the delicacy and resolve of the bristles as it made impact. Symbols had great sustain and decay with outstanding micro detail and dynamics within. Never did they sound too metallic, bright, or sharp.
Lastly, let’s pick something more modern for all you youngins (and those still young at heart). For this I choose Dig Down - Muse - Simulation Theory. This song starts out with a deep yet moderate sub-bass beat that is both wide and holographic. A few second in the enhanced kick drum starts in with both power and authority. It hit hard and fast with incredible punch with a sub-bass bloom that flairs outward from the centre point. Two aspects stick out and need to be highlighted. Firstly, the sub-bass from the beat at the start and likewise from the kick drum are perfectly layered and do not collide with each other. The texture, definition, shape, and resolve from each sound were as distinct from one another as they were unique. The rest of the electronic sound in the mix came through with excellent transparency and clarity. They danced around the soundscape with speed and precision, sounding well layered, textured, and possessed a great sense of substance and weight yet remained airy and agile. Speaking of soundscape, simply put it sounds like I am listening to Muse in the Bayreuth Festival Theatre! It’s large, spacious, well layered with a sense of grandeur second to none!
Midrange
I teased it in the First Impressions, so here it is, String Sextet - Brahms - Mandelring Quartet. Oh Lord, where to start! Well, the first thing that struck me about this recording when I first listened with the Audivina was the sense of intimacy. It was like I was sitting in my own private chamber in front of the 6 performers. Every nuance of the room could be felt, and the positioning of the performers was apparent in my minds eye with all being in complete focus. I knew what angle they were sitting at, when they lifted their bows, and when they shifted position no matter how slight. Hats off to Accuphase for this wonderful wonderful recording. Each instrument was distinct and well focused, unique in tonality with flawless timbre. Each draw of the bow was incredibly textured, each string having its own space and resolve, my ears were tickled with delight! Not one instruments overshadowed nor overpowered each other each having their own, equal space with their unique characteristic shining through with technical precision. I could simply sit back and hear it all without having to shift my minds eye from one performer to another.
So now that we have determined that the Audivina can easily handle the distance sounds of strings, how about brass? Trumpets and trombone anyone? I admit that sometimes I can’t tell the difference between a trumpet and trombone tonally. Often it makes that distinct brassy sliding ripping sound for me to say oh hey, that’s not a trumpet. Dr. Jazz - Kustbandet - DSD Showcase No.6 features a modern day ole timey rag tag band and in turn, a plethora of brass, including trumpets and trombones. As with Brahms - String Sextet the first thing that jumped out at me was the venue. I was apparent the band was up on a very small riser stage with a solid backdrop playing to a tavern sized crowd. Every performer, every instrument was easily discernible each with their own space and resolve within. Trumpets roared with refined grit and bite, while the trombones delighted my ears with those ever so satisfying textured rippers. The slap bass was plucky and taut while behaving itself behind the horns, giving just enough weighty bass to the rhythm. The drums we perhaps the least highlighted instrument in the mix, none the less though it’s modesty still had outstanding texture and micro dynamics, never sounding anemic nor hidden. Cymbals came through with excellent shine and shimmer while still sounding fast and crisp. Everything in this track simply effortlessness melds together into an organic, lively sound that makes you at the very least toe tap in your chain.
To end off midrange, I chose Wake The World (Featuring Phil Lanzon & Tommy Karevik) - EPICA - The Alchemy Project. I adore this song and has become one I listen to quite often. EPICA is a symphonic-metal fusion band, and their sound is quite literally epic, this song in particular. It’s what I call an anthem song; Meaningful, collaborative, and large in scale. This song is very busy with a full metal band, choir, orchestra, and of course Mark’s gravely grunts accompanying a duet between Simone and Phil; A perfect test for the Audivina, and they do not disappoint! It was shocking at how clear and layered each aspect of the mix effortlessly came through with perfect transparency. Nothing was missed. Every sound, every texture, every voice was present and defined in perfect harmony! The sound was large, liquid, organic, and truly EPIC!
Treble
May as well start big, with Sing Sing Sing - Kenichi Tsunoda Big Band - Mixer’s Sound Lab Series Vol. 2. This track heavily features horns and a ride that simply won’t quit. Treble is without question enhanced in this recording, and can be problematic at times even with the best of headphones. It is easy for the treble to overshadow the mids making the overall sound bright, even piercing. The Audivina slays this song’s treble with the efficiency of John Wick. Never did the upper frequencies sound peaky or piercing, yet still yielded the appropriate amount of zest and sizzle. Horns were crisp with excellent textured bite, never sounding overly sharp or thin yet remaining incredibly full bodied, detailed and airy. The symbol had great splash and shimmer with each strike sounding distinct, with the attack and decay spot on never overstaying it’s welcome. Overall, despite being a dynamic and bright recording, the Audivina handled this track with technical elegance that produced a detailed and lively sound without making my ears bleed!
I am going to end this section one song short. Really, how much can one really say about treble? Is it bright, peaky, detailed, airy, yes/no? Simply put, the Audivina’s treble is perfect. It does what it is supposed to do, with technical ease, and nothing more. It adds nor takes anything, simply accurately relays what’s in the track. For this last song I chose Wind Song - Hiromi - Telarc’s Heads Up SACD Sampler. A simple arrangement of a bass guitar, drums, and of course Hiromi on the piano and one I chose for one reason, it’s cymbals. Oh how they dance across the soundscape so delicately, and the Audivina simply take me on a journey across the landscape life a leaf on a current of air! The detail in each cymbal strike resonates across the bell in a satisfying textured ripple with each attack, with the decay seemingly wisping itself away gently into my ears across a gentle breeze. Of course Hiromi’s performance was nothing short of spectacular. The piano had a very liquid, organic quality to its holographic presentation. Timbre and tonality was accurate, and the transient response from the subtlest of key strikes to the most dynamic of notes was handled effortlessly. This was one track I didn’t mind listening to on repeat as I wrote this.
Vocals
Male - I Will Remember - Toto - Tambu is a track I always use for evaluation. Bobby Kimball’s voice is phenomenal, as always, and the way they are presented in the mix is what I am looking for in particular. Due to the nature of how the song is sung combined with an airy reverb effect, sibilance can rear its ugly head. Check out the first verse: “I was born in the land of the sun, And the tall green grass, And I don't understand, How all this has come to pass”. You can, see there is quite a bit of potential for problematic sibilance that can mask the detail and texture of Bobby's voice. So smooth, articulate, full bodied and emotion filled, the Audivina simply did not care of many a competitors headphone failings as they produced quite possibly the most detailed, textured yet smooth rendition of Stan’s voice I have ever heard! No esssssey “s” sounds, no hard edges on continents, no smearing, and never muffled. It was nothing short of organic and true to like. Sibilance in male vocals simply is not an issue with the Audivina… that is unless it’s already accentuated in the mix.
Female - For this, I didn’t choose a song rather an album: OMEGA - EPICA. My reasoning is quite simple, dynamic range and once again, sibilance. Simone Simmons’ powerful, angelic voice is at its best in EPICA’s latest release. For this album however, the engineers decided to tread dangerous waters and add a touch of sweetness to Simone’s voice, particularly to all sibilance sounds. With lesser headphones, even with the highly acclaimed Sundara, this sweetness walks the fine line of becoming too sibilant. The Audivina however had no issue with rendering the sweetness as such, sweet. At no time throughout the album did I even think of any flaws in Simone’s vocals which rendered with such elegant beauty every textured, resolving vibrato of her voice gave me shivers. Full of body and emotion, Simone’s voice was nothing shy of flawless.
Gaming
For some, the Audivina is pure overkill, for other it's the solution! When it comes to a gaming headset, two aspect are key: 3D positioning and clarity of sound. For amateurs and professional gamers alike, the ability to hear your opponent and their position is key to victory. Most gaming headsets focus more so on the aforementioned that it leads to compromises, such as a serviceable at best low end, lack-buster dynamics, elevated midrange that could make for unpleasant dialogue and boring music, and boosted high frequencies because you know, more treble is more detail right? It's no wonder a company like Sennheiser capitalized on this and modified their HD 500 line to be more suited and marketable to gamers. When it comes to the Audivina, hands down these headphones surpassed all of my expectations! While I played many games of diverse genres, I will focus on one of my favourite, Forza Horizon 5, an open world arcade style racing game that heavily focuses on its music as much as it does the events. My word, the technical ability of the Audivina blew my mind. When it came to the actual races, the ability for me to accurately pinpoint the racers trailing behind was so precise not once did I have to check the rear view to know how to block and evade. If and/or when another car did attempt to pass, I could precisely tell how far up beside me they were. There was no escaping nor hiding with audio this clear and accurate. Then there was the environmental sounds. The hum and growl of the various engines was presented with excellent texture and an accurate sense of, depending in which view one is in, where the engine sat in relation to the driver. Each tire was easily placed within the soundscape, complete with accurate environmental and road conditions. When traveling over a dirt I could hear the sound of earth bounce off the skid plate with each rock, every pebble having it's own focus and dynamics as it fell back to the ground below. If I blew through a fence or plowed through rubble the sound and feel of the debris flying up and over the body of the vehicle was palpable. Everything in the open world truly sounded open, spacious, and holographic. And then there was the music; I don't need to tell you about the music any more than I already have. What I will tell you is that the Audivina has the ability to pump out the tracks with authority while handling every nuance of the sounds and effects with technical precision is unmatched in any gaming headset. If you want total immersion, large and accurate sound space, and music that sounds as the artist intended, you'd want the Audivina.
Summary - One can tell, I absolutely adore the HiFiMAN Audivina. In full honesty, they are the most expensive headphones I have tried, and while this can lead to an unconscious bias, I assure you I have spent many, MANY hours evaluating, comparing, and combing over every fine nuance that any “new expensive headphone” feelings have well passed and my thoughts and words are objective. The Audivina is a technical and musical monster, bar none! What HiFiMAN did with the open-backed HE1000 in terms of disrupting the industry, I believe they have accomplished the same with the closed back Audivina, and that’s no small feat. Smooth, detailed, powerful and controlled, highly resolving and highly adaptive. Give the Audivina all you got as it welcomes the challenge!
Value
The Audivina retail for $1999 USD, a hefty price for a a pair of headphones, let alone a pair of studio monitors. The question is does the price justify what the Audivina offer? Well, let us see. In the box you get essentially a pair of closed backed HE1000 Stealth Edition with lacquered CNC milled willow wood cups, 3 high quality cables, and a hard case. Then there is class leading comfort and long term wearability. Oh, and that beautifully resolving, large and spacious, smooth and accurate holographic sound! Whether you are in the market for a pair of studio headphones, or one that can competently pull double duty at home, the Audivina offer class leading performance in either regard and is worth every penny. In short, shut up and take my money!
Conclusion
To finish off this review, I first want to thank HiFiMAN for giving me the opportunity to experience the Audivina. It truly an honour to be one of the first reviewers to sample a headphone of this calibre, and the time spent over the two weeks was both an absolute joy and en eye opener. HiFiMAN has created a headphone that is not just the “Jack of All Trade”, but master of ALL! The Audivina a gorgeous headphone whose ability to handle any task with technical precision with a fluid and natural sense of musicality, all while maintaining comfort and long term wearability makes these studio monitors second to none. Their price point, while high, is highly justified given their over all performance, and is why HiFiMAN will continue to be a favourite amongst music lovers. I have no doubt these headphones will be a permanent fixture in many collections. Given what I have covered here in this review, I am confident the Audivina will make their way into the hearts of engineers as well. With the Audivina, HiFiMAN once again has released what will surely be another timeless classic, and I simply can not wait to see what’s still to come!
‘Tap tap’ Is the volume ok? Good. Everyone welcome! We have almost all gathered, please, take a seat. Sony, Audio Technical, so glad you could make it. Please squeeze over to make room for Shure. Sennheiser, AKG, I hope your flight wasn’t too bad all things considered. I heard beyerdynamic had a bout of air sickness. Fostexxxx, how’s it going buddy?! Great party you hosted last month, we have to do it again. Anyway, my good cans, it is so good to see so many familiar faces gathered in one place. This meeting will now begin.
Sony: Why have we been summoned here?
AKG: Yes, a meeting of this nature is most irregular so soon after CanJam. A murmur of chatter irrupted amongst the members.
Please, gentlecans, I know you all have questions, and I assure you all they will be answered in good order. I have called this emergency meeting of the Guild of Studiophones today in regards to a newcomer who has emerged. This new studio monitor makes claims of unprecedented sound reproduction, while offering premium construction and comfort done with such elegance and beauty as to be worthy of the goddess Saraswati herself.
A roar of grandiose laughter filled the room as the attendees keeled over, tears streaming from their eyes, and many knees slapped.
Austrian Audio: Is this a joke?
beyerdynamic: Not a very good one. We all are well established and respected. Even you were born from the highly renowned AKG!
AKG: Thank you for your kind words cousin, and you are most correct! We have been on the heads of great artists and directors! We were there when legends and classic were made!
Sony: I am not threatened so easily, and neither should we all! We have stood the test of time with honour and dignity!
Rhode: Hey guys, I am just happy to finally be here, why all the fuss?
Please, PLEASE! Gentlecans! I am empathetic to your hesitation to welcome a new competitor into the industry. You all have been the workhorse in the field of studio monitors for many. ALL of your services over the decades are both appreciated and will never be forgotten. However, one can not deny nor ignore the technical marvel this fresh face brings to the table.
Sennheiser: Enough already! WHO is this fool of a can who dares to insult us with their very existence?
My Good cans… this closed back planar magnetic studio monitor… the Audivina… it’s HiFiMAN…
The room became silent. Some attending members just stared blankly, others were, with all their might, attempting to restrain the look of fear in their eyes while desperately trying to hold on to their composure. The rest simply started to weep. It was some time before anyone had the will power to overcome the shock when Fostex suddenly stood up, calmly walked over to retrieve the coat on the hanger, and headed towards the exit. Steps away, Fostex turned, and in a tone of disappointment yet acceptance, simply asked:
“ Well, anyone want to join me in a few rounds of golf? “
My good readers, the above is obviously fiction, yet in this review of the new HiFiMAN Audivina I will attempt to put into words why the into was in fact both silliness and yet factual. HiFiMAN over the years has released some of the most technical and well regarded headphones in the industry. From the entry level HE-400 to the end game Susvara, HiFiMAN’s offers outstanding performance at any price point, and have become favourites amongst audiophiles and music lovers alike. However, HiFiMAN’s lineup while diverse has always focused on the music loving consumer end user and not the professional market. As demonstrated by the intro, the studio headphone monitor space is saturated by legends of the industry, yet HiFiMAN is boldly treading into new waters. Have they succeeded with the Audivina in making a highly technical studio monitor that can not only compete but out-class the competition? Read on to find out.
Disclaimer
The Audivina were sent to me direct from HiFiMAN as part of the review tour. I was given two weeks for evaluation before sending them off to the next participant. I have not been compensated for this review and my words are my own without influence by HiFiMAN or 3rd party reviews.
First Impressions/Unboxing
I got the notification from FedEx that the package had arrived on my doorstep a whole 30 minutes until I was off work; Longest 30 minutes ever! I was over the moon knowing that I was one of the first reviewers to be sent the new Audivina and couldn’t wait to get home and unbox these bad boys. Upon arrival I saw the package safe and sound on my doorstep, and quickly snatched them up with one hand while trying to unlock my front door with the other. I actually double check to see if these were in fact the Audivina as the package was surprisingly light. Inside the shipping box was the box containing the Audivina. An absolute delight greeted my eyes; A plain brown cardboard box with a thin sticker down the front. A delight you say? Yes!! Gone are the days of faux stitched leather with a silk lined inside, replaced with something that’s not going to sit on one’s shelf taking up space. Look, I appreciated the dressing of old, I really do. HiFiMAN’s packaging always made you feel like you were receiving a premium product. As my boss used to say, presentation is everything. I agreed at the time, and is still relevant in some degree. It’s just that why go to the lengths to impress when the feeling is fleeting once time passes, and eventually for 99% of users, the box just sits there as it’s just too darn nice to throw away. Good job HiFiMAN for being environmentally friendly while keeping down cost.
So… What’s in the box?! I will tell you but first please excuse me a moment, I need to shoo a flock of pigs that landed on may lawn. Upon opening the lid I was greeted with… a hard case? A HARD CASE! I was honestly expecting what I got with my Ananda SE which was a neat headphone stand. Nope, a freaking hard case! I think the Fates have listened as us HiFiMAN headphone owners wanted an included hard case for years! Hallelujah! What’s next, decent cables?! Speaking of so, the three included cables were all bundled together in a ziplock bag. Nothing fancy, yet appreciative that only one bag was used. I wasn’t about to use them though as I already had my own aftermarket cable for my Anandas however I did check them out later. They just weren’t a priority at that time, getting the Audivina out of their case and hooked into my system was!
When I unzipped the case and laid my eyes upon the Audivina, I was greeted with an absolutely gorgeous pair of headphones! The bright orange lacquered willow wood cups literally glistened in the sunlight as I gazed upon them and the anodized aluminium body! Wow these are beauties! Pictures simply do not do the Audivina justice! Remember what I said about feeling like you received a premium product? Well, HiFiMAN may have forgone the luxury box, but OMG did they nail it with the design of the Audivina! I got the “full experience” all right simply by opening the hard case! But looks are secondary to both comfort and sound. Time to take these babies out!
The first thing I notices immediately upon their removal from the case was how solid their construction was yet how light they were. Placing them upon my head yielded a similar reaction. The Audivina felt light with no uneven or hard pressure against my head or jaw, my ears had ample room, and the headphones felt secure on my head. I always found HiFiMan headphones comfortable but the Audivina not only surpasses their brethren but are one of the most comfortable pair of headphones I have ever warn! These are definitely shaping up to be one heck of an experience and I haven’t even plugged the Audivina into the amp yet!
So what song did I choose for the ceremonial listen? Normally I peruse my favourites list and select what ever comes to me as I am scrolling without having any really specific in mind. With the Audivina I had the track chosen well in advance, in fact HiFiMAN made the choice for me. To quote:
“ Accurately capturing a chamber string quartet is one of the biggest dilemmas in the studio. The significant difference in volume between the violins and cello combined with the erratic nature of the viola add up, making it a challenge to make a proper mix. But thanks to Audivina’s broad frequency response and superiors dynamic, it is up to the task of reviewing the mix and assisting the engineer to achieve precise equalization and overall presentation of a string quartet. “
I am sorry, what was that HiFiMAN?! You want me to play Brahms - String Sextet? It would be my absolute pleasure! For those unfamiliar with this movement, it features 2x violins, 2x violas, and 2x cellos. A perfect first track wouldn’t you say? Well, it most certainly was! HiFiMAN cleverly name chose the name Audivina by combining the Latin word Audi which means to listen, and the Vina which is the Sanskrit word for sitar, a South Asian sit-down plucked instrument. In essence, it was time to sit down and listen! And I listened, listened, and listened some more. When the last track had finished, I took the Audivina off and placed them on a waiting mannequin head, stood up and walked over to my couch to start on my after work cup of coffee and smoke. I had such mixed emotions. I was absolutely gobsmacked at what I just heard, and yet felt a crushing pressure build as every second of the songs passed. I can not unhear what I just experienced, and everything else I own and have heard simply can not compare!
Technical Information
Frequency Response: 5Hz - 55KHz
Sensitivity: 97dB
Impedance: 20Ω
Weight: 470g
Connectivity: Dual 3.5mm
Driver Type: NEO “supernano” planar magnetic diaphragm
Magnet Type: Stealth Magnet
Build/Comfort
The Audivina sport a very familiar look. Featuring an anodized silver aluminium headband assembly, accented by a perforated tan leather headband and polyester/leatherette ear pads, the Audivina retains the classic HiFiMAN premium aesthetics found in their top tiered lineup. However, unlike their siblings, there are no “ Window Shade “ grills, instead replaced by CNC willow wood acoustic chambers. If the HE-R10 are the closed back variant of the Susvara, the Audivina are akin to a closed back HE1000 Stealth Edition.
The hi-gloss finish is simply stunning!
Yes, you will look like a 1950's sci-fi robot while wearing the Audivina.
Every pair of the HiFiMAN Audivina have their own unique grain pattern.
Comfort wise, as stated in my first impressions, the Audivina have supreme comfort and wearability. They feel light on my head, with no un-even pressure from both the head band and ear pads. They fit snug, but not tight in fact despite feeling a touch loose, I could shake and move my head about organically without feeling like the headphone will slip out of position. Not once did I ever have to reposition due to the headphone shifting, nor did I ever feel like the headband was getting too hot staying in one position for hours. Likewise the ear cup remained cool against my face and my ears never felt like they needed a breather. This is fantastic for studio use! I got my start in headphones with studio monitors. In the past I have had many models of beyerdynamic, Sennheiser, Sony, Shure, AKG, and Audio Technica; I still own representations of the latter 3. One commonality is that they are utilitarian, and as such make use of sturdy materials. Sturdy, yet uncomfortable. Granted while some are “not too bad” (beyerdynamic), overall they all need to be taken off every hour for a breather. With the Audivina, I literally wore them for 4 hours straight and the only reason I took them off was to empty my bladder and grab a new drink. I am not being hyperbolic, the Audivina are the most comfortable headphones that have ever graced my head.
The Audivina's ear cups have plenty of room. Left - width. Right - depth
450 grams without cable.
Normally I wouldn’t give a special mention to the 3.5mm jacks but in this case it is warranted. While whole heartedly welcomed, a big complaint about HiFiMAN’s move to 3.5mm connectors was the fact that the jacks themselves were not that snug resulting in the cables a touch too easy to accidentally pull out if caught or snagged in just the right way. While I myself never had any issues, I can most certainly understand why this would be of concern to others. Thankfully HiFiMAN listened, and the 3.5mm jacks not only have a more firm, snug fit the plugs snap and lock in with a VERY satisfying and reassuring ‘click’. I am going to go out on a limb, not too far, by saying we can probably thank Wave Theory for this change.
And what of the cables themselves? Well, they, are… good?! Gone is the old surgical tubing, replaced with anti tangle, free-flowing soft rubber that feels and behaves like how professional cables are supposed to. They feel high quality and durable. All 3 connector types, 3.5mm, 6.34mm and XLR are sturdy and durable feeling with ample strain relief on the ends. All in all, no complaints. Good job HiFiMAN, it only took you, what, 15 years?! I tease but seriously, thank you!
Sound Impressions
Gear Used
Primary
Topping A30/D30 Pro
- Furutech IEC power cables
- Balanced: Cardas Cables OCC XLR
- SIngle Ended: Furutech OCC RCA cables to Tube T1 pre-amp
- iFi AC iPurifier and iPurifier 3
Supplementary
- Topping E30/L30 stack
- iFi MicroCAN SE and xDSD
Bass - As with most of HiFiMAN’s offerings, the Audivina’s bass is fast and tight. Notes are presented with a great sense of power and weight that is both controlled and authoritative. While not quite as linear as others model, the bass hump is as small as a baby’s bottom and is uniform in curvature from 20Hz-250Hz. Technically the sub-bass is rolled off, but only relative the the mid-bass peak. The sub-bass extends down deep with some of the most articulate performance I have heard in a pair of headphones. It possessed deep, weighty rumble and presence, yet sounds coherent alongside the upper-bass. Think of the Audivina’s sub-bass sounding like it came from a woofer that is truly capable of full bass extension rather than a “sub-woofer” like effect. The mid and upper bass exhibited great speed and control while delivering dynamics that presented excellent punch and slam. Never did the lower frequencies come even remotely close to bleeding into the upper frequencies, nor was the bass overpowering. When it comes to bass reproduction, the Audivina has proper tact and decorum. I am no bass-head, but I am a bass-connoisseur. From Muse to Mahler, It mattered not what genre I threw at them, at no time did these headphones falter. If the track demanded it, the Audivina sure brought it with ease, control, and precision.
Midrange - Once again HiFiMAN buck’s its own trend with the Audivina’s midrange. Moist of their consumer line-up feature a midrange response that essentially mirrors the Harman curve, however the Audivina take a different approach. At almost the inverse, there is an obvious rise in response directly after the bass hump at around 250-300Hz that levels out once it approaches the upper midrange and linearly transitions into the treble. Instruments possess true to life timbre with outstanding texture. They sounded incredibly detailed and focused yet smooth and fluid. Vocals alike were rendered with great clarity and sibilance was accurate to the source yet handled with great control. Male and female vocals came through with excellent body, never sounding detached nor hollow.
Treble - If you are familiar with the HiFiMAN house sound, you are aware of the extra attention they like to give the treble. For some it borderlines on being bright. For others, it’s just right. There is simply no denying though the treble’s silvery timbre; Airy yet solid with excellent shimmer and sparkle. The Audivina however completely smashes the trend and offers the most tame treble I have heard in a HiFiMAN headphone, and I have heard and/or owned literally everything HiFiMAN has made under $1000 USD. Well extended with excellent technical performance, the Audivina’s treble presentation is precise and crisp. To my ears there are no discernible peaks, nor any gaps and never did it sound fatiguing. Not to say though the the Audivina is lacking in areas like sparkle and air. Rest assured every aspect of the treble is whole and complete and will be able to render every nuance present in the mix. Honestly, I find the treble to be perfect in every regard with zero complaints.
Detail Retrieval - Simply put, jaw dropping! Absolutely nothing is overlooked in the mix, nothing! The Audivina highlights every nuance, no matter how subtle. Butterfly farts could be easily heard. Seriously, if the little critter flew past the mic and let out a toot, your ears will tell you exactly where that sound is in the mix without having to search for it. I am not about to use the old cliché “ I am hearing things in the mix I have never heard before “ because simply put, between my PSB M4U1 and HiFiMAN’s very own Ananda Stealth Edition, I have heard it all. However unlike the aforementioned, with the Audivina I never have to go searching for them. Every single micro, macro, tardigrade sized detail and micro dynamics were presented in full. My minds eye never had to shift from sound to sound, it was all just, there! From a purely musical perspective, it creates an engagement I have never experienced before. I was able to sit back and just listen. From a sound engineers perspective, time is money and having the ability to hear it all without having to replay a section multiple times to hear potential problems both increases productivity as well as quality of work.
Soundstage and Imaging - To quote : “ Soundstage of Open-back Headphones, Precision of Studio Headphones “. Those are pretty bold claims HiFiMAN, and your words do not misrepresent. The Audivina’s soundstage is HUGE! Large, spacious, layered, and accurate to a fault. While certainly possessing a soundstage that is as large and open as a pair of open-backed headphones, they do still sound closed. I will point out that this is not due to the sound itself, rather how the sound “feels” in regards to the sound pressure. It’s like how your ears feel being in a closed room vs being out doors. There is no “open” feeling. However that said, the Audivina’s ability to sound open is quite impressive. I have yet to hear a closed back headphone that sounds as large, spacious, and airy. As for the precision of the sound, simply put laser like pin-point accuracy. Every performer and instrument had its space accurately portrayed down to the most minute detail. When listening to orchestral or choral tracks, I could not only count the rows, the position within said rows, and even the angle at which they were facing. If a musician was both performing back up vocals as well as playing say, a guitar, there was a precise, distinct sense of where the performers vocals were resonating from while maintaining position of the instrument in relation to the body. Simply remarkable!
Oh, and let us not forget about a very important aspect of the mix that is often overlooked, the room itself. It’s easy to accurately reproduce the sound a vocalist or instrument produces, the room however can be problematic. Studios and venues go through great lengths to perfect how the sound resonates within. This can be tricky to capture accurately, and even worse when the sound engineer has to work with the end results. A studio, and likewise a headphone, has to dampen the sound to control the reflections while still maintaining control. Sadly, open-backed headphones are not a good option for true studio work. While being able to render the room or venue giving the listener a sense of environment, it’s not absolute. What I mean by that is that often the “room” has a depth of field effect meaning walls, floors, and ceilings are not as focused as the performers themselves. It truly takes a closed-back headphones to bring these boundaries into focus. So, how do the Audivina handle the room? With flawless perfection! Every wall, ceiling, ledge, overhang, seat, and riser were rendered with a palpable sense of position and space! One could tell exactly where the microphone was set within the venue including if it was hanging from the ceiling or placed on a floor mount. Every nuance captured in the environment was accurately rendered within the mix with a sense of intimacy or grander, depending on the mix. HiFiMAN obviously put in a lot of engineering hours as the Audivina’s acoustic chamber puts the competition to shame as nothing even comes close, not even my beloved PSB M4U1 with “Room-Feel Technology” developed by the great Paul Barton himself. The Audivina truly does have the best of both Worlds; Soundstage and precision!
Pairing - With a sensitivity of 97dB and impedance at 20Ω, the Audivina is fairly efficient and you don’t need a powerful amp to hear their full potential. With the Topping L30, A30 Pro, and iFi microCAN SE I had more than enough headroom while on 0 (or medium) gain. With the xDSD for most music the volume sat in the yellow with a few tracks pushing into the red. As for amplification architecture, the Audivina sounded just as fantastic with both iFi’s solid state class A as well as Topping’s NFC class D. I won’t go into detail class A vs class D as it’s been covered at nauseam all across the Internet, however if I had to choose one over the other, I would go for the squeaky clean ultra transparent analytical sound found in class D. Being a studio headphone, this makes sense for the Audivina. You want to hear every sound for what it is when engineering the mix without colouration, plain and simple. However, there is a 3rd option; Tube buffer!
It is important to note that if you want the tube sound with the Audivina, you need either a tube pre-amp or a hybrid tube-amp that has the valves on the input and solid state on the output. Going full on OTL tube amplification will yield poor results due to their high output impedance. Anyway, adding in tubes and coupling them with OP amps of choice, combined with the “classic” sound that the willow wood resonance chamber brings is simply sublime! The Audivina’s ability to accurately render what it’s being fed makes tube and OP amp rolling both rewarding and engaging. While the tubes will dirty up the S/NR and up the noise floor a touch, the trade off is well worth it. Pour yourself a drink, pack your pipe’s bowl, throw on your favourite jazz or classical album, sit back and be taken away on a magical journey! It’s a match made in heaven of pure musical bliss!
Break-in - I only had the Audivina for 2 weeks so in fully honesty I can’t fully gauge the overall progress. That said, I do have experience with HiFiMAN headphones and can tell you they are all very similar. Firstly, to my ears all HiFiMAN headphones fresh out-of-the-box have a glare to them. It’s not bad but it does settle down after a modest amount of break-in. The Audivina were no different. This was apparent with certain vocals and upper-mid sounds. Thankfully after about a week of daily use this was brought down, and I suspect there is more to be had. Planar magnetic headphones do take on average 100-200 hours to reach their “final sound”. Comfort wise, I didn’t notice any change as the Audivina were already just so darn comfortable, even for their first fitting!
Test Tracks
For this next section, all tracks will be played through Audirvana Studio and are either DSD native or unconverted to DSD from lossless Hi-Res FLAC/AIFF files. The Topping A30/D30 Pro was used exclusively in balanced mode.
Bass
Shake The Street - HDEND is always my go-to album for testing the sub-bass response of any system. It’s all about the bass baby and the three tracks I chose are fantastic for demonstrating just how far down we can go while maintaining coherency and control. System Checka and Low Revs focus on centred, mono sub-bass designed to test the overall power of the response. The former being a series of slow building rise and fall the sub-bass while the latter is a the same but at a much faster rate muck akin to riving a revving engine. The Audivina handled the deepest of lows in both tracks with authority. The sub-bass was weighty and presented itself with a deep, controlled rumble that never overstayed its welcome. It was clean, controlled, and distortion free, even after replay at a much louder volume. To test the Audivina’s speed, Quad That Throbs was played. This track is comprised of almost a freestyle sub-bass beat that pans left to right and back throughout with the tones alternating speed and intensity. This track demonstrates the gears ability to handle the deep, fast moving erratic transient response, and the Audivina absolutely handled it with as much grace and ease much akin to a Yokozuna! The speed, weight, power and control were rendered with complete transparency, control and precision. I must mention, this track also features a subtle electronic symbol-like sound that is suppose to be clearly distinguishable and audible throughout the track. If this sound is masked in any way it means the sub-bass is too overpowering and uncontrolled. Again the Audivina absolutely nails it with this sound not only being clearly audible throughout, its micro-dynamics were clearly rendered as the sound simply floated above the background that is the panning sub-bass.
Moving along to something more organic and mid-bass focused, I always like to turn to The Dialogue with Bass - Takeshi Inomata. This simple track features Takeshi Inomata on drums with an accompanying bassist, jazz style, and is excellent in highlighting a headphone’s ability to handle both the mid-bass punch and impact accompanied by deep resonance while not intruding upon the more subtle and delicate sound produced by the snare and symbols. The Audivina had no trouble maintaining coherency and separation throughout the frequency range. The deep plucky bass of the double-bass resonated within it’s own space in the centre back while the impact of the drums, taut and tight, having excellent slam and perfect resolve were precise in position within the sound stage with at no time become lost or overshadowed. And let us not forget about the overall transparency. The timbre of each sound was spot on, as well it’s technicality. Every drum had a clear and distinct, strike, impact, reverberation, and finally exit; The shape of each shell was tangible. Every brush strike of the snare had a sense of weight yet maintained the delicacy and resolve of the bristles as it made impact. Symbols had great sustain and decay with outstanding micro detail and dynamics within. Never did they sound too metallic, bright, or sharp.
Lastly, let’s pick something more modern for all you youngins (and those still young at heart). For this I choose Dig Down - Muse - Simulation Theory. This song starts out with a deep yet moderate sub-bass beat that is both wide and holographic. A few second in the enhanced kick drum starts in with both power and authority. It hit hard and fast with incredible punch with a sub-bass bloom that flairs outward from the centre point. Two aspects stick out and need to be highlighted. Firstly, the sub-bass from the beat at the start and likewise from the kick drum are perfectly layered and do not collide with each other. The texture, definition, shape, and resolve from each sound were as distinct from one another as they were unique. The rest of the electronic sound in the mix came through with excellent transparency and clarity. They danced around the soundscape with speed and precision, sounding well layered, textured, and possessed a great sense of substance and weight yet remained airy and agile. Speaking of soundscape, simply put it sounds like I am listening to Muse in the Bayreuth Festival Theatre! It’s large, spacious, well layered with a sense of grandeur second to none!
Midrange
I teased it in the First Impressions, so here it is, String Sextet - Brahms - Mandelring Quartet. Oh Lord, where to start! Well, the first thing that struck me about this recording when I first listened with the Audivina was the sense of intimacy. It was like I was sitting in my own private chamber in front of the 6 performers. Every nuance of the room could be felt, and the positioning of the performers was apparent in my minds eye with all being in complete focus. I knew what angle they were sitting at, when they lifted their bows, and when they shifted position no matter how slight. Hats off to Accuphase for this wonderful wonderful recording. Each instrument was distinct and well focused, unique in tonality with flawless timbre. Each draw of the bow was incredibly textured, each string having its own space and resolve, my ears were tickled with delight! Not one instruments overshadowed nor overpowered each other each having their own, equal space with their unique characteristic shining through with technical precision. I could simply sit back and hear it all without having to shift my minds eye from one performer to another.
So now that we have determined that the Audivina can easily handle the distance sounds of strings, how about brass? Trumpets and trombone anyone? I admit that sometimes I can’t tell the difference between a trumpet and trombone tonally. Often it makes that distinct brassy sliding ripping sound for me to say oh hey, that’s not a trumpet. Dr. Jazz - Kustbandet - DSD Showcase No.6 features a modern day ole timey rag tag band and in turn, a plethora of brass, including trumpets and trombones. As with Brahms - String Sextet the first thing that jumped out at me was the venue. I was apparent the band was up on a very small riser stage with a solid backdrop playing to a tavern sized crowd. Every performer, every instrument was easily discernible each with their own space and resolve within. Trumpets roared with refined grit and bite, while the trombones delighted my ears with those ever so satisfying textured rippers. The slap bass was plucky and taut while behaving itself behind the horns, giving just enough weighty bass to the rhythm. The drums we perhaps the least highlighted instrument in the mix, none the less though it’s modesty still had outstanding texture and micro dynamics, never sounding anemic nor hidden. Cymbals came through with excellent shine and shimmer while still sounding fast and crisp. Everything in this track simply effortlessness melds together into an organic, lively sound that makes you at the very least toe tap in your chain.
To end off midrange, I chose Wake The World (Featuring Phil Lanzon & Tommy Karevik) - EPICA - The Alchemy Project. I adore this song and has become one I listen to quite often. EPICA is a symphonic-metal fusion band, and their sound is quite literally epic, this song in particular. It’s what I call an anthem song; Meaningful, collaborative, and large in scale. This song is very busy with a full metal band, choir, orchestra, and of course Mark’s gravely grunts accompanying a duet between Simone and Phil; A perfect test for the Audivina, and they do not disappoint! It was shocking at how clear and layered each aspect of the mix effortlessly came through with perfect transparency. Nothing was missed. Every sound, every texture, every voice was present and defined in perfect harmony! The sound was large, liquid, organic, and truly EPIC!
Treble
May as well start big, with Sing Sing Sing - Kenichi Tsunoda Big Band - Mixer’s Sound Lab Series Vol. 2. This track heavily features horns and a ride that simply won’t quit. Treble is without question enhanced in this recording, and can be problematic at times even with the best of headphones. It is easy for the treble to overshadow the mids making the overall sound bright, even piercing. The Audivina slays this song’s treble with the efficiency of John Wick. Never did the upper frequencies sound peaky or piercing, yet still yielded the appropriate amount of zest and sizzle. Horns were crisp with excellent textured bite, never sounding overly sharp or thin yet remaining incredibly full bodied, detailed and airy. The symbol had great splash and shimmer with each strike sounding distinct, with the attack and decay spot on never overstaying it’s welcome. Overall, despite being a dynamic and bright recording, the Audivina handled this track with technical elegance that produced a detailed and lively sound without making my ears bleed!
I am going to end this section one song short. Really, how much can one really say about treble? Is it bright, peaky, detailed, airy, yes/no? Simply put, the Audivina’s treble is perfect. It does what it is supposed to do, with technical ease, and nothing more. It adds nor takes anything, simply accurately relays what’s in the track. For this last song I chose Wind Song - Hiromi - Telarc’s Heads Up SACD Sampler. A simple arrangement of a bass guitar, drums, and of course Hiromi on the piano and one I chose for one reason, it’s cymbals. Oh how they dance across the soundscape so delicately, and the Audivina simply take me on a journey across the landscape life a leaf on a current of air! The detail in each cymbal strike resonates across the bell in a satisfying textured ripple with each attack, with the decay seemingly wisping itself away gently into my ears across a gentle breeze. Of course Hiromi’s performance was nothing short of spectacular. The piano had a very liquid, organic quality to its holographic presentation. Timbre and tonality was accurate, and the transient response from the subtlest of key strikes to the most dynamic of notes was handled effortlessly. This was one track I didn’t mind listening to on repeat as I wrote this.
Vocals
Male - I Will Remember - Toto - Tambu is a track I always use for evaluation. Bobby Kimball’s voice is phenomenal, as always, and the way they are presented in the mix is what I am looking for in particular. Due to the nature of how the song is sung combined with an airy reverb effect, sibilance can rear its ugly head. Check out the first verse: “I was born in the land of the sun, And the tall green grass, And I don't understand, How all this has come to pass”. You can, see there is quite a bit of potential for problematic sibilance that can mask the detail and texture of Bobby's voice. So smooth, articulate, full bodied and emotion filled, the Audivina simply did not care of many a competitors headphone failings as they produced quite possibly the most detailed, textured yet smooth rendition of Stan’s voice I have ever heard! No esssssey “s” sounds, no hard edges on continents, no smearing, and never muffled. It was nothing short of organic and true to like. Sibilance in male vocals simply is not an issue with the Audivina… that is unless it’s already accentuated in the mix.
Female - For this, I didn’t choose a song rather an album: OMEGA - EPICA. My reasoning is quite simple, dynamic range and once again, sibilance. Simone Simmons’ powerful, angelic voice is at its best in EPICA’s latest release. For this album however, the engineers decided to tread dangerous waters and add a touch of sweetness to Simone’s voice, particularly to all sibilance sounds. With lesser headphones, even with the highly acclaimed Sundara, this sweetness walks the fine line of becoming too sibilant. The Audivina however had no issue with rendering the sweetness as such, sweet. At no time throughout the album did I even think of any flaws in Simone’s vocals which rendered with such elegant beauty every textured, resolving vibrato of her voice gave me shivers. Full of body and emotion, Simone’s voice was nothing shy of flawless.
Gaming
For some, the Audivina is pure overkill, for other it's the solution! When it comes to a gaming headset, two aspect are key: 3D positioning and clarity of sound. For amateurs and professional gamers alike, the ability to hear your opponent and their position is key to victory. Most gaming headsets focus more so on the aforementioned that it leads to compromises, such as a serviceable at best low end, lack-buster dynamics, elevated midrange that could make for unpleasant dialogue and boring music, and boosted high frequencies because you know, more treble is more detail right? It's no wonder a company like Sennheiser capitalized on this and modified their HD 500 line to be more suited and marketable to gamers. When it comes to the Audivina, hands down these headphones surpassed all of my expectations! While I played many games of diverse genres, I will focus on one of my favourite, Forza Horizon 5, an open world arcade style racing game that heavily focuses on its music as much as it does the events. My word, the technical ability of the Audivina blew my mind. When it came to the actual races, the ability for me to accurately pinpoint the racers trailing behind was so precise not once did I have to check the rear view to know how to block and evade. If and/or when another car did attempt to pass, I could precisely tell how far up beside me they were. There was no escaping nor hiding with audio this clear and accurate. Then there was the environmental sounds. The hum and growl of the various engines was presented with excellent texture and an accurate sense of, depending in which view one is in, where the engine sat in relation to the driver. Each tire was easily placed within the soundscape, complete with accurate environmental and road conditions. When traveling over a dirt I could hear the sound of earth bounce off the skid plate with each rock, every pebble having it's own focus and dynamics as it fell back to the ground below. If I blew through a fence or plowed through rubble the sound and feel of the debris flying up and over the body of the vehicle was palpable. Everything in the open world truly sounded open, spacious, and holographic. And then there was the music; I don't need to tell you about the music any more than I already have. What I will tell you is that the Audivina has the ability to pump out the tracks with authority while handling every nuance of the sounds and effects with technical precision is unmatched in any gaming headset. If you want total immersion, large and accurate sound space, and music that sounds as the artist intended, you'd want the Audivina.
Summary - One can tell, I absolutely adore the HiFiMAN Audivina. In full honesty, they are the most expensive headphones I have tried, and while this can lead to an unconscious bias, I assure you I have spent many, MANY hours evaluating, comparing, and combing over every fine nuance that any “new expensive headphone” feelings have well passed and my thoughts and words are objective. The Audivina is a technical and musical monster, bar none! What HiFiMAN did with the open-backed HE1000 in terms of disrupting the industry, I believe they have accomplished the same with the closed back Audivina, and that’s no small feat. Smooth, detailed, powerful and controlled, highly resolving and highly adaptive. Give the Audivina all you got as it welcomes the challenge!
Value
The Audivina retail for $1999 USD, a hefty price for a a pair of headphones, let alone a pair of studio monitors. The question is does the price justify what the Audivina offer? Well, let us see. In the box you get essentially a pair of closed backed HE1000 Stealth Edition with lacquered CNC milled willow wood cups, 3 high quality cables, and a hard case. Then there is class leading comfort and long term wearability. Oh, and that beautifully resolving, large and spacious, smooth and accurate holographic sound! Whether you are in the market for a pair of studio headphones, or one that can competently pull double duty at home, the Audivina offer class leading performance in either regard and is worth every penny. In short, shut up and take my money!
Conclusion
To finish off this review, I first want to thank HiFiMAN for giving me the opportunity to experience the Audivina. It truly an honour to be one of the first reviewers to sample a headphone of this calibre, and the time spent over the two weeks was both an absolute joy and en eye opener. HiFiMAN has created a headphone that is not just the “Jack of All Trade”, but master of ALL! The Audivina a gorgeous headphone whose ability to handle any task with technical precision with a fluid and natural sense of musicality, all while maintaining comfort and long term wearability makes these studio monitors second to none. Their price point, while high, is highly justified given their over all performance, and is why HiFiMAN will continue to be a favourite amongst music lovers. I have no doubt these headphones will be a permanent fixture in many collections. Given what I have covered here in this review, I am confident the Audivina will make their way into the hearts of engineers as well. With the Audivina, HiFiMAN once again has released what will surely be another timeless classic, and I simply can not wait to see what’s still to come!
Bansaku
@Beagle Holy crap, you are right. Wow, the metadata for one of my favourite albums has been misleading me for years dating back to the PPC PowerMac days when I made the rip! But I did correct the review with the proper credit to Bobby Kimball. 
Beagle
Except Bobby Kimball is not on Tambu either Gotta be either Lukather or Paich.
Anyhoo....it was a thorough excellent review sir!
Gotta be either Lukather or Paich.Anyhoo....it was a thorough excellent review sir!
The album in question was Audio's Audiophile vol. 18 Golden Ballads. 
Intro - My Journey with the Momentum
In 2011, the battle for portable audio was in full swing. Brought on by the both the integration of the smart phone into modern society and the overnight success of the juggernaught knows as Beats by Dr. Dre, audio companies both new and old were scrambling to catch up and leave their mark on consumers. This time also represented a paradigm shift in my own audio listening preference, from being content with using “good enough” drug-store purchased ear-buds, to not being satisfied when on-the-go unless I can replicate the same sound quality I had at home from headphone legends such as the DT 770, K701, and HD 598. Call me an audiophile elitist, but for me once I hear something I simply can not forget it and to be frank, my Koss IEMs were no longer acceptable to my ears. For almost a full year, like most reading this I am sure, I went through a buy-sell cycle of fancy marketing and broken promises. If sub-par performance wasn’t bad enough, long term comfort and build often sealed their fate. Needless to say I was frustrated. This all changed in 2012 when a new challenger appeared from Sennheiser, the Momentum!
Being quite new to head-gear at the time, I was starting to rely more and more on both reputable reviewers such as Tyl Hertsens, and the good folk here at Head-Fi to guid me in my purchasing decisions as I was tired of wasting both time and money. I wanted honest reviews by real people. One day as I am relaxing after a long days work and less than stellar 1 1/2 hour bus tip home, I open up my usual browser tabs including Inner Fidelity, and what I saw on their front page made my jaw drop. There it was, beckoning to me with it’s classic look and sleek lines backed up by stainless steel and lambskin leather, the Sennheiser Momentum! I probably read the review 3 times and double for the video. I was sold, and it wasn’t long before the local electronics store had a pair on demo that once heard only reinforced my wanting, no need to obtain a pair for myself. The only problem was I am not a rich man and could not afford to purchase a pair for myself. Luck changed that year at the company Christmas party when low and behold, a pair of black Momentums were up for raffle! 15 tickets later and them babies were mine, booya!
To this day, there have never been a pair of headphones I used more than the original Momentum. 2-3 hours per day on public transit as well as the fact I never left the house without at the very least having them around my neck, for nearly 7 years! It was only when I upgraded to an iPhone 8 that forced my hand into needing to upgrade to wireless headphones. Sure, I could have used my iFi xDSD, however I really did not want to drag that around with me to and from work + errands. My first and only choice naturally was the Momentum 2 wireless (HD 1). Once agin I was faced with the same dilemma of not being able to dish out the cash for a new purchase even though this time was an absolute need; No bloody way I can commute without my music! However luck strikes twice and I find a pair of HD 1 up for sale on Kijiji. Typical “ I bought these for travel and ended up purchasing X brand instead but can’t return these “ sales pitch with a price I both could afford and could not refuse. 30 minutes later and I was a proud owner of the HD 1! The leather still smelled new with full batter life, and I was a happy man once again!
All was good and the HD 1 served me well until one day in 2021 were I was browsing Amazon and came across a sale that made my heart race. There it was, the Sennheiser Momentum True Wireless (Momentum 3), 40% off AND 6 month equal payments! OMG, OMG, OMG…I have enough for the first payment… I NEED THESE NOW! I tell you good readers, my hands were shaking when I clicked the Buy It Now option. This was the deal of the year, maybe decade, and it felt great! However, hours later after watching and reading every review published for the Momentum 3, I came to a pause and think as to why the sale and unbelievable payment option for a pair of premium headphones from Sennheiser. DAGNABIT, they are planning on releasing the Momentum 4 soon, and sure as Schiit early 2022 they were announced! Well played Sennheiser, well played. From that day forward I channelled all my psychic energy towards Sennheiser, calling for them to announce a tour for the Momentum 4 wireless. Yes, I could have easily posted here and tagged them in, but sometimes willing the Universe to your favour is just as effective. It worked, I threw my name in, and after a couple weeks of rubbing Buda’s belly, I was selected to be part of the North American tour! Which brings us to today, my review of the much excited yet cautiously optimistic review of the Sennheiser Momentum 4 True Wireless headphones. This isn’t your Dad’s Momentums, and represent a new chapter in a beloved line of on-the-go headphones designed to take on today’s leading challengers.
Disclaimer
As read in the intro, the Momentum 4 were sent to me by Sennheiser as part of the review tour and yes, I am a long time appreciator of the Momentum line of headphones. Do not let this be of concern as my words are always honest and free of influence, and the way I am approaching this review will be both subjectively critical and highly objective where possible. I am not fanatically loyal; The Momentum 4 Wireless have large shoes to fill and will not shy away from delivering tough love if warranted. Now, without further delay, my review of the Sennheiser Momentum 4 Wireless!
Features
Ear Coupling - Around-the-ear, circum-aural
Connectivity - Bluetooth 5.2 compliant, class 1, 10 mW (max)
Supported Profiles - A2DP, AVRCP, HFP
Codecs - SBC, AAC, aptX™, aptX adaptive™
Speaker Type - 42mm diameter Dynamic
Speaker frequency range - 6 Hz to 22 kHz
Sensitivity - 106 dB SPL (1 kHz / 0 dB FS)
Total harmonic distortion (THD) - <0,3% (1 kHz / 100 dBSPL)
Impedance - Active 470 ohms / Passive 60 ohms
Active Noise Cancellation - Hybrid Adaptive ANC
Frequency response (microphone) - 50 Hz to 10 kHz
Microphone pick-up pattern - 2 mics per side, beam-forming for noise reduction
Battery time - Up to 60 hrs music playtime via Bluetooth and with ANC (test condition: iPhone, mid volume level)
Charging time - Approx. 2 hrs for full charge; 5 min charging for up to 4 hrs playtime; Remark: Ambient temperatures >30°C may lead to extended charging times
Power Supply - 5 V⎓, 800 mA max, USB charging via USB-C socket
First Impressions
May as well get rid of the elephant in the room first. In fact, it’s unavoidable. Upon opening the box and peeling off the instructional stickers from the cups, I could not help but to think that these are not a Momentum. I have obviously seen pre-release pictures of the Momentum 4 so I knew what to expect, but holding them in my hands and giving them a good look over, all that went through my mind was that they looked like a Sennheiser HD 450 had an affair with a pair of Sony 1000X. Plastic, synthetic materials, mundane design, these were not my Momentum! Technically, I put comfort over appearance all day long, but the stark difference in appearance to a long time Momentum user was (and to a degree still is) off-putting. But like my momma always said, looks aren’t important and it’s what’s inside that counts. Mother’s are always right, and I suppose it’s how they feel and sound on my head that is really important to me. I mean, I adore my PSB M4U1 but lets’ be honest, while they sound amazing and are super comfy they are not lookers by any means, especially considering since they came out the same time as the original Momentum.
After removing the Momentum 4 from their travel case, 4 white LEDs were pulsing back and forth, screaming out to me indicating that it’s looking for a pairing. Grabbing my iPhone, I opened the Bluetooth settings and the Momentum 4 paired without issue. I then opened up Sennheiser’s Smart Control App and the headphones were discovered and instantly synced. Good job so far! What was even better was that as soon as the headphones paired and were placed upon my head, Neutron Player instantly started to play! Why is this so significant I had to exclaim the last sentence? Simple, my Momentum 3 would always OPEN and start iTunes/Music and not what app I am actually using (and currently had open). Well, score another point for the Momentum 4! Before moving along to how they first sounded to my Momentum tuned ears, I have to mention I laughed to myself. I didn’t want whatever song was playing where it left off as my first song, so I instinctively went to my Apple Watch to pause the track. My finger was microns away from tapping pause when I pulled it away and said to myself, “ What am I doing, these have touch controls! “ and tapped the right ear-cup. I heard a little bleepy-blip noise to indicate the pause and it was paused. Nice!
Construction and comfort wise, I must say I was impressed… not that I had any worries. Sennheiser doesn’t make flimsy uncomfortable garbage, period. Yes, they didn’t feel as “premium” on my head, though I am unsure if that’s was more of an unconscious bias rather than a physicality. Overall they felt good. Light, non-irritating, and upon walking over to the mirror I actually gave them a nod, not of approval rather to see how well they stayed in place, in which they did to a satisfactory level. This did warrant a thumbs up, to be fare but looks wise they still irked me.
Continuing using the Momentum 4’s touch controls, I proceeded to swipe forward while looking at my phone’s screen until I found the song I was looking for, I Will Remember - Toto from the Audio’s Audiophile Collection Golden Ballads Disc 18, and tapped to play. Immediately I was greeted with the typical Momentum sound, in regards to the general frequency response, but the similarities ended there. Whatever reservations I may have had in reaction to the radical redesign instantly faded from memory as the presentation of the music I was hearing was absolutely wonderful! Track after track, all I could think was wow, and this is Bluetooth AAC?! 30 minutes in and the Momentum 4 were off to a fantastic start! I knew that I would be enjoying the next 2 weeks commuting to and from work.
Build and Comfort
Gone is the retro style lamb skin leather and stainless steel, replaced with a more contemporary design wrapped in plastic and synthetic padding. While not 4 paragraphs up I made it clear I was not enthusiastic about the Momentum 4 Wireless’s redesign, but in all honesty the new style did grow on me over the 2 weeks I had them. I both find them rather sleek looking and fitting, and realize why the change was needed; Touch controls. While Sennheiser could have made this work on the classic design, even with my small fingers it would have been very awkward and unnatural as the band not only gets in the way, it literally splits the surface area in two. The change was absolutely warranted and in my opinion Sennheiser did a good job on aesthetics.
Constructed of high quality plastic and weighing in at around 650g, the Momentum 4 Wireless feel well built and solid in my hands, as were they sturdy on my head. They feel high quality and very durable, and I have zero doubts that the Momentum 4 are made to last the long haul. I found the actual fit of the Momentum 4 Wireless felt quit comfortable. The padding on the underside of the band felt good against my part/crown with no irritation and it did not get too warm, even after a lengthy walk in 28°C weather. The clamping force of the cups was snug, but not too tight. I felt no uneven pressure on my jaw with no discomfort. The soft-vinyl synthetic pads which are made from, to quote, a viscoelastic foam core (a fancy term for memory foam) and polyurethane leatherette optimized for soft touch and good coupling with the face/head, felt soft and cool against my skin, even with stubble. There was plenty of room for my ears, with enough depth so that no part of my outer ear rubbed against the baffle. I am also a glasses wearer and I found there to be no shifting or creaky squeals.
VS Momentum 3
Given I only had 2 weeks for impressions, it’s hard to really gauge which headphone will outlast the other. However, in regards to construction, both headphones are made by Sennheiser, and this give me great comfort (pun intended) knowing the company’s reputation for quality. Synthetic, lamb skin, plastic or metal it matters not. I was able to wear both headphones without discomfort or fit issues, and both felt great on my head. However, the Momentum 4 Wireless take the point as I was able to wear them for 2 1/2 hours, 30 minutes more than the Momentum 3, before I had to slightly readjust the headband.
Touch Controls
I LIKE BUTTONS, yet I have to say I was impressed with the touch controls! I didn’t’t think I’d like them, and worried I’d be constantly “miss-touching” by accident, yet even my small elf-like hand grabbing the cups failed to make contact. Response was quick, and I never had any issues with the commands not being registered i.e. swiping at an angle or tapping off centre. Overall an enjoyable experience that has a functional and intuitive design that simply works.
Swipe up - Volume increase
Swipe Down - Volume decrease
Tap - Play/pause
Pinch in - ANC Max
Pinch out - Transparency Max
VS Momentum 3
Obviously the Momentum 3 has no touch controls, simply mundane 20th century technology called buttons. I do actually prefer the Momentum 3’s transparency button over the Momentum 4’s pinch. In my opinion it’s both easier to use and I like the tactile feel that lets me know what mode I am in.
Voice Prompts
Ah, the sassy English gal is back! Alongside the signal bleeps, once again the Momentum 4 Wireless features voice prompts, giving you all the pertinent information one might need for a headset. They are as follows:
“Connected” ...are connected via Bluetooth.
“No connection” ... have lost the Bluetooth connection to a paired device.
“Pairing successful” ... have successfully completed Bluetooth pairing.
“Pairing failed” ... have not successfully completed Bluetooth pairing.
“Recharge headset” ... have an empty rechargeable battery. Charge the rechargeable battery.
“More than xx % battery left” ... indicates the remaining battery charge in percent.
“Volume min” ... have reached the minimum volume setting.
“Volume max” ... have reached the maximum volume setting.
“Mute on” ... mute the microphone.
“Mute off” ... activate the microphone again.
VS Momentum 3
New recording of the dialogue, but fundamentally unchanged since the Momentum 2. The Momentum 4 Wireless does however seem to respond quicker when prompted over the previous Momentum.
Sound
Bass - It wouldn’t be a Momentum if it did not bring the bass, and the Momentum 4 Wireless doesn’t disappoint! Slightly elevated and extending far past my hearing, the sub-bass is robust and nicely weighted. My go-to test for sub-bass is the track 20 Hz - Shake the Street. This track features a 20 Hz tone that persists throughout the track, and is an excellent way of determining both if the drivers can handle the intensity and remain coherent without distortion, as well as to gauge if (at all) the sub-bass bleeds and overtakes the mid-bass. The Momentum 4 Wireless handles this track with ease. The Sub-bass remained highly controlled with no odd fluttering noises coming from the driver, with absolutely no bleed into the mid-bass allowing the kick drum to come through with it’s intended punchiness. This behaviour persisted beyond the test track, with every genre of music thrown at the Momentum 4 Wireless being handled with respect. Not once did I hear a track and think wow, that’s a lot of sub-bass, nor did ever hear it unnecessarily being boosted beyond what the track called for. In other words, the Momentum 4 Wireless handles sub-bass right, and should satisfy both audiophiles and bass-heads alike.
Much like the lower frequencies, mid-bass is balanced and controlled. It effortlessly flows into the sub region in a flat line with no discernible hump, and never bleeds into the lower midrange. Bass is fast, detailed, and articulate. It is well balanced with a good sense of slam, but never sounds too hard. It hits as much as it needs to, with only a slight hint of extra oomph in the kick. Drums and bass guitars are nicely layered upon each other with each retaining it’s own detail and presence and never blending together. Lower registers of the piano sound rich and articulate, while cellos and double bass sound simply divine!
VS Momentum 3
The Momentum 3’s sub-bass rolls off a touch while the mid-bass feels like a hammer against your skull! The Momentum 4 Wireless’ bass while not hitting nearly as hard, is far more controlled and detailed than it’s predecessor.
Midrange - The Momentum 4 Wireless is a Sennheiser, meaning a midrange that is smooth, textured, detailed, with accurate timbre. While relatively linear, there is a slight S shaped curve rising to 1KHz, decreases down to 2.5KHz and back up to 4KHz. This 1K hump and 2-3K dip slightly brings the midrange forward while careful not to create a hollow, almost nasaly tonality to the sound. Overall, the Momentum 4 Wireless handles midrange like a boss. Vocals are clean, clear, and articulate, while instruments possess excellent speed and texture. It’s always so hard to critique any Sennheiser headphone’s midrange and put it to words. They are just THAT good I simply have nothing to add that Sennheiser isn’t well known for. I guess I can sum it up by saying true to form Sennheiser midrange.
VS Momentum 3
The Momentum 4 Wireless’ mids are slightly forward, while the Momentum 3’s midrange is more linear. For the latter this does not translate to a more natural or better sounding midrange. The Momentum 4 Wireless’s midrange is slightly more refined and poses more accurate timbre.
Treble - Detailed, well extended, smooth, with a great sense of air, the treble is, simply put, akin to the HD 600! No embellishment, if you have heard the Sennheiser HD 600 you will recognize the Momentum 4 Wireless’ treble. It really is that good and that similar! Vocal sibilance is extremely well controlled being both detailed and smooth. Cymbals are full sounding with incredible decay that has a certain delicacy to it yet still retains a good sense of weight. Horns have bite and zing, but never glare or peakiness. At no time did my ears ever get fatigued, even listening at higher volume. In short, the Momentum 4 Wireless does treble to perfection! Out of all the subtle changes to the Momentum 4 Wireless’s sound, I find the treble to be the most pleasing.
VS Momentum 3
While both headphones have great treble extension, detail, and resolve, by comparison the Momentum 3 upper registers are more dynamic and in-your-face, while the Momentum 4 Wireless are more natural and laid back (and my preference).
Soundstage - Perhaps the biggest change in sound that departs from the whole Momentum line would be the soundstage. With each revision, the Momentum’s soundstage got larger and larger, partly due to their size increase. But that’s about it, a BIGGER sound, but with no real refinement. The soundstage of the Momentum 4 Wireless is a complete overhaul and a stark departure from it’s siblings.
The first noticeable change comes in the form of tangible depth and height, in that there actually is some, and by some I mean an impressive amount for a closed back headphones. The Momentum 4 Wireless’ predecessors have what I describe as a large, all encompassing soundstage that is flat, and have a very in-your-head sound to them. Sure, I can describe the sound as tall and wide, even having decent layering and instrument separation, yet it’s still fairly flat. The Momentum 4 Wireless has actual depth with accurate height. The vocals and instruments do sound a touch smaller, but their positioning in the 180° frontal arc is far more accurate and true to source. With live performances I can clearly gauge the size of the venue and not just “get a feel” for the space with no real boundaries. With the Momentum 4 Wireless it’s as if I can “see” the back of the stage, the walls, the ceiling and not just experience the reverb. When listening to YouTube videos and Podcasts alike I can “feel” the room, their walls, even their desk. The layering is rendered so well I know when performers walk in front of one another. I can tell that that guitar rift was recorded by a mic placed in front of the amp with the guitarist firmly placed behind. All of this with stellar technical resolve!
VS Momentum 3
The Momentum 3 sound like the listener is front and centre right up against the stage, while the Momentum 4 Wireless sound as if you are in the venue’s sweet spot. Not only does this allow for a greater sense of holographic space, it allows the sound be breathe, creating an out-of head experience with far more accurate detail and resolve.
Summary - I have to say, the Momentum 4 Wireless aren’t just a great sounding and performing headphone, they are one of Sennheiser’s best sounding and performing headphones! Not only do they improve upon the Momentum sound, they easily outperform even the legendary HD 600! In fact, the Momentum 4 Wireless actually sound very close to, yes, I’ll say it, a theoretical closed back HD 600!
And I do have to apologize for not including any specific tracks to accompany this section. To be frank, most of my listening was done while on-the-go on random. Literally hundreds of songs were critiqued in my head during real world use. What was listened to was a diverse mix of artists and genres spanning 30 years from the 24 disc collection Audio’s Audiophile.
Memorable Songs include:
Ana Caram - Meditation
Thomas Dolby - Pulp Culture
Toto - I Will Remember
Indigo Girls - Midnight Train To Georgia
Seal - Kiss From a Rose (Album Version)
Lou Reed - Small Town
Strauss - Also Sprach Zarathustra
Jeff Beck - She’s a Woman
Stevie Ray Vaughan - Little Wing
Joe Satriani - Slow Down Blues
Santana - Para Los Rumberosd
Klaus Weiland - Monkey River Magic
Rebecca Pidgeon - Primitive Man
Sara K. - Turned Me Upside Down
Adaptive Active Noise Cancellation
Sennheiser didn’t just improve upon their active noise cancelling, they raised the bar! New to the Momentum line and many headphones alike is the true Adaptive Active Noise Cancellation. What I mean by “true” is unlike before where the user had to manually control the environmental ANC either by controls or an app, the Momentum 4 Wireless will automatically set the ANC based on the environmental conditions. The best part is that it just works! When I first wore the headphones outside I manually set the ANC. I will admit, I didn’t trust the Momentum 4 Wireless to both swiftly and correctly switch ANC modes, but that’s not why I did so. I wanted to gauge how well ANC sounded manually when walking to my destination, and how well Adaptive Active Noise Cancellation worked by comparison while walking back. It only took a handful of trips before I just set it to Adaptive and left it at that. It was THAT good! It mattered not if I was in a noisy fast food restaurant (with teenagers), walking into the wind, or on a noisy bus, the Momentum 4 Wireless kept up and adapted accordingly.
Performance of the ANC was surprisingly good. I was both used to and content with the performance of the Momentum 3. While not quite as good as the competition, it was a vast improvement over the HD1 and that was fine by me. My opinion changed once I heard the Momentum 4 Wireless, and realized why many users and reviewers alike heavily criticized their predecessor over the competition. To my ears, the improved ANC performance is now on par with the high end competition, only falling behind the current and more expensive champ, Apple’s AirPods Max, and that’s mostly in regards to transparency mode. Speaking of transparency mode, the Momentum 4 Wireless improves upon this as well. While not perfect, it does sound more natural and less processed. My only small gripe and one area I think transparency mode needs improving is that there seems to be no priority on voices over the background noise as everything seems to be at the same volume (amplification). Again this is a nitpick only when compared to the AirPods Max as the Momentum 4 Wireless seem to be about equal to the rest.
Lastly, let’s talk about the cabin pressure caused by the ANC. Well, if there was any I’d gladly give my opinion however the Momentum 4 Wireless has ZERO added pressure introduced by the ANC. If there was any, my ears did not feel it, nor did they hear ANY change or alteration to the sound. Bravo Sennheiser, mine and other’s sensitive ears truly thank you! One can now listen to their music while cancelling out noise in complete comfort.
VS Momentum 3
Much improved! To give you a good perspective I will compare how well I, or shall I say I don’t, hear the sound of a diesel bus engine while seated. With the Momentum 3 the sound of the engine is present but veiled. I can still hear the midrange sound of the engine but the deep rumble and high pitched whine was attenuated. With the Momentum 4 Wireless that same Diesel engine sounded like an electric motor. What little sound I did hear mostly came through my arse to my ears via the seat. As for electric/hybrid busses, the sound was gone! In fact, the only sound I did hear appeared to be the sound of the tires on the asphalt, and even that was at a minimum!
Cabin pressure is also significantly reduced. With the Momentum 3, the pressure though is not too bad is noticeable and does alter the sound. The Momentum 4 Wireless suffers from virtually no pressure and the sound remains consistent throughout the adaptation and cancellation.
Bluetooth
With Bluetooth 5.2, the Momentum 4 Wireless features the latest technology. They can accept SBC, AAC, aptX™, aptX adaptive™ codecs, meaning that no matter what format you are using, the Momentum 4 Wireless should have no issues pairing. I say should as there are always devices that “should” connect but doesn’t. While not confirmed, the Nintendo Switch is a good example of a usual culprit. In regards to my own devices, a mix of Android and iOS, I found the Momentum 4 Wireless pairing to be effortless and without issues. It just worked! That said, some might find the absence of more premium codecs such as LDAC and aptX™Low Latency to be a huge miss-step. In regards to the former, the Momentum 4 Wireless first and foremost are headphones to be worn while being active in one’s own daily life, not critical listening in front of a fire in an old La-z Boy with a glass of Sauvignon blanc in hand. Besides, AptX Adaptive is backwards compatible with AptX HD. As for the latter, with Bluetooth 5.2, latency has been significantly improved making aptX™Low Latency unnecessary.
While on-the-go, I experienced little drop-outs. Whether walking through the mall, or crammed into an over-stuffed city bus, the music remained constant with a solid connection. Oddly enough, it’s mostly when I first approach fast-food restaurants that I hear a brief drop-out. My guess is that between the cars, customer’s smart phones, and the headsets used for the workers to communicate create a bubble of Bluetooth that once penetrated causes a brief overload of signals. As for range, I can safely say that I can walk to the dumpster of my townhouse complex which is several units down and still have a solid connection between the Momentum 4 Wireless and my iPhone still in my jacket’s pocket, hung up inside. As well, I was able to move around all 3 floors of my townhouse and not once did I experience even the slightest hiccup.
Overall I found the Momentum 4 Wireless Bluetooth performance to be exceptional! The connection is solid, and the sound quality definitely sits amongst the best! I, like many, have praised devices like iFi’s xDSD for having stellar AAC quality indistinguishable from wired, and I can confidently say that the Momentum 4 Wireless performance matches that of a dedicated Bluetooth DAC/amp. That is how far the technology has come, and it’s a breath of fresh air. Whether good or bad sounding, the song’s sonic quality comes from the track, not the headphone’s processing.
VS Momentum 3
In terms of performance and sound quality, connectivity, and signal stability, both headphones were virtually identical. Not much else to say.
Wired Connectivity
Connectivity wise, the Momentum 4 Wireless continues the trend of having both USB and 3.5mm options available if wireless is not. Both jacks are located on the bottom of the right cup. Located above the ports sits the only physical button, which it’s multi-function controlling voice assistant, Bluetooth syncing (5 sec hold), battery life voice prompt (double tap), and of course power on/off (hold for 3 seconds).
Like it’s predecessors, the Momentum 4 Wireless can be used over USB when connected to a PC/Mac with no additional drivers needed. You just plug it in and select the Momentum 4 Wireless from the systems’s sound settings, easy breezy, and the best part is they will charge while playing! This is a great option as not everyone’s laptop has equal Bluetooth, with dropouts being common while in crowded places such as restaurants and libraries. Or perhaps the desktop you are using has really bad internal audio and lacks any sort of Bluetooth connectivity, USB has you covered! However there are a couple of downsides to USB. The first is that you are limited to 16/48 audio output as you are using the Momentum 4 Wireless’ internal DAC. Not really an issue as 99% of music is in 16/44, and you will be getting a lossless signal. The second downside (letdown) is that once again you can not make use of the Momentum’s microphone. A huge miss-step in my opinion as the ability to both talk and listen would make the Momentum 4 Wireless a great option for a gaming headset (over USB).
The 3.5mm jack can be used two ways: Amped and raw. With Amped (the Momentum 4 Wireless turned on) the sound will pass through the DSP/Internal processing, giving the user the best sound quality yet retains the source material’s quality (bit depth/sample rate). Yes, it defeats the purpose of going wired, but it also allows the listener to experience the Momentum 4 Wireless’ intended tuning but at higher quality than Bluetooth allows, with the added benefit of ANC. I tell you, with 2 Lovebirds and a Senegal this was a Godsend while sitting at my desk!
* Note: You must max out the volume on the headphone itself, otherwise you will find the source amp will need a lot more power than is needed.
If you decide to go raw (un-amped), which to be honest given the intended use case of the headphone is a last ditch effort if in itself, one must physically hold down the multi-function button for 3 seconds to actually power down the Momentum 4 Wireless. If you connect in the 3.5mm plug the LEDs will flash RED, meaning the unit is in low power mode but the internal processing is still active and is not the same as powered down. As mentioned, this is the last use case of the Momentum 4 Wireless and in my own opinion, probably the least preferred option as the sound can only be described as, relatively speaking of course, weak. A good analogy would be if anyone has ever used the (depending on the manufacturer) Straight or Direct Mode on their stereo receiver. What this does is passed through the audio signal straight to the amp, bypassing all internal processing and tone controls leaving just your speaker’s “raw” sound. Some might find this pleasing and preferred.
Personally I am not too bothered by the raw 3.5mm performance. I understand why since the Momentum 2 (HD1) Sennheiser needed to use DSP to achieve the desired sound. To quote:
Well said! And…
I couldn’t agree more. These are wireless headphones through and through.
VS Momentum 3
Going to make this short and sweet. The two headphones along with the HD1 wired connectivity and functionality are identical to one another.
Microphone
To be honest, I did not really do much microphone testing. I received 2 calls, one while shopping in the grocery store and one while out walking to 7-11. Both calls I asked the caller how I sounded, and both reported that I sounded just fine with minimal background noise. I suppose that’s a passing grade for the Momentum 4 Wireless.
VS Momentum 3
The Momentum 3’s microphone was a downgrade from previous models, including the wired in-line found on the original. Sennheiser remedied this and one’s voice now comes across as more natural and less hollow and distant. I’d like to also point out, when speaking my own voice comes across as more open and less pressurized, if that makes any sense. Again, I didn’t dive too deep into this as I really don’t make many phone calls, though if I had to guess it has to do with Sidetone feature found in the Smart Control app.
Smart Control App
The Smart Control app acts like a control hub for all of your Sennheiser Bluetooth headphones, and has several features that help tailor your listening experience. With every category clearly labeled and presented visually, I found it both quick easy to navigate, with the option to disable any of the sub menus if one does not care about a certain function. This not only helps clean up the interface, making it easier to navigate and select an option, but prevents my OCD need of a minimalistic interface. Like many, It bothers me when I have to scroll through so many sub menus in-between the ones I need and regularly use. I tell you, hanging on to a hand-grip on a moving bus or train is bumpy and trying to one-hand navigate is a pain, so the less chances of accidentally clicking on the wrong selection and have to back out only to try again (and again), the better!
One of the most useful feature of the Smart Control app, and in part the Momentum 4 Wireless, is that all changes made in app will be baked into the headphones, meaning it’s set it, forget it. If you are happy with the changes made that’s it, you don’t need to constantly re-open Smart Control every time you pair the Momentum 4 Wireless. This is fantastic if you make use of multiple devices or just don’t want to use the app.
Using the Smart Control app, you can even set specific presets based on what zone you are in! Ok that is cool! Leave the house, bass-boost kicks in and ANC turns on. In your office, it can switch to transparency mode with a more laid back EQ preset. It’s your choice and can be configured to your taste! This does however require the Smart Control app to be open with the Momentum 4 Wireless connected, but it a minor drawback. Seriously, the Momentum 4 Wireless is packed with features, but GPS would just be too costly to implement, not to mention would be kind of overkill, hence why the Smart Control app acts like a multi-purpose smart hub for your Sennheiser wireless devices.
VS Momentum 3
Both share and use the same app. The Momentum 4 Wireless is presented with more options over it’s predecessor, but otherwise identical. That is except for actually connecting. As mentioned previous, the Momentum 3 has issues with it’s auto-connect behaviour. It will open and start playing Music and not what app I was using previous. I often have to open Neutron and double tap play/pause quickly, then power the headphones on in order to keep my app selection. If that’s not bad enough, 75% of the time, even though I literally have music playing, if I open Smart Control the Momentum 3 will not connect. It will say connecting, but then disconnects and I have to tap on the icon to connect again, and even then I often need a 3rd attempt. The Momentum 4 Wireless had zero issues, in fact if I have the app open already in the background and I switch to Smart Control, the headphones are often already connected, or at the very least does so almost immediately after opening.
Battery Life
Much like the sub-par ANC with the Momentum 3 and it’s dismal battery life, Sennheiser lost out on a lot of potential sales due to not measuring up to the completion (so says the internet), and this time they weren’t messing around. They weren’t out for redemption, they were out for OVERKILL, and succeed they did! The Sennheiser Momentum 4 Wireless features the longest lasting battery in the history of batteries! Ok, I made that up, but it most certainly can and will outlast the competition. With a MASSIVE 60 hours of battery life with ANC on, we aren’t talking about simply outdoing the competition, Sennheiser obliterated them all by doubling the life over the nearest competitor! When I received my review pair the battery life was at 80%; After the two weeks of moderate to heavy real World use, the battery was only down to 30%! Simply put, wow!
Oh, and before I end this section, I do have to mention that Sennheiser’s claim of 4 hour playback after 5 minutes of charging is absolutely correct… as far as I can tell after doing some quick math I’m my head at the time of charging. In regards to overall charge time I can tell you it went from 30% to 100% in just over 1 hour. This is amazing! I can’t tell you how many times I got ready to leave work and my Momentum 3s are redlining. 5 minutes of charge (if I am lucky) does little for them, and having no music for half my bus trip sucks. With the Momentum 4’s fast charging I could probably give them 3 minutes fo charging and easily make it home with more than enough power to spare. Nice!
VS Momentum 3
… cough...… You serious?! The Momentum 4 Wireless has literally 4 times the battery life of the Momentum 3! While this never posed an issue for me as my use case was pretty static, my daily bus commute, I can see this being an issue for those who use the Momentum 3 for the entirety of their day such as office workers or students, not to mention those who travel. Besides the increased battery life, the Momentum 4 Wireless also charges quite a bit faster (charge level vs playtime) as well.
Travel Case
As with all of the previous models, the Momentum 4 Wireless headphones come with a protective travel case. The outer material is of high quality, being both rugged pleasing to the touch with the inner layers featuring a soft yet durable velvet-like fabric. The top and bottom are protective by a hard plastic layer, keeping potential damage to a minimum if not outright preventing it. Inside the case there is a space for all of the included accessories, nicely held in place by elastics and webbing. The only minor negative I have towards the case is the fact that you have to retract the arms fully before the Momentum 4 Wireless will fit flush and snug inside the case.
Speaking of the Momentum 4 Wireless sitting in their case, there is more than meets the eye! Much like Apple’s AirPods Max, when placed inside the travel case the headphones will automatically enter into a low power sleep mode, essentially being turned off. This is fantastic as a major gripe people have towards a lot of wireless headphones, including Sennheiser’s own, is that they would often turn on while in transit and run down the battery. Not ideal when on-the-go to say the least! With the Momentum 4 Wireless you will never need to worry.
VS Momentum 3
The Momentum 3 fold up rather than sit flat, meaning the case does have a smaller footprint. However since the don’t fold flat it does sit taller. Tit for tat really. Both are made of high quality material and have hard inserts to protect while in transit, and both can hold all of their accessories. The only difference being the ability to power down while placed inside, and what a difference it it. Again, having an auto-off feature is a Godsend and should be standard!
Value
At $349 USD, the Momentum 4 Wireless offers a great value. You get Sennheiser quality with class leading sound and class leading technology! What more is there to say other than:
Conclusion
My time with the Momentum 4 Wireless was that of pure joy, and I thank Sennheiser for giving me an opportunity to try out their latest offering. Being a long time user and fan of the Momentum line-up, I went into this review with high expectations. The Momentum 4 Wireless have big boots to fill, and a legacy to uphold. That said, I can confidently say that all worries and reservation I may have had going into the review faded from memory by the end. Offering both a technologically and sonically superior revision, Sennheiser did the Momentum’s namesake right and is a more than worthy upgrade to the line. Whether it be long time users such as myself, or new users wanting a pair of great sounding ANC headphones, the Momentum 4 Wireless will not disappoint! So, the big question: Will I be grabbing a pair myself? Absolutely! Eventually… sometime soon I hope, so I can enjoy them before the next Momentum is announced. Regardless, the Momentum 4 Wireless will be a very welcome addition to my Momentum lineup, and is highly recommended to anyone wanting nothing but the best sound while on the go!
In 2011, the battle for portable audio was in full swing. Brought on by the both the integration of the smart phone into modern society and the overnight success of the juggernaught knows as Beats by Dr. Dre, audio companies both new and old were scrambling to catch up and leave their mark on consumers. This time also represented a paradigm shift in my own audio listening preference, from being content with using “good enough” drug-store purchased ear-buds, to not being satisfied when on-the-go unless I can replicate the same sound quality I had at home from headphone legends such as the DT 770, K701, and HD 598. Call me an audiophile elitist, but for me once I hear something I simply can not forget it and to be frank, my Koss IEMs were no longer acceptable to my ears. For almost a full year, like most reading this I am sure, I went through a buy-sell cycle of fancy marketing and broken promises. If sub-par performance wasn’t bad enough, long term comfort and build often sealed their fate. Needless to say I was frustrated. This all changed in 2012 when a new challenger appeared from Sennheiser, the Momentum!
Being quite new to head-gear at the time, I was starting to rely more and more on both reputable reviewers such as Tyl Hertsens, and the good folk here at Head-Fi to guid me in my purchasing decisions as I was tired of wasting both time and money. I wanted honest reviews by real people. One day as I am relaxing after a long days work and less than stellar 1 1/2 hour bus tip home, I open up my usual browser tabs including Inner Fidelity, and what I saw on their front page made my jaw drop. There it was, beckoning to me with it’s classic look and sleek lines backed up by stainless steel and lambskin leather, the Sennheiser Momentum! I probably read the review 3 times and double for the video. I was sold, and it wasn’t long before the local electronics store had a pair on demo that once heard only reinforced my wanting, no need to obtain a pair for myself. The only problem was I am not a rich man and could not afford to purchase a pair for myself. Luck changed that year at the company Christmas party when low and behold, a pair of black Momentums were up for raffle! 15 tickets later and them babies were mine, booya!
To this day, there have never been a pair of headphones I used more than the original Momentum. 2-3 hours per day on public transit as well as the fact I never left the house without at the very least having them around my neck, for nearly 7 years! It was only when I upgraded to an iPhone 8 that forced my hand into needing to upgrade to wireless headphones. Sure, I could have used my iFi xDSD, however I really did not want to drag that around with me to and from work + errands. My first and only choice naturally was the Momentum 2 wireless (HD 1). Once agin I was faced with the same dilemma of not being able to dish out the cash for a new purchase even though this time was an absolute need; No bloody way I can commute without my music! However luck strikes twice and I find a pair of HD 1 up for sale on Kijiji. Typical “ I bought these for travel and ended up purchasing X brand instead but can’t return these “ sales pitch with a price I both could afford and could not refuse. 30 minutes later and I was a proud owner of the HD 1! The leather still smelled new with full batter life, and I was a happy man once again!
All was good and the HD 1 served me well until one day in 2021 were I was browsing Amazon and came across a sale that made my heart race. There it was, the Sennheiser Momentum True Wireless (Momentum 3), 40% off AND 6 month equal payments! OMG, OMG, OMG…I have enough for the first payment… I NEED THESE NOW! I tell you good readers, my hands were shaking when I clicked the Buy It Now option. This was the deal of the year, maybe decade, and it felt great! However, hours later after watching and reading every review published for the Momentum 3, I came to a pause and think as to why the sale and unbelievable payment option for a pair of premium headphones from Sennheiser. DAGNABIT, they are planning on releasing the Momentum 4 soon, and sure as Schiit early 2022 they were announced! Well played Sennheiser, well played. From that day forward I channelled all my psychic energy towards Sennheiser, calling for them to announce a tour for the Momentum 4 wireless. Yes, I could have easily posted here and tagged them in, but sometimes willing the Universe to your favour is just as effective. It worked, I threw my name in, and after a couple weeks of rubbing Buda’s belly, I was selected to be part of the North American tour! Which brings us to today, my review of the much excited yet cautiously optimistic review of the Sennheiser Momentum 4 True Wireless headphones. This isn’t your Dad’s Momentums, and represent a new chapter in a beloved line of on-the-go headphones designed to take on today’s leading challengers.
Disclaimer
As read in the intro, the Momentum 4 were sent to me by Sennheiser as part of the review tour and yes, I am a long time appreciator of the Momentum line of headphones. Do not let this be of concern as my words are always honest and free of influence, and the way I am approaching this review will be both subjectively critical and highly objective where possible. I am not fanatically loyal; The Momentum 4 Wireless have large shoes to fill and will not shy away from delivering tough love if warranted. Now, without further delay, my review of the Sennheiser Momentum 4 Wireless!
Features
Ear Coupling - Around-the-ear, circum-aural
Connectivity - Bluetooth 5.2 compliant, class 1, 10 mW (max)
Supported Profiles - A2DP, AVRCP, HFP
Codecs - SBC, AAC, aptX™, aptX adaptive™
Speaker Type - 42mm diameter Dynamic
Speaker frequency range - 6 Hz to 22 kHz
Sensitivity - 106 dB SPL (1 kHz / 0 dB FS)
Total harmonic distortion (THD) - <0,3% (1 kHz / 100 dBSPL)
Impedance - Active 470 ohms / Passive 60 ohms
Active Noise Cancellation - Hybrid Adaptive ANC
Frequency response (microphone) - 50 Hz to 10 kHz
Microphone pick-up pattern - 2 mics per side, beam-forming for noise reduction
Battery time - Up to 60 hrs music playtime via Bluetooth and with ANC (test condition: iPhone, mid volume level)
Charging time - Approx. 2 hrs for full charge; 5 min charging for up to 4 hrs playtime; Remark: Ambient temperatures >30°C may lead to extended charging times
Power Supply - 5 V⎓, 800 mA max, USB charging via USB-C socket
First Impressions
May as well get rid of the elephant in the room first. In fact, it’s unavoidable. Upon opening the box and peeling off the instructional stickers from the cups, I could not help but to think that these are not a Momentum. I have obviously seen pre-release pictures of the Momentum 4 so I knew what to expect, but holding them in my hands and giving them a good look over, all that went through my mind was that they looked like a Sennheiser HD 450 had an affair with a pair of Sony 1000X. Plastic, synthetic materials, mundane design, these were not my Momentum! Technically, I put comfort over appearance all day long, but the stark difference in appearance to a long time Momentum user was (and to a degree still is) off-putting. But like my momma always said, looks aren’t important and it’s what’s inside that counts. Mother’s are always right, and I suppose it’s how they feel and sound on my head that is really important to me. I mean, I adore my PSB M4U1 but lets’ be honest, while they sound amazing and are super comfy they are not lookers by any means, especially considering since they came out the same time as the original Momentum.
After removing the Momentum 4 from their travel case, 4 white LEDs were pulsing back and forth, screaming out to me indicating that it’s looking for a pairing. Grabbing my iPhone, I opened the Bluetooth settings and the Momentum 4 paired without issue. I then opened up Sennheiser’s Smart Control App and the headphones were discovered and instantly synced. Good job so far! What was even better was that as soon as the headphones paired and were placed upon my head, Neutron Player instantly started to play! Why is this so significant I had to exclaim the last sentence? Simple, my Momentum 3 would always OPEN and start iTunes/Music and not what app I am actually using (and currently had open). Well, score another point for the Momentum 4! Before moving along to how they first sounded to my Momentum tuned ears, I have to mention I laughed to myself. I didn’t want whatever song was playing where it left off as my first song, so I instinctively went to my Apple Watch to pause the track. My finger was microns away from tapping pause when I pulled it away and said to myself, “ What am I doing, these have touch controls! “ and tapped the right ear-cup. I heard a little bleepy-blip noise to indicate the pause and it was paused. Nice!
Construction and comfort wise, I must say I was impressed… not that I had any worries. Sennheiser doesn’t make flimsy uncomfortable garbage, period. Yes, they didn’t feel as “premium” on my head, though I am unsure if that’s was more of an unconscious bias rather than a physicality. Overall they felt good. Light, non-irritating, and upon walking over to the mirror I actually gave them a nod, not of approval rather to see how well they stayed in place, in which they did to a satisfactory level. This did warrant a thumbs up, to be fare but looks wise they still irked me.
Continuing using the Momentum 4’s touch controls, I proceeded to swipe forward while looking at my phone’s screen until I found the song I was looking for, I Will Remember - Toto from the Audio’s Audiophile Collection Golden Ballads Disc 18, and tapped to play. Immediately I was greeted with the typical Momentum sound, in regards to the general frequency response, but the similarities ended there. Whatever reservations I may have had in reaction to the radical redesign instantly faded from memory as the presentation of the music I was hearing was absolutely wonderful! Track after track, all I could think was wow, and this is Bluetooth AAC?! 30 minutes in and the Momentum 4 were off to a fantastic start! I knew that I would be enjoying the next 2 weeks commuting to and from work.
Build and Comfort
Gone is the retro style lamb skin leather and stainless steel, replaced with a more contemporary design wrapped in plastic and synthetic padding. While not 4 paragraphs up I made it clear I was not enthusiastic about the Momentum 4 Wireless’s redesign, but in all honesty the new style did grow on me over the 2 weeks I had them. I both find them rather sleek looking and fitting, and realize why the change was needed; Touch controls. While Sennheiser could have made this work on the classic design, even with my small fingers it would have been very awkward and unnatural as the band not only gets in the way, it literally splits the surface area in two. The change was absolutely warranted and in my opinion Sennheiser did a good job on aesthetics.
Constructed of high quality plastic and weighing in at around 650g, the Momentum 4 Wireless feel well built and solid in my hands, as were they sturdy on my head. They feel high quality and very durable, and I have zero doubts that the Momentum 4 are made to last the long haul. I found the actual fit of the Momentum 4 Wireless felt quit comfortable. The padding on the underside of the band felt good against my part/crown with no irritation and it did not get too warm, even after a lengthy walk in 28°C weather. The clamping force of the cups was snug, but not too tight. I felt no uneven pressure on my jaw with no discomfort. The soft-vinyl synthetic pads which are made from, to quote, a viscoelastic foam core (a fancy term for memory foam) and polyurethane leatherette optimized for soft touch and good coupling with the face/head, felt soft and cool against my skin, even with stubble. There was plenty of room for my ears, with enough depth so that no part of my outer ear rubbed against the baffle. I am also a glasses wearer and I found there to be no shifting or creaky squeals.
VS Momentum 3
Given I only had 2 weeks for impressions, it’s hard to really gauge which headphone will outlast the other. However, in regards to construction, both headphones are made by Sennheiser, and this give me great comfort (pun intended) knowing the company’s reputation for quality. Synthetic, lamb skin, plastic or metal it matters not. I was able to wear both headphones without discomfort or fit issues, and both felt great on my head. However, the Momentum 4 Wireless take the point as I was able to wear them for 2 1/2 hours, 30 minutes more than the Momentum 3, before I had to slightly readjust the headband.
Touch Controls
I LIKE BUTTONS, yet I have to say I was impressed with the touch controls! I didn’t’t think I’d like them, and worried I’d be constantly “miss-touching” by accident, yet even my small elf-like hand grabbing the cups failed to make contact. Response was quick, and I never had any issues with the commands not being registered i.e. swiping at an angle or tapping off centre. Overall an enjoyable experience that has a functional and intuitive design that simply works.
Swipe up - Volume increase
Swipe Down - Volume decrease
Tap - Play/pause
Pinch in - ANC Max
Pinch out - Transparency Max
VS Momentum 3
Obviously the Momentum 3 has no touch controls, simply mundane 20th century technology called buttons. I do actually prefer the Momentum 3’s transparency button over the Momentum 4’s pinch. In my opinion it’s both easier to use and I like the tactile feel that lets me know what mode I am in.
Voice Prompts
Ah, the sassy English gal is back! Alongside the signal bleeps, once again the Momentum 4 Wireless features voice prompts, giving you all the pertinent information one might need for a headset. They are as follows:
“Connected” ...are connected via Bluetooth.
“No connection” ... have lost the Bluetooth connection to a paired device.
“Pairing successful” ... have successfully completed Bluetooth pairing.
“Pairing failed” ... have not successfully completed Bluetooth pairing.
“Recharge headset” ... have an empty rechargeable battery. Charge the rechargeable battery.
“More than xx % battery left” ... indicates the remaining battery charge in percent.
“Volume min” ... have reached the minimum volume setting.
“Volume max” ... have reached the maximum volume setting.
“Mute on” ... mute the microphone.
“Mute off” ... activate the microphone again.
VS Momentum 3
New recording of the dialogue, but fundamentally unchanged since the Momentum 2. The Momentum 4 Wireless does however seem to respond quicker when prompted over the previous Momentum.
Sound
Bass - It wouldn’t be a Momentum if it did not bring the bass, and the Momentum 4 Wireless doesn’t disappoint! Slightly elevated and extending far past my hearing, the sub-bass is robust and nicely weighted. My go-to test for sub-bass is the track 20 Hz - Shake the Street. This track features a 20 Hz tone that persists throughout the track, and is an excellent way of determining both if the drivers can handle the intensity and remain coherent without distortion, as well as to gauge if (at all) the sub-bass bleeds and overtakes the mid-bass. The Momentum 4 Wireless handles this track with ease. The Sub-bass remained highly controlled with no odd fluttering noises coming from the driver, with absolutely no bleed into the mid-bass allowing the kick drum to come through with it’s intended punchiness. This behaviour persisted beyond the test track, with every genre of music thrown at the Momentum 4 Wireless being handled with respect. Not once did I hear a track and think wow, that’s a lot of sub-bass, nor did ever hear it unnecessarily being boosted beyond what the track called for. In other words, the Momentum 4 Wireless handles sub-bass right, and should satisfy both audiophiles and bass-heads alike.
Much like the lower frequencies, mid-bass is balanced and controlled. It effortlessly flows into the sub region in a flat line with no discernible hump, and never bleeds into the lower midrange. Bass is fast, detailed, and articulate. It is well balanced with a good sense of slam, but never sounds too hard. It hits as much as it needs to, with only a slight hint of extra oomph in the kick. Drums and bass guitars are nicely layered upon each other with each retaining it’s own detail and presence and never blending together. Lower registers of the piano sound rich and articulate, while cellos and double bass sound simply divine!
VS Momentum 3
The Momentum 3’s sub-bass rolls off a touch while the mid-bass feels like a hammer against your skull! The Momentum 4 Wireless’ bass while not hitting nearly as hard, is far more controlled and detailed than it’s predecessor.
Midrange - The Momentum 4 Wireless is a Sennheiser, meaning a midrange that is smooth, textured, detailed, with accurate timbre. While relatively linear, there is a slight S shaped curve rising to 1KHz, decreases down to 2.5KHz and back up to 4KHz. This 1K hump and 2-3K dip slightly brings the midrange forward while careful not to create a hollow, almost nasaly tonality to the sound. Overall, the Momentum 4 Wireless handles midrange like a boss. Vocals are clean, clear, and articulate, while instruments possess excellent speed and texture. It’s always so hard to critique any Sennheiser headphone’s midrange and put it to words. They are just THAT good I simply have nothing to add that Sennheiser isn’t well known for. I guess I can sum it up by saying true to form Sennheiser midrange.
VS Momentum 3
The Momentum 4 Wireless’ mids are slightly forward, while the Momentum 3’s midrange is more linear. For the latter this does not translate to a more natural or better sounding midrange. The Momentum 4 Wireless’s midrange is slightly more refined and poses more accurate timbre.
Treble - Detailed, well extended, smooth, with a great sense of air, the treble is, simply put, akin to the HD 600! No embellishment, if you have heard the Sennheiser HD 600 you will recognize the Momentum 4 Wireless’ treble. It really is that good and that similar! Vocal sibilance is extremely well controlled being both detailed and smooth. Cymbals are full sounding with incredible decay that has a certain delicacy to it yet still retains a good sense of weight. Horns have bite and zing, but never glare or peakiness. At no time did my ears ever get fatigued, even listening at higher volume. In short, the Momentum 4 Wireless does treble to perfection! Out of all the subtle changes to the Momentum 4 Wireless’s sound, I find the treble to be the most pleasing.
VS Momentum 3
While both headphones have great treble extension, detail, and resolve, by comparison the Momentum 3 upper registers are more dynamic and in-your-face, while the Momentum 4 Wireless are more natural and laid back (and my preference).
Soundstage - Perhaps the biggest change in sound that departs from the whole Momentum line would be the soundstage. With each revision, the Momentum’s soundstage got larger and larger, partly due to their size increase. But that’s about it, a BIGGER sound, but with no real refinement. The soundstage of the Momentum 4 Wireless is a complete overhaul and a stark departure from it’s siblings.
The first noticeable change comes in the form of tangible depth and height, in that there actually is some, and by some I mean an impressive amount for a closed back headphones. The Momentum 4 Wireless’ predecessors have what I describe as a large, all encompassing soundstage that is flat, and have a very in-your-head sound to them. Sure, I can describe the sound as tall and wide, even having decent layering and instrument separation, yet it’s still fairly flat. The Momentum 4 Wireless has actual depth with accurate height. The vocals and instruments do sound a touch smaller, but their positioning in the 180° frontal arc is far more accurate and true to source. With live performances I can clearly gauge the size of the venue and not just “get a feel” for the space with no real boundaries. With the Momentum 4 Wireless it’s as if I can “see” the back of the stage, the walls, the ceiling and not just experience the reverb. When listening to YouTube videos and Podcasts alike I can “feel” the room, their walls, even their desk. The layering is rendered so well I know when performers walk in front of one another. I can tell that that guitar rift was recorded by a mic placed in front of the amp with the guitarist firmly placed behind. All of this with stellar technical resolve!
VS Momentum 3
The Momentum 3 sound like the listener is front and centre right up against the stage, while the Momentum 4 Wireless sound as if you are in the venue’s sweet spot. Not only does this allow for a greater sense of holographic space, it allows the sound be breathe, creating an out-of head experience with far more accurate detail and resolve.
Summary - I have to say, the Momentum 4 Wireless aren’t just a great sounding and performing headphone, they are one of Sennheiser’s best sounding and performing headphones! Not only do they improve upon the Momentum sound, they easily outperform even the legendary HD 600! In fact, the Momentum 4 Wireless actually sound very close to, yes, I’ll say it, a theoretical closed back HD 600!
And I do have to apologize for not including any specific tracks to accompany this section. To be frank, most of my listening was done while on-the-go on random. Literally hundreds of songs were critiqued in my head during real world use. What was listened to was a diverse mix of artists and genres spanning 30 years from the 24 disc collection Audio’s Audiophile.
Memorable Songs include:
Ana Caram - Meditation
Thomas Dolby - Pulp Culture
Toto - I Will Remember
Indigo Girls - Midnight Train To Georgia
Seal - Kiss From a Rose (Album Version)
Lou Reed - Small Town
Strauss - Also Sprach Zarathustra
Jeff Beck - She’s a Woman
Stevie Ray Vaughan - Little Wing
Joe Satriani - Slow Down Blues
Santana - Para Los Rumberosd
Klaus Weiland - Monkey River Magic
Rebecca Pidgeon - Primitive Man
Sara K. - Turned Me Upside Down
Adaptive Active Noise Cancellation
Sennheiser didn’t just improve upon their active noise cancelling, they raised the bar! New to the Momentum line and many headphones alike is the true Adaptive Active Noise Cancellation. What I mean by “true” is unlike before where the user had to manually control the environmental ANC either by controls or an app, the Momentum 4 Wireless will automatically set the ANC based on the environmental conditions. The best part is that it just works! When I first wore the headphones outside I manually set the ANC. I will admit, I didn’t trust the Momentum 4 Wireless to both swiftly and correctly switch ANC modes, but that’s not why I did so. I wanted to gauge how well ANC sounded manually when walking to my destination, and how well Adaptive Active Noise Cancellation worked by comparison while walking back. It only took a handful of trips before I just set it to Adaptive and left it at that. It was THAT good! It mattered not if I was in a noisy fast food restaurant (with teenagers), walking into the wind, or on a noisy bus, the Momentum 4 Wireless kept up and adapted accordingly.
Performance of the ANC was surprisingly good. I was both used to and content with the performance of the Momentum 3. While not quite as good as the competition, it was a vast improvement over the HD1 and that was fine by me. My opinion changed once I heard the Momentum 4 Wireless, and realized why many users and reviewers alike heavily criticized their predecessor over the competition. To my ears, the improved ANC performance is now on par with the high end competition, only falling behind the current and more expensive champ, Apple’s AirPods Max, and that’s mostly in regards to transparency mode. Speaking of transparency mode, the Momentum 4 Wireless improves upon this as well. While not perfect, it does sound more natural and less processed. My only small gripe and one area I think transparency mode needs improving is that there seems to be no priority on voices over the background noise as everything seems to be at the same volume (amplification). Again this is a nitpick only when compared to the AirPods Max as the Momentum 4 Wireless seem to be about equal to the rest.
Lastly, let’s talk about the cabin pressure caused by the ANC. Well, if there was any I’d gladly give my opinion however the Momentum 4 Wireless has ZERO added pressure introduced by the ANC. If there was any, my ears did not feel it, nor did they hear ANY change or alteration to the sound. Bravo Sennheiser, mine and other’s sensitive ears truly thank you! One can now listen to their music while cancelling out noise in complete comfort.
VS Momentum 3
Much improved! To give you a good perspective I will compare how well I, or shall I say I don’t, hear the sound of a diesel bus engine while seated. With the Momentum 3 the sound of the engine is present but veiled. I can still hear the midrange sound of the engine but the deep rumble and high pitched whine was attenuated. With the Momentum 4 Wireless that same Diesel engine sounded like an electric motor. What little sound I did hear mostly came through my arse to my ears via the seat. As for electric/hybrid busses, the sound was gone! In fact, the only sound I did hear appeared to be the sound of the tires on the asphalt, and even that was at a minimum!
Cabin pressure is also significantly reduced. With the Momentum 3, the pressure though is not too bad is noticeable and does alter the sound. The Momentum 4 Wireless suffers from virtually no pressure and the sound remains consistent throughout the adaptation and cancellation.
Bluetooth
With Bluetooth 5.2, the Momentum 4 Wireless features the latest technology. They can accept SBC, AAC, aptX™, aptX adaptive™ codecs, meaning that no matter what format you are using, the Momentum 4 Wireless should have no issues pairing. I say should as there are always devices that “should” connect but doesn’t. While not confirmed, the Nintendo Switch is a good example of a usual culprit. In regards to my own devices, a mix of Android and iOS, I found the Momentum 4 Wireless pairing to be effortless and without issues. It just worked! That said, some might find the absence of more premium codecs such as LDAC and aptX™Low Latency to be a huge miss-step. In regards to the former, the Momentum 4 Wireless first and foremost are headphones to be worn while being active in one’s own daily life, not critical listening in front of a fire in an old La-z Boy with a glass of Sauvignon blanc in hand. Besides, AptX Adaptive is backwards compatible with AptX HD. As for the latter, with Bluetooth 5.2, latency has been significantly improved making aptX™Low Latency unnecessary.
While on-the-go, I experienced little drop-outs. Whether walking through the mall, or crammed into an over-stuffed city bus, the music remained constant with a solid connection. Oddly enough, it’s mostly when I first approach fast-food restaurants that I hear a brief drop-out. My guess is that between the cars, customer’s smart phones, and the headsets used for the workers to communicate create a bubble of Bluetooth that once penetrated causes a brief overload of signals. As for range, I can safely say that I can walk to the dumpster of my townhouse complex which is several units down and still have a solid connection between the Momentum 4 Wireless and my iPhone still in my jacket’s pocket, hung up inside. As well, I was able to move around all 3 floors of my townhouse and not once did I experience even the slightest hiccup.
Overall I found the Momentum 4 Wireless Bluetooth performance to be exceptional! The connection is solid, and the sound quality definitely sits amongst the best! I, like many, have praised devices like iFi’s xDSD for having stellar AAC quality indistinguishable from wired, and I can confidently say that the Momentum 4 Wireless performance matches that of a dedicated Bluetooth DAC/amp. That is how far the technology has come, and it’s a breath of fresh air. Whether good or bad sounding, the song’s sonic quality comes from the track, not the headphone’s processing.
VS Momentum 3
In terms of performance and sound quality, connectivity, and signal stability, both headphones were virtually identical. Not much else to say.
Wired Connectivity
Connectivity wise, the Momentum 4 Wireless continues the trend of having both USB and 3.5mm options available if wireless is not. Both jacks are located on the bottom of the right cup. Located above the ports sits the only physical button, which it’s multi-function controlling voice assistant, Bluetooth syncing (5 sec hold), battery life voice prompt (double tap), and of course power on/off (hold for 3 seconds).
Like it’s predecessors, the Momentum 4 Wireless can be used over USB when connected to a PC/Mac with no additional drivers needed. You just plug it in and select the Momentum 4 Wireless from the systems’s sound settings, easy breezy, and the best part is they will charge while playing! This is a great option as not everyone’s laptop has equal Bluetooth, with dropouts being common while in crowded places such as restaurants and libraries. Or perhaps the desktop you are using has really bad internal audio and lacks any sort of Bluetooth connectivity, USB has you covered! However there are a couple of downsides to USB. The first is that you are limited to 16/48 audio output as you are using the Momentum 4 Wireless’ internal DAC. Not really an issue as 99% of music is in 16/44, and you will be getting a lossless signal. The second downside (letdown) is that once again you can not make use of the Momentum’s microphone. A huge miss-step in my opinion as the ability to both talk and listen would make the Momentum 4 Wireless a great option for a gaming headset (over USB).
The 3.5mm jack can be used two ways: Amped and raw. With Amped (the Momentum 4 Wireless turned on) the sound will pass through the DSP/Internal processing, giving the user the best sound quality yet retains the source material’s quality (bit depth/sample rate). Yes, it defeats the purpose of going wired, but it also allows the listener to experience the Momentum 4 Wireless’ intended tuning but at higher quality than Bluetooth allows, with the added benefit of ANC. I tell you, with 2 Lovebirds and a Senegal this was a Godsend while sitting at my desk!
* Note: You must max out the volume on the headphone itself, otherwise you will find the source amp will need a lot more power than is needed.
If you decide to go raw (un-amped), which to be honest given the intended use case of the headphone is a last ditch effort if in itself, one must physically hold down the multi-function button for 3 seconds to actually power down the Momentum 4 Wireless. If you connect in the 3.5mm plug the LEDs will flash RED, meaning the unit is in low power mode but the internal processing is still active and is not the same as powered down. As mentioned, this is the last use case of the Momentum 4 Wireless and in my own opinion, probably the least preferred option as the sound can only be described as, relatively speaking of course, weak. A good analogy would be if anyone has ever used the (depending on the manufacturer) Straight or Direct Mode on their stereo receiver. What this does is passed through the audio signal straight to the amp, bypassing all internal processing and tone controls leaving just your speaker’s “raw” sound. Some might find this pleasing and preferred.
Personally I am not too bothered by the raw 3.5mm performance. I understand why since the Momentum 2 (HD1) Sennheiser needed to use DSP to achieve the desired sound. To quote:
“ Because active electronics like ANC can fundamentally alter the acoustics experience, there is additional attention paid to the DSP so that when ANC is enabled it sounds more like a headphone that does NOT have ANC enabled. This is another benefit of having a companion app for updating firmware, enabling additional tuning controls (via EQ, etc) and fine-tuning of ANC strength, for example; we can (to an extent) build upon the experience even after the product has been released. At the end of the day, however, DSP and a transducer can only affect so much of the sound experience and definitely not all of it. We have to think of the transducer like a chameleon - it can change colour and patterns to adapt to its environment, but to humans, it still looks like a lizard. “
Well said! And…
“Using the headphones in passive mode (no battery in use, plugged in with the cable) is really the last use case for this model (and the intended customer use-case) The up-to-60-hours battery was implemented to constantly drive the DSP, which offers the best sound quality, even when ANC is on”
I couldn’t agree more. These are wireless headphones through and through.
VS Momentum 3
Going to make this short and sweet. The two headphones along with the HD1 wired connectivity and functionality are identical to one another.
Microphone
To be honest, I did not really do much microphone testing. I received 2 calls, one while shopping in the grocery store and one while out walking to 7-11. Both calls I asked the caller how I sounded, and both reported that I sounded just fine with minimal background noise. I suppose that’s a passing grade for the Momentum 4 Wireless.
VS Momentum 3
The Momentum 3’s microphone was a downgrade from previous models, including the wired in-line found on the original. Sennheiser remedied this and one’s voice now comes across as more natural and less hollow and distant. I’d like to also point out, when speaking my own voice comes across as more open and less pressurized, if that makes any sense. Again, I didn’t dive too deep into this as I really don’t make many phone calls, though if I had to guess it has to do with Sidetone feature found in the Smart Control app.
Smart Control App
The Smart Control app acts like a control hub for all of your Sennheiser Bluetooth headphones, and has several features that help tailor your listening experience. With every category clearly labeled and presented visually, I found it both quick easy to navigate, with the option to disable any of the sub menus if one does not care about a certain function. This not only helps clean up the interface, making it easier to navigate and select an option, but prevents my OCD need of a minimalistic interface. Like many, It bothers me when I have to scroll through so many sub menus in-between the ones I need and regularly use. I tell you, hanging on to a hand-grip on a moving bus or train is bumpy and trying to one-hand navigate is a pain, so the less chances of accidentally clicking on the wrong selection and have to back out only to try again (and again), the better!
One of the most useful feature of the Smart Control app, and in part the Momentum 4 Wireless, is that all changes made in app will be baked into the headphones, meaning it’s set it, forget it. If you are happy with the changes made that’s it, you don’t need to constantly re-open Smart Control every time you pair the Momentum 4 Wireless. This is fantastic if you make use of multiple devices or just don’t want to use the app.
Using the Smart Control app, you can even set specific presets based on what zone you are in! Ok that is cool! Leave the house, bass-boost kicks in and ANC turns on. In your office, it can switch to transparency mode with a more laid back EQ preset. It’s your choice and can be configured to your taste! This does however require the Smart Control app to be open with the Momentum 4 Wireless connected, but it a minor drawback. Seriously, the Momentum 4 Wireless is packed with features, but GPS would just be too costly to implement, not to mention would be kind of overkill, hence why the Smart Control app acts like a multi-purpose smart hub for your Sennheiser wireless devices.
VS Momentum 3
Both share and use the same app. The Momentum 4 Wireless is presented with more options over it’s predecessor, but otherwise identical. That is except for actually connecting. As mentioned previous, the Momentum 3 has issues with it’s auto-connect behaviour. It will open and start playing Music and not what app I was using previous. I often have to open Neutron and double tap play/pause quickly, then power the headphones on in order to keep my app selection. If that’s not bad enough, 75% of the time, even though I literally have music playing, if I open Smart Control the Momentum 3 will not connect. It will say connecting, but then disconnects and I have to tap on the icon to connect again, and even then I often need a 3rd attempt. The Momentum 4 Wireless had zero issues, in fact if I have the app open already in the background and I switch to Smart Control, the headphones are often already connected, or at the very least does so almost immediately after opening.
Battery Life
Much like the sub-par ANC with the Momentum 3 and it’s dismal battery life, Sennheiser lost out on a lot of potential sales due to not measuring up to the completion (so says the internet), and this time they weren’t messing around. They weren’t out for redemption, they were out for OVERKILL, and succeed they did! The Sennheiser Momentum 4 Wireless features the longest lasting battery in the history of batteries! Ok, I made that up, but it most certainly can and will outlast the competition. With a MASSIVE 60 hours of battery life with ANC on, we aren’t talking about simply outdoing the competition, Sennheiser obliterated them all by doubling the life over the nearest competitor! When I received my review pair the battery life was at 80%; After the two weeks of moderate to heavy real World use, the battery was only down to 30%! Simply put, wow!
Oh, and before I end this section, I do have to mention that Sennheiser’s claim of 4 hour playback after 5 minutes of charging is absolutely correct… as far as I can tell after doing some quick math I’m my head at the time of charging. In regards to overall charge time I can tell you it went from 30% to 100% in just over 1 hour. This is amazing! I can’t tell you how many times I got ready to leave work and my Momentum 3s are redlining. 5 minutes of charge (if I am lucky) does little for them, and having no music for half my bus trip sucks. With the Momentum 4’s fast charging I could probably give them 3 minutes fo charging and easily make it home with more than enough power to spare. Nice!
VS Momentum 3
… cough...… You serious?! The Momentum 4 Wireless has literally 4 times the battery life of the Momentum 3! While this never posed an issue for me as my use case was pretty static, my daily bus commute, I can see this being an issue for those who use the Momentum 3 for the entirety of their day such as office workers or students, not to mention those who travel. Besides the increased battery life, the Momentum 4 Wireless also charges quite a bit faster (charge level vs playtime) as well.Travel Case
As with all of the previous models, the Momentum 4 Wireless headphones come with a protective travel case. The outer material is of high quality, being both rugged pleasing to the touch with the inner layers featuring a soft yet durable velvet-like fabric. The top and bottom are protective by a hard plastic layer, keeping potential damage to a minimum if not outright preventing it. Inside the case there is a space for all of the included accessories, nicely held in place by elastics and webbing. The only minor negative I have towards the case is the fact that you have to retract the arms fully before the Momentum 4 Wireless will fit flush and snug inside the case.
Speaking of the Momentum 4 Wireless sitting in their case, there is more than meets the eye! Much like Apple’s AirPods Max, when placed inside the travel case the headphones will automatically enter into a low power sleep mode, essentially being turned off. This is fantastic as a major gripe people have towards a lot of wireless headphones, including Sennheiser’s own, is that they would often turn on while in transit and run down the battery. Not ideal when on-the-go to say the least! With the Momentum 4 Wireless you will never need to worry.
VS Momentum 3
The Momentum 3 fold up rather than sit flat, meaning the case does have a smaller footprint. However since the don’t fold flat it does sit taller. Tit for tat really. Both are made of high quality material and have hard inserts to protect while in transit, and both can hold all of their accessories. The only difference being the ability to power down while placed inside, and what a difference it it. Again, having an auto-off feature is a Godsend and should be standard!
Value
At $349 USD, the Momentum 4 Wireless offers a great value. You get Sennheiser quality with class leading sound and class leading technology! What more is there to say other than:
Conclusion
My time with the Momentum 4 Wireless was that of pure joy, and I thank Sennheiser for giving me an opportunity to try out their latest offering. Being a long time user and fan of the Momentum line-up, I went into this review with high expectations. The Momentum 4 Wireless have big boots to fill, and a legacy to uphold. That said, I can confidently say that all worries and reservation I may have had going into the review faded from memory by the end. Offering both a technologically and sonically superior revision, Sennheiser did the Momentum’s namesake right and is a more than worthy upgrade to the line. Whether it be long time users such as myself, or new users wanting a pair of great sounding ANC headphones, the Momentum 4 Wireless will not disappoint! So, the big question: Will I be grabbing a pair myself? Absolutely! Eventually… sometime soon I hope, so I can enjoy them before the next Momentum is announced. Regardless, the Momentum 4 Wireless will be a very welcome addition to my Momentum lineup, and is highly recommended to anyone wanting nothing but the best sound while on the go!
Attachments
ericpalonen
Wow! Thank you thank you thank you! You may have set the bar for a Tour review. Thanks for the thorough (and often humorous) impressions, and deep look back at the MOMENTUM family for comparisons. Bravo!
iFi Audio Power Station
Intro
It was a late winter Saturday morning. Being a child of the 1980’s my routine included a bowl of Froot Loops with by butt firmly planted in front of the T.V. along with my younger brother, watching such classics as The Smurfs ,Transformers, and the Disney Afternoon. Usually my mother would be doing chores with my father relaxing in the basement after getting up hours before the rest of us and shovelling the driveway. Today was not typical though. My brother was over at a friend’s house, and my mom went shopping for the day with her sisters, leaving just my Dad and I alone until the evening. Unbeknown to me, this was all planned. But first, let’s backtrack to the Fall of the previous year.
My Dad had surprised my mom with an early Birthday/Christmas gift; A brand new Sony Video 8 Handycam! For years my Mom wanted a camcorder after my Dad brought home a broadcast quality Sony Betacam from his work and filmed my 1st Birthday. As my father’s profession was in media/broadcasting he outright refused to allow our precious memories to be filmed on a home VHS video recorder (in his professional opinion, a trash format). With Video 8 (8mm cassette) not becoming the next Betamax, my Dad felt confident that his expensive purchase would not become a niche technology (like our 4 Super Beta Hi-Fi + LaserDisc players we had). Anyway, he had filmed that year’s Halloween, us kid’s school Christmas pageant, and of course Christmas and New Year’s Eve. With the context out of the way, let’s continue.
The day before my Dad, along with our cousin, had moved a behemoth Sony U-matic professional 3/4” VTR along with a couple of colour monitors down to the computer room. As my Dad was #2 in his company he had special privileges, and one of them was “signing out” last generation’s technology (that all became permanent household fixtures). While we had several Super Beta VCRs and TVs that could have been used, being the professional my father is, he wanted the edits to be clean and the transfer to be as close to 1:1 as possible complete with colour grading, computer graphics, sound effects and soundtrack. Needless to say I was wowed by the transformation of the room into a fully loaded editing suit, thinking it looked like something out of the movies!
Everything started to make sense. My mom was sent away so that she would not know what my Dad was up to, while my brother was at friends so there would be no distractions. I was kept around because my Dad wanted me to see what he was doing. He was awesome that way. Anything new that related to technology my father would not just have me by his side learning along with him, but explaining the how’s and why’s along the way. As a child I found it annoying sometimes, but looking back I am grateful he did. It made me more objective in my opinions and not turn me into an ignorant fanboy.
The morning soon transitioned to afternoon. Over the course of the few hours I witness my Dad mad at work, jogging video and pushing buttons without taking his eyes off the monitors. It was amazing, like watching Data from Star Trek in real time! I just watched from the door, daring not to break his concentration. I could tell he was in deep focus as he would have two cigarettes going at any given time (hence why I stood by the door). Now and again he would give a brief rundown on what he just did, if relevant, only to return to his rhythm and carry on. Eventually the ashtray was full, and his task was complete. It was time to transfer the video onto Beta, and was shooed away as to not spoil the final product until I could watch the video together with my family. I was told to close the door on the way out.
It wasn’t long before I started hearing “colourful” language coming through the door. Something was very wrong. My Dad never swore. The door swung open and I could see it in his face that this was serious. For the next 30 minutes he was frantic, switching wires, swapping power outlets, changing out various Beta cassette tapes, even cleaning the drum heads of the VCRs by hand, all hoping for a different outcome. Eventually he let out a sigh of defeat and showed me the video. Pushing play on the U-matic, the problem was apparent; Noise! Along the top of the screen were quite visible intermittent distortion lines. “ Uh oh! ” I thought, “ I hope he doesn’t blame this on me! “ You see, the rule of the house is if my Dad is recording on the VCR we are, for ANY reason, not to turn on the microwave, dryer, or any light that is on a rheostat as it would introduce distortion lines and crackly sound. However no blame was laid, rather my Dad simply said “ Let’s go for a car ride down to the TV station. “ and away we went.
When we arrived I was excited as I thought that I would get to play on the legendary (and fully-loaded) Macintosh IIfx while my Dad did whatever he had to do, but alas it was not to be. This was a commando strike, and the signing in at the front desk took longer than we were inside. My Dad had grabbed 2 items, a handful of professional grade RCA to locking BNC coaxial cables, and a mammoth metal power-strip. As a 9-year old I was disappointed, with the 90 minute+ round trip in -30°C, dark at 4:30pm, Canadian February winter reinforcing my feelings. Ah well, we got A&W Teen burgers with onion rings and root beer on the way back, and we made good time so it was all good. Eventually we get back and my Dad spared no time swapping out cables and transferring plugs to the new power-strip.
This time I gave my Dad his complete space with me playing Nintendo while he worked his magic. I didn’t think my Dad could do it, but he re-edited the video with all of the pizzaz in time before my mom and brother got back, and this time the video was perfect! Phew! I asked what the issue was in the first place. He explained that it was the same reason when we had moved in years prior our Apple II literally caught fire the first time it was powered on, and why when I plugged in a radio into a socket in my bedroom the outlet glowed bright red and started to smoke; Bad power! The power-strip was a completely different animal vs the sturdy tried and true indoor/outdoor Noma brand strips we used, which weren’t terrible by any metric, and that it filters out noise that the U-matic’s heads were picking up. At the time the explanation was beyond my comprehension, but I now know he was referring to EMI and RFI along with an uneven power waveform from the breaker a.k.a. dirty power!
To this day I still use the seemingly magical power-strip that saved my Dad’s first of many many many… many home movie project. By the time I grew to a young adult and had a place of my own, my parents had moved to a new residence (with good power) just as the Renaissance of digital video was at hand, so there was no need for a large and over-engineered power-strip. So I snatched it up! It currently sits under the bed, protecting my wife and I from the electric blanket we use in the winter, as well as our alarm clocks from any unwanted and consequential power issues. While it has dirtied over the years from animals and spills, the terminal contacts show no sign of corrosion and it’s LED indicator light shines bright and flicker-free.
You might be asking yourself, what was the point of this anecdote from my youth? Two reasons. First, it’s to illustrate how something as mundane as a power-strip and clean power can make a huge impact. Second, professional or not, having a good power-strip is essential to ensure both quality and expedience of work. And last, I have witnessed first hand what bad power can do to a house’s mains and that which is connected to them. It is the reason why I got excited when iFi Audio both announced their new Power Station power-strip, and reached out to me to see if I would like to give it a try. To be perfectly honest, given iFi’ audios past record of releasing Digital and AC power enhancers (noise conditioners), I have been longing for them to make such a product; An iFi quality power strip with built-in noise conditioning! So let’s find out how the Power Station stacks up to iFi’s claims, and if it’s worth investing in to protect and enhance your equipment.
Disclaimer/Acknowledgement
The Power Station was sent to me direct from iFi Audio USA in exchange for my impressions and review. The words I write are my own and are honest, objective, and free of bias. I received no financial compensation for my effort, only the satisfaction of trying out a quality product.
As always, I would also like to thank Lawrance over at iFi Audio for contacting me and asking if I would interested in checking out yet another fantastic iFi product! Heck yes, I will never say no!
About Me
Born in 1978, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both basic electronics and Sound: Electro-Acousto a.k.a. The Path to Golden Ears. While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Features
Active Noise Cancellation II ®
Built on military technology, ANC II ® provides up to >40dB (>100x) reduction of the noise floor. Much like active noise cancelling (ANC) headphones, the Power Station generates a signal in the opposite phase of the incoming electrical noise, actively cancelling the signal out. The end result is effective at removing low and mid range frequency noise, while passive insulating filters reduce the noise found in the higher frequency range.
Wireless Purification System (WPS) noise reduction
Complex circuit that reduces power line noise without auditable or measurable side effects, nor hamper dynamics.
Over-voltage Surge Protection (OSP) max. 30,000A @ 1,000V/10uS
Auto detection and cut-off circuitry. Should the Power Station detect excessive power surges or shorts in the mains’ electricity it will automatically cut off, and if the problem persists it will not restart and continue to protect your equipment.
Isolated Outlets
Each outlet of the Power Station is independently isolated in its own chamber to prevent differential mode cross-contamination. The addition of strategically placed EVA (Ethylene Vinyl Acetate) helps to damp vibrations.
99.9999% Oxygen Free High Conductivity (OFHC) continuous-cast copper
Superior conductivity, including the 13 AWG heavy grade internal wiring with multi-layered polymer insulation, solid PurCopper busbars, and the conductive elements of the outlets themselves.
Intelligent Ground
Smart diagnostic tool that only actively provides an earth (ground) connection if your system needs one. If the system is already earthed, the Power Station will not create a ground loop.
Built-in AC iPurifier
Red/Green LED indicator shows polarity and earth (ground) connection making it simple to tell if there is an issue. 4mm banana plug socket adds the ability to use a grounding cable to add earth (ground) to a component when one isn’t present, eliminating any annoying buzzing and hums.
Looking at the list of impressive features of the Power Station one might ask, is this a power strip or a power conditioner? The answer is yes! iFi made the ultimate fusion with the Power Station by combining the capabilities of what one would find in a conventional power conditioning unit with the form factor of a multi-outlet power strip. However unlike the competition which, for the most part, use standard off the shelf components and topology, the Power Station is packed with iFi’s customers in-house design - trickle-down technology found in many of their products.
Normally I’d move on to the next section of the review. Normally the features are nothing more than stats! While I do admit the Power Station’s features are pretty self explanatory, I have a lot to say in regards to why I feel they are important. Like my personal antidote that opened the review, I have been scorned in the past by “advertised” claims and shoddy construction, both of which have had costly consequences. We take a lot of things for granted, especially in our high-tech day and age. Products are designed to work within specifications while obliging to regulatory standards, and for the the vast majority of their life will operate with zero issues. Nothing though is 100% guaranteed, and outside factors arise to cause problems. The following paragraphs in this section are not typical and simply reflect my experience.
Starting off with the noise cancelling aspects, iFi’s claims regarding ANC II and WPS are not outlandish by any regard. I have a Blue Diamond power-strip that advertises EMI/RFI filtering with up to 46dB reduction of the noise floor, fully passive. It has served me well over the years as I am near obsessed with eliminating any and all noise. However while satisfied with the seemingly inky-blackness of the signal (for the most part), unbeknownst to me all this time the dynamics were in fact affected in a negative way. Upon swapping over my iCAN SE and iTube2’s iPowers from my power strip to the Power Station, the difference was immediate with multiple headphones. I will not get into too much detail on this as I will be covering it later on in the review, but I will say that my HiFiMAN HE-560 became far too bright to the point I care not to use them outside of gaming. In all honesty I never understood until now why the legendary Tyll Hertsens found the HE-560 too bright as we actually share the same preference in headphone sound signature. Talk about mixed feelings, but that’s on me, not the Power Station. I have said this time and time again, you never notice the invisible grain until you don’t. In my case, a full decade of not hearing my gear to the fullest! I was, I am both shocked and embarrassed.
Moving along to the protection features, the Power Station has the competition beat, in spades! Boasting 99.9999% oxygen-free high conductivity continuous-cast copper (that’s a mouthful), 13 gauge heavy grade wiring, and multi-layered polymer insulation, I do not question the reliability and longevity of the Power Station internals. For many this may seem like overkill by any metric, yet I on the other hand do not. This past summer I threw out two power strips and three extension cords due to corrosion/oxidation. The power strips were tucked in behind 2 floor sitting freshwater 60L aquariums, one on either side of the room. Because of my basement’s semi-finished nature, power outlets were scarce so I had to use an extension cord running from my workbench to power the rumpus room. The fish tanks were daisy chained with extension cords leading to independent power strips for each respectively, with a third short extension cord leading to the centre wall to power a TV. For context, neither of the power strips were exposed to water during operation, only moisture in the air which sits at 23% humidity, a mere 1% higher than the main floor. Anyway, nothing changed in regards to the setup for a decade until the fish caught a parasite from live feeders and sadly perished; So much for giving them a treat. For the next 4 years we just left the tanks sit until I decided that I needed a man-cave! I cleaned and cleaned, leaving the tanks for last. Upon trying to unplug the accessories from the first strip, it soon became apparent that they would not budge; At best I could wiggle them, only to hear a crunchy sound! I literally had to stand on either end of the power strip and yank with all my might to get each one out! The second tank’s strip faired a little better, probably because it sat against a drywall as opposed to concrete foundation. Each plug came out by hand but not without extreme force. Inspecting the copper of the plugs, each had significant darkening and pitting of the metal However that was only for the tank’s accessories as most of the extension cord’s prongs stayed in the power strip! Wow!
Because the fish tank accessories were by Fluval, a highly regarded company in the fish world (akin to the Sennheiser of aquariums), the copper on the plugs were of high quality and could be saved and re-used without worry or issue. It took a lot of scrubbing with CLR and a toothbrush, combined with light sanding, but I managed to clean the plugs up so that they were smooth with a shiny finish. The power strips on the other hand were going straight into the trash, but first I needed to crack them open and see what’s going on. To my non-surprise, I was met with crumbly copper with heavy multi-coloured blue-green oxidation floating about. Using tweezers, I carefully pulled apart the copper bus bars only to realize that the metal was plated! It all makes sense why the pitting of the copper on the plugs; chemical reaction between the electricity, moisture, the different metals. Needless to say I was taken aback! Never again, and by that I mean avoid those large floor sitting boxes overflowing with powerstripas and extension cables that sit under the racks in Big-Box hardware stores. They may seem like a great deal for what they are, but believe me they are not. In fact, I will take it further. I received the power strips and extension cords from my best-bud/room-mate as a thoughtful gesture when we first set up the tanks. He worked (at the time) at one of the Big-Box stores (orange apron) and informed me years later to NEVER purchase ANYTHING from those unlabelled brown boxes as they are all garbage purchased pennies on the dollar. No damage done, but advise that came too late. I shudder to think what may have happened if the tanks were still in use.
As someone who has taken apart many power strips, including ones costing well over $100, I can honestly say that I have never encountered full - 100% isolated outlets. It’s a feature I have wanted for many years. While iFi states that isolated outlets “ prevents differential mode cross-contamination “, it goes far beyond providing the cleanest sound. I am not sure how many of you are familiar with what’s inside of a standard power strip, but shockingly (pun intended) it’s not much! Please, by all means open a new browser tab and take a moment away from this review to do a search for “ inside of a power strip “. Just be warned, you might start to look at your own strips with a concerned eye. Now that you all have that engraved into your mind, think of all the possibilities that would be of concern such as liquid, moisture, or debris falling into the socket. I recently opened up a moderately expensive power strip in which I could hear something, multiple things, rattling around. It came with one of the aquariums we have upstairs (yes, we have a few) and only 3 of the 8 outlets worked. I myself never set it up, I just accepted it for years until recently when I decided to de-clutter underneath the fish tank and had swapped the strip for a wall mounted multi-outlet. Curiosity got the better of me and upon removing the screws and dismantling the strip fur, sand, pebbles, dust bunnies, dead spiders, and staples fell out! After a thorough cleaning all 8 outlets now work (along with the LCD display and programable timer) with a substantially lower risk of something consequential occurring. Here’s the kicker. As each outlet could rotate, each were contained in a “chamber”, though completely open to the rest of the inside. All this did was aid the collection and build-up around each socket thus furthering the change of failure or worse! I am just a dude, yet I really wonder what’s going through the heads of the engineers who design these products!? Fortunately, iFi’s engineers seem to possess foresight that others lack!
Lastly, a power strip would not be such without surge protection. Besides, multiple outlets, it’s the one feature people take for granted. The Power Station has a very respectable 30,000A @ 1,000V/10uS of over-voltage surge protection, a high number indeed though one can never be too careful when protecting your expensive gear. One can not rely on their dwellings fuze box/circuit breaker alone. The Power Station uses advanced detection and cut-off circuitry which detects shorts and surges in the mains power and automatically protects any connected device. If the problem persists the Power Station will remain in protection mode and not restart. Back-tracking to the last paragraph, remember the inside of a standard power strip? If you look close enough, usually on the side or near the power switch, you will see the circuit breaker. Don’t see it? I don’t blame you as it is simply a strip of temperature sensitive metal in-line with the circuit, that when heated beyond a certain point will retract thus breaking continuity. Pushing the “reset” button simply pushes the cooled metal bar back in place, in which it will remain until it again reaches the cut-off temperature. I am not sure about you, but that does not bring confidence in regards to protecting my expensive gear. Sure, it works… for the most part…
Unlike the competition, iFi Audio does not make any bold claims of X amount of $$$ in gear protection, and oh boy do I have yet another story for you… last one, I promise! The current power strip I am using was purchased as a replacement. The previous week my city had suffered a brutal thunderstorm, with a lightning strike occurring literally across the street from my townhouse. This caused not only all of the lights that were plugged into the wall or hard wired to the mains to briefly glow to a blinding brightness, but trip all of the circuit breakers in my power strips… all but one. You see 2 years previous after the purchase of a new MacPro I decided that my trusty Noma power strip just wasn’t good enough for my expensive God-tier computer. This power strip was not cheap and was advertised with a “$1,000,000 in gear protection guarantee”. Out of respect for the company I won’t say their name, but it rhymes with Monster Cable. At first I thought that nothing was wrong. I had assumed that the Monster strip tripped as the computer seemed off. Noticing the monitor, along with the iMac that sat next to it still had power, it was then the distinct smell of burning rubber crept into my nose! Glancing down under the desk, I could see a spot halfway down the power cable was melted and smoking! I never straightened out the cable on the power strip as it was too long for under my desk, so I kept it in it’s packaged state which was looped and tied. The burning occurred on one of the bends in the loop. Anyway, I quickly sprang into action and yanked out the cable from the wall socket, bending the pins in the process. I was panicking!
I don’t think I could have dug up an old power strip any faster; I needed to know if my computers, my babies were ok! However, they were not. My iMac restarted, but the display was dead; The connector burned out resulting in half the screen flickering pink. The MacPro sadly did not turn on, instead slowly filled the room with the smell of ionized smoke. I had spent the past two years paying off my dream computer and had just made the final payment 1-2 months prior, and due to my credit limit at the time I could not afford AppleCare. Anyone want to make a wager if Monster Cable made good on their guarantee? Anyone? Their excuse was that I didn’t buy the power strip from an “authorized” dealer! What what WHAT? There is/was such a thing? Unbelievable. How about this, anyone want to make a guess how much home owner’s insurance covered the cost of my two Apple computers? $1500 CAD, not including the $500 deductible… $1000 for an Intel iMac and Xeon powered MacPro. I am not sure who I was more enraged with, Monster Cable or my insurance, but regardless I was not impressed. Live and learn I suppose…
Oh hey, what about the built-in AC iPurifier? Excellent question! Originally it was my plan to include a separate linked review of this awesome little device, however upon doing a little digging, my fellow Head-Fier DubiousGeorge had already written a fantastic write-up with his words essentially mirroring my own. I thought about it, concluding that what I would write about the AC iPurifier George has already written. A lazy cop-out? Somewhat, however this review is already long enough. So please, go check out his review here!
Packing
Typical iFi box branding, with a twist! Traditionally iFi’s packaging is white with grey text, however the Power Station’s box is grey with white text; Mind blown! A new norm perhaps, or maybe it’s a one-off? I will never know unless I buy all of their products to compare, a slow progress, and I am not rich… yet.
In regards to the contents inside the box, it’s not much; The Power Station and the power cable. I suppose there really isn’t a need for any accessories. To be honest, I can’t really think of what else could come with a power strip? Likewise I can’t think of anything else, witty or not, to pad out the section. Let’s move on.
Build/Design
As with all of iFi’s offerings, the Power Station is constructed in (dark grey) anodized aluminium. The design is both industrial and elegant. I mean, just look at those angles! No more will you go to great lengths to hide your rat’s nest of a power strip, you will want to have the Power Station front and centre alongside your prized gear!
Again, like the majority of iFi’s products, the Power Station’s specifications and features are listed on the underside. Some may see this as pointless as RGB lights on headphones, however I know there are many like me that from time to time enjoy lifting up their iFi products and ogling their toy’s specs. Don’t judge us!
iFi addressed a common problem with power strips; Damage to the outlets, both internal and external. Each independently isolated outlet is a very tight and snug fit. Admittedly I was somewhat apprehensive about the snugness as every device I plugged in took more force than any outlet I have encountered, ever! However, not to worry. I’d rather not have any of my thick and heavy cables, nor heavy transformers wiggling around in the socket. And besides, just look at those isolated outlets, these are very heavy duty! I never got the impression that I would damage the Power Station by plugging in or removing devices.
Removable standardized power-cable! REMOVABLE STANDARDIZED POWER-CABLE! Yes, I am ecstatic over this mundane feature but with good cause. The #1 failure of any device is the cable. Having a removable IBM standard 3 prong plug is a blessing indeed! Not only can one easily replace the cable if needed (I.e. too short, damage) but one can upgrade to a higher quality cable such as AMR’s PC-77/777 if desired. Fantastic! Choice is great!
Let’s not forget about the built in AC iPurifier. With green glowing, the little guy is stealthily tucked away at the rear (or is that the front?) of the Power Station, silently working magic all while while being unobtrusive.
Pictures can not begin to show the true weight of the unit as it is heavy, in a good way! Coupled with dense, thick rubber feet, the Power Station essentially stays where you place it. No matter how many plug I connected to the Power Station including multiple computer and monitors plugs each pulling in a common direction, the unit WOULD NOT BUDGE! Trying to drag the Power Station across my laminate floors by hand proved to be quite difficult as the rubber’s grip proved to be impressively strong, skipping across the surface with squealing anger, but in the end the unit did not budge upon final placement with the connected power cables stretched so taut it would make a tight rope walker envious!
Miss-Step and Missed Opportunity
Normally I have nothing negative to say about iFi Audio’s products, however I do have two niggles I need to discuss. To start, while I absolutely laud the Power Station for both the high-quality and quantity of sockets on the US model, the direction they face means that if your device uses a wall-wart style transformer you will be sacrificing at least 1 adjacent socket. Add in multiple or larger power adaptors and the Power Station’s free sockets will be obstructed. I lined up numerous adaptors I had on hand and found that many standard sized transformers would not obscure adjacent sockets if they were simply turned 90 degrees. In my opinion, this is a design miss-step for the US model.
The missed opportunity comes in the form of USB power, or lack there of. Let’s face it, in today’s modern age USB has become a standard in power delivery, with many small devices ditching transformers for the convenience of a standardized, swappable plug. DACs, amps, phones, lights, displays, speakers, cigarette lighters, children’s toys, and even household appliances and toiletries. So why is it that I find virtually all modern power strips and wall adaptors including at least 1 USB power outlet yet the Power Station has none? I would gladly sacrifice 1 standard outlet if it meant there was 2 high current USB power, bar none! Instead I have to blemish the slick style of the Power Station with a bright pink double USB jack wall adaptor. Ok, I am being a tad hard on iFi. USB power adaptors are small enough not to cause any issues, it just would have been nice if I did not have to use any.
Testing
Time to get down to the nitty gritty of the review. No more stories, just pure testing of the capabilities and features of the Power Station. For the most part, having this review posted here on an audio website, I will be concentrating on the sound of several audio devices. However, this is me we are talking about, so I will be covering anything and everything I can think of that could benefit from clean power! To start things off, let us go over the unexpected.
Upon receiving the Power Station, my first instinct was to start the burn-in process, so I swapped around a few plugs under my desk and plugged in my 2 iPowers, divided by my own AC iPurifier, with 2 USB wall-warts that power my xDSD and iPurifier into the Power Station, turned the unit on and let it sit for a 24 hours or so. The next day was a Saturday, a day I get all to myself, and I was hankering to listen to a new album on my stereo receiver and loudspeakers. Like most receivers, my Yamaha will “click” on when powered up and takes about 2-3 seconds for the power to flow into the circuit, and thus (if having an active source) a delay in sound. Normally with a dead signal, I get a wall of what I can only describe as pressurized white noise that’s not so much audible as it is visceral, like a faint static whisper in my ears, or even perhaps the sounds and feeling one gets when putting on a pair of closed back headphones without music playing, if that makes any sense. Anyway, the “noise” is there and even stumbling down the stairs in the morning, half awake and needing coffee, my ears know when the receiver has been left on over night without any visual cues. This day however, I was left in absolute disbelief!
From my couch I power on my receiver, hear the click and was expecting the noise. I hear nothing, absolutely nothing! My first reaction was oh great, it’s been months since I last used the system and after 16 years had finally died. I approached the receiver, expecting the smell of a dead capacitor or at the very least, the death whine of a failing component. To my surprise as I approached my system I heard a faint hiss coming from my Klipsch towers. Head cocked, I slowly increased volume until I started to hear the hiss that’s burned into my brain. To my surprise, while at -27dB, a full 13dB past the default volume, a level that would cause my neighbours to complain if I ever played modern music, was when I achieved the desired outcome. Ok, what is happening here? Was my memory unreliable? Are my ear’s age catching up with me? I sat back down on my couch and thought for a bit before realizing the obvious. I headed back to my desk, turned off the Power Station and unplugged it from the wall outlet. Immediately a wall of white noise hit me from across the room! This is where I laughed. You see, a common and recommended use of the AC iPurifier is to place it in the top outlet and it will works magic for anything plugged into the bottom. The Power Station had 2 active, and was plugged into literally the first outlet the mains send power to, and while down-stream my Yamaha receiver was on the same breaker circuit 3 sockets away with minimal usage from the ones in-between. Colour me impressed, very very impressed! I flicked back on the Power Station and had a sweet little early afternoon listening session, and I must say, even not directly plugged into the Power Station, my stereo has never sounded better!
The unexpected doesn’t end here good readers. I had forgotten to plug in my vape unit the night before. The outlet closest to the couch has a multi-outlet adaptor with USB charging, and is what my vape and iPhone USB charge cables are plugged into. Thankfully the couch blocks the view of the adaptor as there is an annoying red LED light that would otherwise be shining in my left eye. What’s even more annoying is the fact that the LED light had a slight flicker. In fact, all of my power strips along with many of my extension cords have red/orange LED operation lights, and all flicker! Well, reaching for my charge cable the light caught my eye, and to my shock was a solid red! Ok iFi, I am going to call you out again; You are using ancient and forgotten magic, aren’t you?! I will cover more on this later… LED flicker, not magic!
The last bit of unexpected results came from an alarm clock. For some annoying reason) A/V equipment, including my cable box, no longer displays the time. Very annoying for my wife and I. To remedy this I dug up an old yet trusty Timex alarm clock and placed it next to my centre channel speaker. Problem soled, so we thought. Every week I would have to adjust the time as it would slip by 2 minutes, extremely problematic when I need to to catch my bus on time. Since moving the Power Station to my entertainment setup the alarm clock takes months before the discrepancy in time became noticeable! It makes perfect sense too as clocks rely on the resonance of a quartz crystal to keep the time. Bad power means that resonance will be off and thus cause the time to fall out of sync.
Before I switch over to the actual testing, I should touch on TVs and monitors. Does the Power Station affect the picture in any way? An absolute NO… but at the same time a very big YES! With today’s digital displays, there is no reason why a power condition would enhance the picture. It will not boost colour, deepen the blacks, increase contrast, or sharpen the image. In regards to noise, there would be nothing to clean, it’s all 1’s and 0’s. In short, the only benefit of using the Power Station would be to protect your device. At least that’s what I would normally write if I hadn’t experienced a miracle more that 15 years in the making. You see, every LCD TV and monitor I have owned in my current residence exhibit a very unique issue. It matters not if it’s my old rear-projection LCD TV, newer LED displays, nor computer monitors, they all have the same problem. About 66-75% out from the left of the screen, a faint 1/2” vertical band is visible when certain dark greys and tones were present on screen. It mattered not the brand, nor the outlet used, this issue is present and has always been there. Well, the unexpected happened again, and simply by having the Power Station plugged upstream on the same circuit, my 2 computer monitors and QLED TV (all Samsung) are free of this annoyance! It’s completely gone! When I moved the Power Station into the basement for testing, my Hitachi (which seems to have it the worst) was also cured! Fantastic!
Moving over to the actual testing, I am going to start off with my iFi stack, which includes a micro iTube2 pre-amp, micro iCAN SE amp, each powered by an iPower respectively with OCC coper interconnects, xDSD for the DAC, and finally custom made double ended USB cable topped off with an iPurifier3. Aforementioned earlier, I normally use a Blue Diamond noise cancelling power strip with this setup. The source is Audirvana (macOS) with direct and exclusive modes enabled. The headphones used were the Meze 99 and 12 Classics, HiFiMAN HE-560, Sennheiser HD 600 and Momentum 2, Grado SR 60e, and finally AKG K240 600Ohm Monitors.
The very first thing I noticed when swapping the stack over to the Power Station was the pulling back of the veil on the sound. Regardless of which headphone used, the upper midrange through the treble seems to have gotten an uplift by comparison. Great for some of my headphones, not so much for others. For example, with my HiFiMAN HE-560 listening to the classic Spanish Harlem by Rebecca Pigeon, I simply can not get through the whole some without lowering the volume. While mostly under control before, the accentuation of sibilance (compared to my Blue Diamond) was simply too much for my ears. On the other hand, listening to the same track with the 99 Classics were truly music to my ears as the uplift in the mids and treble brought a greater sense of air with welcoming crispness and sparkle. The HD 600’s bass, which is often described as woolly and soft, held not only more weight, but possessed greater speed and impact. I am by no means saying these transformation are night and day, but it is something positive to note. It’s amazing what clean power translates into! Overall, I wouldn’t say anything was enhanced or boosted, rather more accurately and effortlessly reproduced.
All was not perfect though. I have mentioned this fact in previous reviews as well as in the forums that the iCAN SE, using it’s pack-in iPower, seems to pick up EMI/RFI noise like a super antenna. Hissing, buzzing, and a modulating repeating clicking, it was not great. My solution for the longest time was to use a 3rd party power supply with a ground plug combined with tinfoil in-between my wifi router and stack. It wasn’t until I introduced the iPurifier3 into the chain that the noise was almost completely silenced and I could use my iPower without the buzzing. When in physical contact with the iCAN’s aluminum shell AND while powered and active, the iPurifier3 quells the problems. For testing purposes, I completely excluded the iPurifier3 after initial impressions, and sadly, even with the Power Station in play, most of the problems returned with the only benefit being a blacker noise floor. Ugh, not great… but all is not lost, the PowerStation has a secret weapon!
Crafty as I am, and making use of the AC iPurifier’s banana plug socket, I whipped up my own Groundhog! You see, one way of grounding your equipment is to connect the AC iPurifier to a free I/O jack on your equipment, and what better opportunity to test this out! The iCAN SE just so happens to have a 3.5mm jack on the back which is perfect because I have an unhealthy supply of 3.5mm plugs! It took longer for my soldering iron to heat up than to make the cable, and a testing I went. While skeptical, but to my non-surprise I experienced the cleanest, blackest signal I have heard coming from my iFi stack akin to battery powered amps and DAPs! Normally when I turn the volume knob all the way to 100% I still hear some noise, mostly in the form of a slight buzzing but the AC iPurifier silenced it completely. Admittedly no one will ever have the volume at 100%, regardless of the gain, but still it is quite impressive that my stack is void of any and all noise and interference! Trust me, for some just knowing that the noise is there, waiting to strike at higher volume cuts them down to their very soul.
As a control subject, I did use some random standard power strip and wall adaptor with my iFi stack; Using one with noise cancellation would not bring any meaningful objective results as they would be skewed. The extra clarity in the upper mids and treble was present over my Blue Diamond, however the bass took a dive, and not just on the HD 600. Regardless of the headphone, bass was underwhelming and under powered by comparison of both my usual power strip, as well as the Power Station. I wouldn’t say anemic, rather tired, like the bass had a long day at work and is now forced to play at home. Not bad, just off. Another major difference comes in noise. Because of the impedance and sensitivity of certain headphones I have the iCAN switched to the highest gain. Using a standard power strip, or even a multi-outlet wall adaptor, the hiss and buzzing comes through with impunity. Dynamics overall seem dampened, with a noticeable loss is texture and attack. For a $1000+ stack, this is not great. The sound reminded me of early Realtek PC audio with a cheap PSU. However, I did have another trick up my sleeve; My AC iPurifier!
Before I start, I do have to note that because of the size of the 2 iPowers and spacing of the outlets, to make room for the AC iPurifier I had to power the xDSD via it’s internal battery and use a standard single ended USB cable for the iP3, thus being powered from my PC’s USB bus. It’s a small change that has no effect on the testing. As well, I once again used my custom made Groundhog cable. The result was actually pretty good, so good in fact that if this is all I had I would call it acceptable. I did not hear any buzzing nor clicks, and the noise floor had noticeably lowered. Dynamics were so-so; Not too bad, and what I’d call average and non-offensive to the source. Not perfect by any means, with the biggest takeaway being a cleaner background free from annoying, distracting noise.
Switching over to my home theatre system, I decided to move not just the Power Station but my whole iFi stack as well. Ditching USB (and likewise the iP3) I opted for TosLink as this is the normal method for streaming music from my computer and thus easy to swap to the xDSD. Sure, I could have used the Yamaha’s built in DAC which is either AKM or Burr Brown, both very respectable and well regarded, but I wanted to go all out by both using the micro iTube2 and populating the Power Station. Because I was swapping out one power strip’s wall socket for the Power Station, I plugged in my TV, Blu Ray player, and cable box as well. Due to the overlapping from the iPower, all sockets that were usable were populated. I purposely did this for 2 reasons. First, to stress the Power Station and monitor for any negative effects. Second, to represent what I would call a typical use situation. Whether the US or European version, the Power Station has a more than average number of outlet sockets than the norm, so why not use them?!
To start things off, lets revisit the noise, or should I say lack there of! I was thoroughly impressed with how well the Power Station obliterated the noise simply by being upstream to my Yamaha, plugging the receiver directly yielded amazing results! Turning the volume to -15dB, I was hard pressed to hear much of anything. No humming, no buzzing, and the hiss was almost non-existent! It wasn’t until I approached -3dB was when I heard any noise, and did I hear it. The hiss became audible and grainy, a huge jump from almost nothing to a whole lot of ugly! I highly suspect this is the limit of my Yamaha, and just to note if I attempted to play music at this level I am positive the unit would either enter emergency shut-off mode, or my Klipsch WF-35 loudspeakers would melt. I call this an overwhelming success! Bravo Power Station!
So how does it sound? Let me say this, I love my Yamaha Natural Sound, high current receiver, and adore my Icon WF-35’s, yet as mention earlier in this review, haven’t touched them for months! While the WF-35s have solid bass, ruler-flat mids, and treble that is so neutral you’d double check to see if they were in fact made by Klipsch, I much preferred listening to my iFi stack with my HD 600, whether it was music, gaming, or movies. Don’t get me wrong, they sound fantastic, but rather boring. Since adding the Power Station into the mix (currently where it sits now), I have purchased a 20’ HDMI 2.0 cable with repeater which runs from my PC, through the heat vents, and out to my TV, and an Xbox One wireless USB dongle + battery pack, and now do all of my gaming and music listening from my couch. I was impressed on how well my system sounded simply by reducing the noise floor, yet when I plugged everything into the Power Station I was not prepared for what I was hearing; Life, emotion, and transparency!
While possessing great power and ever greater control, the bass hit with visceral impunity straight to my core, shaking the floor and walls in doing so! The treble went from crisp to sweet and etherial, tickling my ears with delight while not exhibiting and harshness or glare. And the mids, man of man the mids. Perhaps the only weakness of the WF-35s, and what I felt contributed the most to my displeasure on a whole. Normally they sound flat, and lifeless. Considering the midrange makes up the bulk of the music, it makes or breaks both speakers and headphones. With the Power Station in play, the mids are some of the best I have ever heard! Vocals, particularly female, cut straight to my soul, while instruments possess so much new found texture I could grate cheese with them! Folks, I am not exaggerating. The difference was night and day. My stereo went from day old reheated leftovers from a classy restaurant to a freshly cooked meal from an Iron Chef! And to be honest, I am in no way surprised. Out of anything I could think of that would benefit the most from clean power, it would be hi-fi and home theatre receivers. Think of how much power a high current receiver draws when amplifying sound. It’s akin to a high performance sports car; The higher quality of gasoline you use, the greater and cleaner the engine’s power output. You put in dirty gas and your Corvette will be choking down the raceway. Your receiver is no different.
Now it’s time to move down to the basement for the most challenging of all test. I am not sure why but my basement has the worst power in my house. Everything I plug in seems to have issues to some degree. My stereo and sound bar hisses and buzzes, my old CRT buzzes, LED lights strobe instead of shine, and as l mentioned earlier, my Hitachi LED TV has a nasty line down it’s screen that is worse off in the basement. Even my original Xbox, PS2 do not work properly. I have no clue what’s going on. Perhaps it’s shoddy after market work, though my brother in-law who is an electrician says it looks alright. Regardless, it’s garbage!
First off with, a Toshiba 32” Pur Flat CRT TV and Playstation 2. I wasn’t even going to include this but happenstance has forced me to do so. When I was cleaning out the basement, transforming it into my man-cave, one item had to go; A 200lb behemoth of a TV. It was in great condition with only 6 months of use before I upgraded to a widescreen, but it was taking up far too much space and I haven’t used it in 17 years. The night before the sale I had moved everything out for easy viewing. I had connected a PS2 via component cables so I can show that everything is working. Both were connected to a power strip closest to the workbench outlet. Upon powering the TV on, I was met with a buzzing coming through the speakers. What was worse, the image on screen was pin-cushioned! Oh no, was I going to have to cancel the sale? I started to panic before deciding to swap the PS2 for an Xbox. Thankfully the pictures was ok, but the Xbox itself sounded sick and angry when loading a game with a very odd modulating of the DVD ROM drive, like the spin was oblong and not circular. As it so happened, I had the Power Station still on my workbench awaiting testing, and for poops and laughs I decided to swap everything over. To my surprise the TV no longer had any buzzing, in fact the “typical CRT” noise coming from the tube seemed to be less noticeable. The picture coming out of the PS2 was perfectly square, and the Xbox… still sounded angry. 2 out of 3 with a bonus ain’t bad!
Next I will move on to the rumpus room, starting off with my stereo. It’s not fancy, simply a pair of old Digital brand 3-way speakers from Radio Shack, and a 20W Pyle 2 channel Type-T amp, but it does what I need it to do. Sure, it produces amplified sound sufficient for moderate volume, but the buzzing and hiss is not only noticeable, even at low volume, it is distracting. Things only get worse when I turn on the overhead fluorescent lights. Just to be clear, with the exception of the laundry room power, all basement power is coming off one circuit, installed after construction. Everything is daisy chained off from one over head light, and therefore it all sucks. Fortunately I had a Samsung sound bar + wireless sub waiting in-box, which I hoped would not exhibit the same behaviour as my crappy setup. However, the crappy setup was on my list of things to pair with the Power Station and I needed to know (for science!) how well the noise could be silenced. Surprise surprise (not really), the Power Station was mighty enough to not only produce a clean signal, but it also prevented the ballast from the fluorescent light from creeping into the sound!
Satisfied with the result, I put the old system out to pasture; A cruel reward indeed mwahahaha…ahem. Anyway, it was planned. My TV sold, and the basement was prime for my ‘cave so I installed the sound bar to the wall. First reaction was “ Wow, this sounds great! Good job Samsung! “ followed by “ Nooooooo, I can still hear buzzing! “ although significantly less noticeable with no interference from the fluorescent light. Turning up the volume did increase hiss but not the buzz. Acceptable I suppose but it could be better, so time to tag in the Power Station! The result? No more buzz… that’s it. Better than nothing, but it does goes to show that not everything will benefit in the same way, even with dirty basement power.
Now on to the last basement test, my iFi stack! As the basement is the quietist place in my house, free of aquariums, cats, parrots, and wife, I have attempted to use a quick-connect set-up so I can bring things easily down stairs without bringing all of the power supplies and cables, but alas it was never to be. No matter what I did, and I tried everything, I simply could not get ride of massive buzzing and crackling hiss. I eventually whipped up a battery pack for both my iCAN and iTube, which did work great before the cells quickly drained of power not 1h into any given listening session. However today was the day things would finally change. Much like everything else I have tested, the Power Station proved once again that no job is too hard to tackle! Nothing but silence and perfectly rendered dynamics!
To finish off the testing, I will end with LED lights. I was going to leave things as is with only the earlier blurb mentioning LED lights, however iFi had to release a YouTube video showing off how the xPower can improve LED flicker. Curse you iFi, challenge accepted! While I don’t have anything professional grade, I do have a plethora of LED type to try. Starting off I tested 5 different power strips who’s power button is illuminated by a red LED, all which flicker. Interestingly enough, the rate at which they flicker is not just dependant on where in the house they are plugged into, but also how much draw is on the circuit. Not surprising that the basement is the worst, especially with the electronics plugged into the power strip in the rumpus room, which in turn is connected via a 15’ extension cord snaked through the floor joists which is plugged into my workbench power that uses a multi-outlet adaptor with all ports in use. What a sentence! Anyway, no matter the circuit, no matter the room, when plugged directly into to or plugged into the same circuit as he Power Station, all 5 power strips LED lights were solid!
Great, the Power Station can get rid of annoying blinky lights, what about actual LED light bulbs? Great question me! Not all LED lights are made equal. From my experience price does not dictate quality, rather brand reputation. Phillips and GE make fantastic LED light bulbs, Sylvania and Wal-Mart, not so much. What I mean by quality is not longevity, though I am not dismissing it’s importance, rather how well the LED operates. All LED light flicker at 60Hz (50Hz in Europe) due to the mains power being, you guessed it, 60Hz. All LED lights also use a control board. Good LED lights regulate the power thus providing a relatively flicker free experience. Bad LED lights give headaches. For some eyes this is not a problem, however some eyes (mainly mine) are sensitive and can detect a slight deviation. I can not watch anything on DLP projectors as I see the rainbow, and likewise I see green ghosting on Plasma TVs, so it is no surprise that I notice LED light flicker where others may not. While I can ignore it, I can’t unseemly it. Fortunately, the Power Station grants even the poorest performing LED I tried, whether it be USB powered or a table lamp, a constant flicker free illumination. Once again, it mattered not if the light was plugged directly into the Power Station or simply being downstream on the same circuit. I absolutely love this fact as I don’t have to waste outlets on the Power Station for it to be effective!
While I don’t have any professional grade LED lights (it’s on my list) I can see the Power Station being a great boon for studio photographers! From my own experience using both an iDevice and Cannon DSLR cameras, video and stills, LED lights can utterly ruin a shot. Much like how filming a CRT computer monitor or TV will result in a flickering image, the same can occur with LED lights. Once again this is due to the 60Hz polling being out of sync with the capture device. Not only will the camera capture this effect, unlike our eyes the sensor is sensitive enough to capture all the ugly we don’t see ,and amplifies it! To give a real life example, at my previous job all fluorescent lights were replaced with LEDs. Smart move as it not only saves the company money by having to replace them less frequently, there is less stress on the power grid, and the illumination is far brighter overall. Triple win! However we had a film crew come out to start shooting footage for the company’s upcoming re-vamped YouTube channel, and 2 days of footage was unusable! The LED lights messed with the cameras and the footage had to be re-shot with a different one. Ouch! Just to add, I have seen many YouTube content creators set up new studios, and the #1 common complaint is overcoming the lights. Much like the film crew at my work, the creator’s cameras do not jive well with the new LED lights, and thus have to find ways of overcoming the flicker. Some had their power system completely re-done, some have installed power conditioners, one even switched over to a UPS battery backup! If only they knew about the Power Station… but some do as I have recommended the Power Station (along with the xPower)! Here’s hoping they listened eh?!
Not to be overlooked, I did find that the Power Station cured my PC's audio performance. Admittedly, I did not hear any real change in the output, however the input is a completely different story. My old PC uses ALC 892 audio. For the time was pretty decent and I was content with the quality of the output. I wouldn't call it great for anything beyond connecting an amp and speakers for every day use (i.e. YouTube, light gaming). The mic input on the other hand may as well have not been there at all as it was absolutely useless. No matter what PSU or power strip in use, when I fed sound through the input I would be met with static and clicks (very similar to what I hear through my un-silenced iCAN), regardless if it was passing through the audio or recording. I basically disregarded the input for years, that is until I was digging through my drawer to find some scrap cables I could use to make a Groundhog and came across an old lapel mic. Like most testing I thought " why not ", and to my surprise the mic input was completely free of garbage! Sure, it still picked up a bit of the PC's internal noise (the 6x HDD), however it would be good enough for voice-chat. Nice! Too little too late as I sold the old parts and my current motherboard's isolated and shielded ALC 1200 produce excellent sound!
To cap off the testing, I am going to do something crazy. While doing a little basement listening, I got this crazy idea upon staring at an orange LED light flicker madly on the end of an extension cord. What if I round up all of the extension cords (EC) and power strips (PS) and link them all together? Could the Power Station make a whole string of blinky LEDs on basement power glow solid? I call this test cordception! Ok, pretty lame name and concept, but why not? For science! Anyway, I linked them all together as so: PS - EC - PS - EC - PS - PS - PS and capped it off with the wall adaptor from up-stairs. Hilariously enough, it worked! The ring around my rumpus room was glorious with all the LEDs glowing a solid colour! However, I got another idea in my head; What would my iFi stack sound like on the ass-end of this monster? I should have stopped with just the thought. I powered off the Power Station, unplugged cordception, moved the 2 iPowers over to the end of the chain, plugged the string into the wall (not the Power Station), and nothing… no sound! The cordception lit up, as did the micro iTube2. The iCAN SE did not. No problem, it’s probably just the socket so I flicked off the closest power strip, swapped the iCAN’s iPower to another socket, powered the bar back on, and nothing… Off the power goes, this time I swap the iTube2’s iPower with the iCANs, flick the switch and this time the iCAN lights up whereas the iTube2 did not. DAGNABIT! Cordception killed my 12V iPower, you person! Talk about irony! Well, so much for trying to hear how bad my stack sounds on the butt of cordception straight from the mains. I took one for the team on this one with no regrets!
I Will Neither Confirm Nor Deny This!
What is up with this crazy section of the review? Simple, I don’t want to make any statement as facts when it could easily be a coincidence. I had 2 unexpected outcomes that could be contributed to the Power Station, or could just be coincidence. The first comes from an electronic bug zapper I purchased from Amazon. When I first plugged the unit in, only 1 of the 2 fluorescent black-lights was working. The top was behaving like a typical bulb that was on its last legs. I tried power cycling the unit, re-seated the bulb, and even tried multiple power outlets, all to no avail. I then took it down to my workbench to take the screen off so I can get a better look at everything, and what was sitting there but the Power Station. Ok, why not, what would it hurt if I plugged it in. It’s not like it will explode or anything, right? Correct, the top light powered on along side the bottom with both reaching a stable brightness much faster! Whaaaat? Coincidence? Dark magic? Or, did the Power Station actually give the light a kick in the arse? It’s hard to say really. I am just glad it works as Amazon returns can be a pain when you have no vehicle and winter!
The second head scratcher came in the form of my Samsung QLED’s “Auto Motion Plus”. Love the feature or hate it, regardless of your feelings the technology has come a long way and has far less “artifacting” when first introduced a decade or so ago. However, even with my TV’s advanced AI Quantum Processor 4K (gotta love the marketing), auto motion plus is not perfect. Every now and again with black/white horizontal lines on a white/black background will result in a garbled interpolation. Last year Netflix released the beloved classic anime, and quite possibly my favourite behind Macross, Neon Genesis Evangelion. As most Netflix watchers, I binged watched the series in a heartbeat as it had been 22 years since my last viewing! The re-release looked great, but there was multiple instances, all in the same set piece (location) that would trip my TV up and I get ghosting garbled flickering lines. Throughout the series, the Childs (the main characters and sadly, SIC) ride a miles-long escalator as they move from the upper surface (where they live) to the underground geo-front located beneath Tokyo 3. Every time the escalator moved, what amounts to thin black horizontal lines against a white rectangle, auto motion plus would mess up. It didn’t matter who was in the scene or which episode it was, that damn escalator would flair up. Enter the Power Station. Despite being an OAV (aka TV series), they ended things with a “movie” of sorts. Basically 3 episodes made into a continuous conclusion. I had overlooked this “movie” as Netflix never listed it in the proper category. Well, weeks later after an evening of musical entertainment (with the Power Station) I decided to watch TV. Throwing on Netflix, I was immediately greeted with a suggestion for End of Evangelion. Sweet! No doubt I hit play and watched the conclusion to the classic. During the movie, Shinji (the main protagonist) rides the escalator 1 last time. To my shock, the animation was free of any artifacting! I backed up the video and replayed the scene, even double checking to see if auto motion plus was disabled (it was active) yet the image was rock solid! Could the Power Station have affected the picture? In a way, it does make sense. Part of auto motion plus is adjusting the flicker of the back light. Maybe, the Power Station was aiding this process, providing the clean power the TV’s processor needed? Or maybe it has to do with the shutter speed of the LCD VA panel? I really can’t say, only that for this one instance when plugged into the Power Station auto motion plus behaved.
Value
At $499 USD, the price of the Power Station may seem steep to some, however I actually find the price to be quite fair. If I were to break down the cost of similarly featured “audiophile” power-strips/conditioners at $300 USD+ (Google is your friend), add in an AC iPurifier, then factor in the (often unknown) company’s reputation, it really is a no-brainer to choose the iFi Power Station over the competition. If this still isn’t enough for you to justify the purchase, think of it this way; Do you like your equipment? Do you plan on using your equipment for years to come? This is something I always asked my customers when I worked at automotive shop while trying to upsell a product. Sure, you could get conventional oil, your car will be just fine. However if you pay a little more for full-synthetic and continue using it for the life of the vehicle, your engine will love you! Cleaner, smoother power, better lubrication, cooling, vastly superior cleaning properties, and additives that actually protect your engine and internal components. Power is not too different than oil insofar that the cleaner it is, the more the device will operate at an optimum level in which the performance trickles down straight to your ears. Think of the Power Station as a long-term investment to get the most life and performance out of your gear while offering superior protection! One last point to consider, none of the competition look as damn fine as the Power Station, which to some is a deciding factor for their potential purchase. Why spend $300+ on a device that you have to sacrifice logical placement just so you don’t have to look at it?
Final Thoughts
For me, the Power Station has been a blessing. I have been more than impressed with it’s performance and have no problems whole heartedly recommending this product if like I, you have problems with your residence’s power delivery. For myself, I live in a townhouse which is one unit of six, nestled in the middle of the row. That’s not even accounting that it is only one row in a villas of many, surrounded by two more townhouse complexes on either side. Gotta love suburban living eh? Needless to say, as not too long after evening rush hour is when my power goes to poop as my neighbours all arrive at home, powering up their TV and computers seemingly in unison. Why am I getting visions of THX 1138? Anyway, as with all products the Power Station may just be simply a high quality power strip. Everyone’s use case is different; Some may be blesses with living in a new district in a newly built house and have no issues with their power, while some may be living in a post-war row housing who’s power grid was installed shortly after VE-Day. Regardless, it matters not. In the end the choice is up to you, the consumer. I say if you can afford to do so, give the Power Station a try. iFi is very understanding with their return policy. However, I honestly think that if you love your music and your gear, the Power Station will become a permanent fixture in your setup for years to come.
Conclusion
If you have reached your “end-game” yet still feel there is one last piece that could improve your experience, the Power Station is the cherry on top. For years iFi Audio have been dedicated to providing industry leading noise conditioning, all while preserving the original signal and providing the absolute best possible listening experience. Once again iFi audio absolutely nails it with the Power Station! Here we have a versatile multi-outlet power strip with built-in noise conditioning, industrial construction, a modern yet ageless design, and miles above the standard when it comes to protecting you and your gear, all backed up by iFi’s outstanding service and support. My fellow readers, I exaggerate not, the Power Station is not simply a want, for anyone who wants the absolute best, this is a need!
It goes without saying that 2020 has been the worst year in modern history. This "new normal" has effected everyone to some degree, some more than others. For myself, 2019 started off great. After nearly 3 years of having health issues I finally received answers and the remedy was both simple and effective. I gained weight, started working out, got a promotion at work, things were going great! When iFi reached out to me in the fall to try out the Power Station I though what better way to cap off the year. Unfortunately that was the end of anything good in my life. Days before the Power Station arrived my wife needed emergency surgery. She's fine however it took away the ability to ever have children. The Holidays didn't fair any better with my mother's health taking a downturn. Determined to stay positive, 2020 started off great. My mom's health slightly improved, it got extremely busy at work and I had plenty of overtime and take-home work ($$$). Sure, I had little time at home to relax however I actually started writing this review while at work. My new position was a machine operator and it was easy to sit at my computer between cycles and write. Then March came.
At first, all over-time was cancelled, followed by mandatory pay cut, then the lay-off. It was during this time my mother's health rapidly failed. Because of my Province's lock-down measures, anyone with even a tickle in their throats could not enter any long-term health facilities; I had the spring thaw allergies flaring up. Not only did I have to self-isolate for 10 days, missing work (un-paid) in the process, I could not see my mother in her dying days. A day after she passed I got laid off. I lost my mother and my family. Making things worse by the time I got down to my work to sign the papers, my account was deleted and thus lost my review.
Life soon became a daze. Each day was Groundhog Day, and weeks past with nothing changing. Life got worse, everyone's life got worse. Little by little I had to sell off most of my head-gear, DAPs, amps, even my beloved Nuance Baby Grandes tower speakers. It's not like I am left with nothing, but seeing my prized gear go was hard.
Come August my family was able finally lay my mother's remains to rest. A weight was lifted from my soul, and I started to finally feel normal, or at least as normal as one could feel given the World-wide pandemic. I finished many long standing house renovations, got my man-cave finished, and had started with a fury to re-write the review. Things were going great until I updated my Mac to the latest OS and lost my review (I thought). Wow, what a kick to the you-know what! Time for version 3.0! Needless to say, I was not impressed, but I wasn't going to let it get me down!
Between epic games of Civilization VI, I re-wrote everything, and then some. The first 2 reviews were satisfactory, but I caught the writing bug. 11,000 words later this monstrosity of a review is done! Not even missing Christmas brought me down enough to stop me!
I do hope you enjoyed the read, and thank you for lasting through the review to the end!
At first, all over-time was cancelled, followed by mandatory pay cut, then the lay-off. It was during this time my mother's health rapidly failed. Because of my Province's lock-down measures, anyone with even a tickle in their throats could not enter any long-term health facilities; I had the spring thaw allergies flaring up. Not only did I have to self-isolate for 10 days, missing work (un-paid) in the process, I could not see my mother in her dying days. A day after she passed I got laid off. I lost my mother and my family. Making things worse by the time I got down to my work to sign the papers, my account was deleted and thus lost my review.
Life soon became a daze. Each day was Groundhog Day, and weeks past with nothing changing. Life got worse, everyone's life got worse. Little by little I had to sell off most of my head-gear, DAPs, amps, even my beloved Nuance Baby Grandes tower speakers. It's not like I am left with nothing, but seeing my prized gear go was hard.
Come August my family was able finally lay my mother's remains to rest. A weight was lifted from my soul, and I started to finally feel normal, or at least as normal as one could feel given the World-wide pandemic. I finished many long standing house renovations, got my man-cave finished, and had started with a fury to re-write the review. Things were going great until I updated my Mac to the latest OS and lost my review (I thought). Wow, what a kick to the you-know what! Time for version 3.0! Needless to say, I was not impressed, but I wasn't going to let it get me down!
Between epic games of Civilization VI, I re-wrote everything, and then some. The first 2 reviews were satisfactory, but I caught the writing bug. 11,000 words later this monstrosity of a review is done! Not even missing Christmas brought me down enough to stop me!
I do hope you enjoyed the read, and thank you for lasting through the review to the end!
Intro
USB audio has come a long way since developers started to implement the technology into their devices. Long gone is USB 1.0 and the attitude of “we did it because we could, for convenience”. USB 2.0, with the help of technologies such as Asynchronous and XMOS have made their way into mainstream audio, alleviating common issues with connectivity and jitter found in the early days of USB DACs, thus allowing for higher bit and sample rates that rival and often exceeds the quality of tried and tested digital audio interfaces such as SPDIF and Firewire. However, not all devices, whether it’s the DAC, transport device, or even cables are not perfect and may suffer from common issues the can affect the quality of audio.
To help aid in the quest of clean sounding audio, in 2013 iFi Audio released the original iPurifier, a sleek passive USB add-on device that helped eliminate EMI and RFI interference that became popular with audio enthusiasts. With their next release of the iPurifier2 in 2015, iFi Audio one-upped their original design and implemented features such as active noise cancelling and signal re-clocking technology, vastly improving the quality of the signal. As a proud owner of the iPurifier2, I can confidently say that they did in-fact succeed in their endeavour, and I could not imagine my audio setup without one. Enter the iPurifier3!
Disclaimer/Acknowledgement
The iPurifier3 was sent to me direct from iFi Audio USA in exchange for my impressions and review. The words I write are my own and are honest, objective, and free of bias. I received no financial compensation for my effort, only the satisfaction of trying out a quality product.
As always, I would also like to thank Lawrance over at iFi Audio for contacting me and asking if I would interested in checking out yet another fantastic iFi product! Heck yes, I will never say no!
For those of you that have read my review of the iPurifier2, you may notice that there is some borrowing of words, and you would not be wrong in thinking so. Normally I start anew with each and every review I write, however unlike the iPurifier, the iPurifier 3 is an updated version of the previous model and what I have to say still holds true. I sat at my desk and thought long and hard on this, and in the end decided to simply alter a few paragraphs rather that re-write them in different words only to say basically the exact same thing.
About Me
Born in 1978, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both basic electronics and Sound: Electro-Acousto aka The Path to Golden Ears. While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Packing
I am a huge fan of minimalistic yet functional packaging that gives the consumer the sense that they have purchased a quality product, and the iPurifier3 fits the bill. Much like iFi’s other products, the iPurifier3 comes in a small white sturdy box. The device is nestled in foam with the contents neatly packaged in; There is no wasted space holding nothing but air, rather only what is needed. Unlike the previous model, the iPurifer3 comes three types of adaptors to meet all of the user’s potential needs: Standard double ended USB type-A to USB type-B (female), USB-micro (male) to USB-B (female), and USB type-C (male) to USB type-B (female).
Features
- Aircraft grade CNC-aluminium shell anodized in titanium
- Active Noise Cancelation2 (ANC2®) forged from military radar technology
- EMI/RFI filtering
- REclock2®
- REbalance2®
- OS-CON capacitors, tantalum capacitors, high-precision MELF resistors and new copper-alloy shielding
- Gold iFi ’FINAL’ USB solid-aluminium connectors (Impedance: 90 Ohms)
- USB3.0 + 2.0 compatible input port, USB2.0 High Speed output port (Type B)
- Future-proof technology compatible with all present and future PCM/DSD/DXD formats
ANC2® Measured noise drops by 100 times or 40dB in comparison to the Common Noise Filter. Sonically, the background and inner resolution to recordings is enhanced several levels.
By generating a signal identical to the noise signal but in the exact opposite phase, it actively cancels all the incoming noise. ANC2® is the perfect ‘antidote’ for power supply noise, the bane of USB audio.
REclock2/Regenerate2® Re-clocking is beneficial to audio. REclock® is a ‘3-in-1’ feature that re-clocks/re-generates/repeats USB audio data-stream. For any and every downstream DAC, REclock2® technology eliminates jitter. Music flows better, is cleaner, deeper and tauter, just like the real thing.
REbalance2® - rectify the unbalanced signal A core element of the original iPurifier’s success was REbalance®, which had naturally been carried over to the iPurifier 2, and yet improved further with the iPurifier3. By removing the DC offset and ‘re-balancing’ the USB audio signal, it is now perfectly balanced. As it purifies the USB audio data stream, this means noise is significantly reduced:
Build/Design
The iPurifier3 features a shell machined of CNC-aluminium which is held together by 4 screws. Very similar it’s predecessor, the iPurifier3’s case is anodized in titanium, now in white! With the dimensions being slightly larger and slightly heavier than the iPurifier2, 69(l)x19(w)x20(h)mm @ 33g, the device itself is around the size of a standard USB dongle meaning it shouldn’t interfere with the connectivity of the other cables adjacent to the USB port nor should it be too obtrusive when added into the chain. If needed, this time around iFi included cable adaptors to fit one’s needs. Of course, YMMV. Both the USB plug and jack are gold plated and are of excellent quality; Both the plug and jack fit snugly with their respective mate. A blue light illuminated when power through the USB cable is present, and a green light indicates that the device is connected to the DAC.
Why it’s needed - A summary from the pros
“ Electromagnetic interference (EMI) is an electromagnetic emission that causes a disturbance in another piece of electrical equipment. EMI can be attributed to a wide span of the electromagnetic spectrum including radio, DC and even microwave frequencies. Because anything that carries rapidly changing electrical currents gives off electromagnetic emissions, it is quite common for one object’s emissions to “interfere” with another’s. EMI compromises the performance of electrical equipment by obstructing and degrading data; sometimes even losing data completely. PCs can be affected by electromagnetic interference from other devices, in two major ways. One is direct effects through proximity with other devices; another is electrical interference over the power lines.“
(http://www.PCGuide.com)
“ The most significant way to circumvent the shortcomings of mass-market computer products is to minimize power supply noise. When power supply noise is minimized, the result is cleaner and more defined “square waves” in the digital signal, which translates to fewer bit read errors, less error correction, and less jitter. “
(http://www.mojo-audio.com)
“ Playback jitter originates from a large number of contributors, which are usually additive. These range from the master clock, which has its own jitter, to logic devices, to mechanical systems for spinning a CD. One digital cable can even add more jitter than another. Each contributor adds more jitter to the signal as it makes its way to the D/A converter. This summation of this jitter is the system jitter. “
(http://www.positive-feedback.com)
From my own quest for audio purity, the above statements from the pros really hit home. I have gone through great lengths to alleviate and outright eliminate EMF/RFI interference, power supply noise, and of course jitter with varied results. My USB DAC is on a dedicated USB bus, I have separated the power and data on the cable into two output leads complete with ferrite chokes and shielding, I purchased a power strip with built-in EMF/RFI noise cancellation, and even positioned my devices a good distance between my cordless phone while placing a sheet of aluminium foil up against my WI-FI modem. All helped out greatly, but none of my home-brew remedies were 100% effective, or at the very least to my satisfaction.
Initial Thoughts and Impressions
My initial impressions were extremely positive, and I don’t think I can REsum
up my thoughts any better than what I originally posted in the official iPurifier3 thread:
With the iPurifier2, it did exactly what it was advertised to do and I stand by my review 100%. On the other hand, the iPurifier3... well... the performance... it goes far beyond iFi’s claims! I have spend a good deal of time with high end devices such as the Soundaware Esther M1 and M1 Pro, Sony's WM1Z Walkman (my brother still has too much money), the Sennheiser HDV820 (with and without the iPurifier2), and of course the xDSD. I know my headphones. I know my music. I know my gear. To this date, I have never muttered nor typed the words " I am hearing things in my music I have never heard before! ", yet... I - just - did.
The improvements in audio performance goes way, way beyond good engineering. Sacrificing your first born to the old Gods, I think not, and black magic is simply not strong enough to produce the given results. I would even laugh off claims that one starry night a meteor fell from the sky, landing out back of the iFi labs and the casing of the iPurifier3 is made of a yet to be named space metal! No, there is something more going on here than a small pocket dimension contained inside the iPurifier3 feeding pure cosmic energy from a new born galaxy through the bitstream. I am not sure what though. All I know is that the iPurifier3 defies logic!
Silliness aside, the iPurifier3 is a HUGE leap over the previous model! The folks at iFi are masters of engineering, and with the iPurifier3 they managed to one-up themselves (again).
Shortlist of expected improvements:
- Blacker background
- Better RFI/EMI protection
- Better elimination of jitter
- Better construction
- Badass new colour scheme
Result = Layers of invisible grain peeled away revealing greater overall transparency
What I was not expecting:
- Greater speed and accuracy
- Greater focus; absolutely no blurring nor colouring outside of the lines
- Improved channel separation/less crosstalk contamination
- Vast improvement in soundstage; width, depth, and height
- Greater impact throughout the frequency range
- Improved texture across the whole frequency range
- Liquidity in the frequency transitions!
- Greater sense of "air" and space without the usual boost in treble
- Cleaner sub-bass rumble
- A sense of an effortless grip of the sound
- Micro/macro detail retrieval
To my ears, the iPurifier3 supercharged my whole chain! My micro iCAN SE and micro iDAC don't sound like they used to. It's as if THEY got the upgrade and not the USB dongle! What I am hearing sounds much more than a cleansed USB signal, it's more akin to cleaning up the complete signal path from the USB out from my computer right through to the 1/4" jack on the micro iCAN, including passing though the micro iTube2! The iPurifier3 also got rid of a nasty buzzing noise audible at higher volumes through the micro iCAN while using the included iPower; More on this below.
Testing
Headphones: HiFiMan HE-560, Meze 99 Classics and 12 Classics, Sennheiser HD600, PSB M4U1, AKG Q701
Source: Audirvana set to Exclusive access mode, Direct mode, Integer mode 1
Generic USB DAC/AMP - StarTech, Vantec, Skarkoon, It matters not what vendor this device came from, I am sure most of you reading this have seen some variation on this 16/44 small 1” square silver USB 1.0 dongle. It’s cheap, it’s basic, and I purchased mine for $4 to use if I am ever in a pinch. This device literally picks up any and all sounds coming out go my computer; Fans, hard drives, etc. With the iPurifier2 the signal was perfectly silent, but the DAC still sounded like the price I paid for it. Adding in the iPurifier3 was nothing short of magic! Not only did it silence any and all noise, it greatly improved the dynamics, approaching the quality of my on-board audio of my computer! Still not a great sounding DAC, but it did noticeably improve the quality.
ASUS Xonar U3 - ASUS claims the U3 has built in noise suppression, marketing the solution as Hi-Fi class audio: Powered by Hyper Grounding Technology. I can tell you that this is nothing more than buzz-word up-selling. The amount of noise coming through the USB dongle is nothing short of garbage. Much like the generic DAC/AMP in the paragraph above, any and all computer noise is clearly audible which is a shame because the sonic quality is quite good for what it is. Needless to say, putting the iPurifier3 before the U3 significantly reduce the noise as well as improved dynamics! I wouldn’t recommend this combo as the cost of the iPurifier3 alone is double that of the Xonar U3, and for the cost one would be better off simply purchasing a higher quality DAC/AMP. The ASUS engineers should really take a cue from the masters, iFi Audio, before making any unsubstantiated claims on noise reduction.
Creative Sound Blaster E3 - The Creative SB E3 can be equated iFi’s xDSD; An affordable all-in-one device that’s a DAC, AMP, On-The-Go for mobile devices with Bluetooth. My time with it was nothing but positive, with the exception of the nasty computer noise present when used as a PC DAC, depending on which USB port I used which more often than not was the front USB header; It was a hassle to not only attach/re-attach from the back, let alone freeing up a port. To make things short, the iPurifier3 not only quelled all PC noise, it added clarity and quality to the overall sound of the E3. While I gave this device to my friend, if I had the iPurifier3 while in my possession, chances are that I would still be using the E3 today. That is, until iFi awarded me with my own xDSD which makes the E3 redundant for my usage(s). Very few devices in it’s class, if any, can compete both in value and quality of the xDSD.
iFi Micro iDAC - My impressions of the iDAC with the iPurifier3 have already been summed up in the section above, so I will save you the reader the effort of reading the same but in different words. What I will do is tell you my very first experience with the two devices paired. Normally I’d start off my new listening experience with an audiophile classic such as Spanish Harlem - Rebecca Pidgeon or Colour to the Moon - Allan Taylor, but after hearing the original on Spotify earlier in the day, I had a hankering to listen to Livingston Taylor’s cover of Baker Street. Expresso Latte in hand, I warmed up the micro iTube2, place the HE-560’s upon my head, and pushed play expecting to sit in place and have myself a lengthy un-interrupted listening session. It took until the 2nd bar of the harmonica, mere seconds in, before I hit pause. I seriously thought I had XBass or 3D+ toggled on either the iTube2 or the iCAN SE. Nope! I then proceeded to check if I had Sonarworks engaged. Nope! Everything was disengaged, as pure as it comes. What is going on here? There is no way that what I was hearing was true; Tighter bass, greater texture, expanded soundstage, smoother presentation. Literally everything I had listed under the above sub-section “ What I was not expecting “ I was hearing! Before I went any further, I swapped out the iPurifier3 with the iPurifier2 and listened to the whole song through, twice. Song after song, upon re-introducing the iPurifier3 into the chain I came to the realization that my ears were in no way deceiving me. While the iPurifier2 did a commendable job at improving the sonic quality of the music while eliminating annoyances such as jitter and outside interference, the iPurifier3 easily decimates the previous model in every way imaginable! All I can say is wow, good job iFi; Once again my hats off to your brilliant engineers!
iFi xDSD - The xDSD has built-in iPurifier technology. According to iFi, it is not as mature or robust as an actual iPurifier2/3. I call it iPurifier lite. No complaints though as it is impressive how much tech iFi managed to squeeze into the device. When it came to pairing the iPurifier3 to the xDSD, I will admit I had my reservations as power and USB signals were separate to alleviate noise, as well as the aforementioned iPurifier technology, but the folks at iFi assured me that there were improvements to be had. At the time of the xDSD’s review tour I only had the iPurifier2, which makes sense as the iPurifier3 was not yet announced. The improvements with the iPurifier2 I regards to noise reduction as well as sonic enhancements were best described as minimal. An improvement yes, but after losing myself in the music (and/or game) they quickly disappeared. With the iPurifier3 in play, all of my pre-conceived notions quickly vanished. Not to doubt the good folk at iFi, but I was quite impressed as to how much the xDSD benefited from the iPurifier3! The noise floor was reduced to pure blackness, the already fantastic sonics were greatly improved, all with a better grip on the frequency range and expanded soundstage while sounding perfectly natural. The already analogue sounding xDSD became, well, more so! For those of you who wonder how much more of an improvement the iPurifier3 could have on your device which already has great internal clock chips and noise suppression, rest assured the iPurifier3 will benefit them in a positive way, bar none!
iFi micro iCAN SE - So why do I include an amp in this section? Well, to be honest, since I received my iCAN SE I have not used the included iPower. The simple answer is that it creates an annoying buzzing/popping noise noticeable at moderate to high volume. My solution was to purchase an aftermarket power supply with an included ground plug. The iPower itself is not faulty as I wave swapped out the included one with the one came with the micro iTube2, with the same result. I have since swapped out my WiFi modem with a newer version, changed cordless phones (both unrelated to the issue) and even with the iPurifier2 in the chain, the problem persisted. It was by pure chance when moving my iFi stack to make room for a new computer monitor that I accidentally plugged in the iPower from the iTube2 into the iCAN SE, and vice versa. I didn’t notice for a few days of usage before I realize what I had done, again after moving things around. Scratching my head as to why I was not hearing the usual noise, I brought out the included power supply and both the iTube2 and iCAN SE were now powered with an iPower; No noise whatsoever. “ Could this be the result of the iPurifier3? “ I thought to myself and I quickly swapped it out with the iPurifier2 and behold, noise once again! A quick swap back confirmed that indeed, it was the iPurifier3 at work! This goes against my logic. How can a USB device at the start of the chain have an affect on the (assumed) power supply noise on a device at the end of it? I am afraid I can’t answer my own question, only accept that somehow it does. My ears don’t lie, and my testing tells me it’s true. Unbelievable, but hey, I am not complaining! I now reap the added dynamics, clarity, and soundstage that the iPower provides!
iPurifier2 + iPurifier3 on a daisy chain - As we all know (I assume), the length of a USB cable matters when it comes to signal transmission. If the cable is longer than 6 feet/2 meters, the data being carried along can degrade causing the device at the other end to either have drop-outs or simply will not work. The solution for long runs is to either purchase a cable with a built in repeater, or bridge the cables with a powered USB hub to repeat the signal and give it more strength, which can be a hassle. In the past, to get audio from my computer to my stereo some 15 feet away I used a USB DAC with a powered hub in the middle; Using a 20’ USB cable simply did not work, even with a built in repeater (which for the record, killed my USB front header as well as the attached DAC). Not liking the clunkiness of the solution, I switched to fibre optics (with a repeater at the start) so I can run the cable through my floor vents (which I still use as of today). Last year I read in the iPurifer3 thread that the folks over at iFi had chained along multiple iPurifiers to a 10+ meter long run and it worked, as to what it worked for I could not tell you. However, I saw this as “ challenge accepted “! Using 3x 1 meter long USB cables with the iPurifier2 and iPurifier3 bridging the gaps, I hooked up the xDSD to my computer to see if I can get audio to play on my home stereo without signal degradation. Not only did it work, it worked flawlessly! Nice! Not that this matters to me, but it is good to know that if I were to start using my iFi stack with my home stereo, I have options other than the digital out on my computer, which is limited to 96KHz for macOS.
Value
With an MSRP of $129.99 USD, the iPurifier3 is a must-have for those who are serious about their audio. The design and build quality, stellar performance, coupled with iFi Audio’s outstanding customer/community support make the investment cost of the iPurifier3 an absolute no-brainer; The added benefits greatly out-weigh the extremely reasonable price.
Conclusion
iFi Audio are the masters of sculpting a pure digital signal into one that closely resembles analogue. They continue to impress me with each iteration of their popular products and the iPurifier3 is no exception. Having used the iPurifier2 since the launch, I thought my system was at the pinnacle of audio bliss. I was wrong, and I could not be happier with the outcome. I know I have said both in person and in the forums that the iPurifier2 would never leave my audio chain, however I say out with the old and in with the new! The iPurifier3 is a vast improvement over the predecessor offering up a more mature and refined performance, and that’s not an easy statement to make. I am keeping this little marvel of technological engineering; It’s never going to leave my chain… that is until the iPurifier4 is released. Needless to say I am not returning the iPurifier3 now that I am done this review, rather giving iFi Audio my hard earned money. An investment with no regrets!
USB audio has come a long way since developers started to implement the technology into their devices. Long gone is USB 1.0 and the attitude of “we did it because we could, for convenience”. USB 2.0, with the help of technologies such as Asynchronous and XMOS have made their way into mainstream audio, alleviating common issues with connectivity and jitter found in the early days of USB DACs, thus allowing for higher bit and sample rates that rival and often exceeds the quality of tried and tested digital audio interfaces such as SPDIF and Firewire. However, not all devices, whether it’s the DAC, transport device, or even cables are not perfect and may suffer from common issues the can affect the quality of audio.
To help aid in the quest of clean sounding audio, in 2013 iFi Audio released the original iPurifier, a sleek passive USB add-on device that helped eliminate EMI and RFI interference that became popular with audio enthusiasts. With their next release of the iPurifier2 in 2015, iFi Audio one-upped their original design and implemented features such as active noise cancelling and signal re-clocking technology, vastly improving the quality of the signal. As a proud owner of the iPurifier2, I can confidently say that they did in-fact succeed in their endeavour, and I could not imagine my audio setup without one. Enter the iPurifier3!
Disclaimer/Acknowledgement
The iPurifier3 was sent to me direct from iFi Audio USA in exchange for my impressions and review. The words I write are my own and are honest, objective, and free of bias. I received no financial compensation for my effort, only the satisfaction of trying out a quality product.
As always, I would also like to thank Lawrance over at iFi Audio for contacting me and asking if I would interested in checking out yet another fantastic iFi product! Heck yes, I will never say no!
For those of you that have read my review of the iPurifier2, you may notice that there is some borrowing of words, and you would not be wrong in thinking so. Normally I start anew with each and every review I write, however unlike the iPurifier, the iPurifier 3 is an updated version of the previous model and what I have to say still holds true. I sat at my desk and thought long and hard on this, and in the end decided to simply alter a few paragraphs rather that re-write them in different words only to say basically the exact same thing.
About Me
Born in 1978, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both basic electronics and Sound: Electro-Acousto aka The Path to Golden Ears. While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Packing
I am a huge fan of minimalistic yet functional packaging that gives the consumer the sense that they have purchased a quality product, and the iPurifier3 fits the bill. Much like iFi’s other products, the iPurifier3 comes in a small white sturdy box. The device is nestled in foam with the contents neatly packaged in; There is no wasted space holding nothing but air, rather only what is needed. Unlike the previous model, the iPurifer3 comes three types of adaptors to meet all of the user’s potential needs: Standard double ended USB type-A to USB type-B (female), USB-micro (male) to USB-B (female), and USB type-C (male) to USB type-B (female).
Features
- Aircraft grade CNC-aluminium shell anodized in titanium
- Active Noise Cancelation2 (ANC2®) forged from military radar technology
- EMI/RFI filtering
- REclock2®
- REbalance2®
- OS-CON capacitors, tantalum capacitors, high-precision MELF resistors and new copper-alloy shielding
- Gold iFi ’FINAL’ USB solid-aluminium connectors (Impedance: 90 Ohms)
- USB3.0 + 2.0 compatible input port, USB2.0 High Speed output port (Type B)
- Future-proof technology compatible with all present and future PCM/DSD/DXD formats
ANC2® Measured noise drops by 100 times or 40dB in comparison to the Common Noise Filter. Sonically, the background and inner resolution to recordings is enhanced several levels.
By generating a signal identical to the noise signal but in the exact opposite phase, it actively cancels all the incoming noise. ANC2® is the perfect ‘antidote’ for power supply noise, the bane of USB audio.
REclock2/Regenerate2® Re-clocking is beneficial to audio. REclock® is a ‘3-in-1’ feature that re-clocks/re-generates/repeats USB audio data-stream. For any and every downstream DAC, REclock2® technology eliminates jitter. Music flows better, is cleaner, deeper and tauter, just like the real thing.
REbalance2® - rectify the unbalanced signal A core element of the original iPurifier’s success was REbalance®, which had naturally been carried over to the iPurifier 2, and yet improved further with the iPurifier3. By removing the DC offset and ‘re-balancing’ the USB audio signal, it is now perfectly balanced. As it purifies the USB audio data stream, this means noise is significantly reduced:
Build/Design
The iPurifier3 features a shell machined of CNC-aluminium which is held together by 4 screws. Very similar it’s predecessor, the iPurifier3’s case is anodized in titanium, now in white! With the dimensions being slightly larger and slightly heavier than the iPurifier2, 69(l)x19(w)x20(h)mm @ 33g, the device itself is around the size of a standard USB dongle meaning it shouldn’t interfere with the connectivity of the other cables adjacent to the USB port nor should it be too obtrusive when added into the chain. If needed, this time around iFi included cable adaptors to fit one’s needs. Of course, YMMV. Both the USB plug and jack are gold plated and are of excellent quality; Both the plug and jack fit snugly with their respective mate. A blue light illuminated when power through the USB cable is present, and a green light indicates that the device is connected to the DAC.
Why it’s needed - A summary from the pros
“ Electromagnetic interference (EMI) is an electromagnetic emission that causes a disturbance in another piece of electrical equipment. EMI can be attributed to a wide span of the electromagnetic spectrum including radio, DC and even microwave frequencies. Because anything that carries rapidly changing electrical currents gives off electromagnetic emissions, it is quite common for one object’s emissions to “interfere” with another’s. EMI compromises the performance of electrical equipment by obstructing and degrading data; sometimes even losing data completely. PCs can be affected by electromagnetic interference from other devices, in two major ways. One is direct effects through proximity with other devices; another is electrical interference over the power lines.“
(http://www.PCGuide.com)
“ The most significant way to circumvent the shortcomings of mass-market computer products is to minimize power supply noise. When power supply noise is minimized, the result is cleaner and more defined “square waves” in the digital signal, which translates to fewer bit read errors, less error correction, and less jitter. “
(http://www.mojo-audio.com)
“ Playback jitter originates from a large number of contributors, which are usually additive. These range from the master clock, which has its own jitter, to logic devices, to mechanical systems for spinning a CD. One digital cable can even add more jitter than another. Each contributor adds more jitter to the signal as it makes its way to the D/A converter. This summation of this jitter is the system jitter. “
(http://www.positive-feedback.com)
From my own quest for audio purity, the above statements from the pros really hit home. I have gone through great lengths to alleviate and outright eliminate EMF/RFI interference, power supply noise, and of course jitter with varied results. My USB DAC is on a dedicated USB bus, I have separated the power and data on the cable into two output leads complete with ferrite chokes and shielding, I purchased a power strip with built-in EMF/RFI noise cancellation, and even positioned my devices a good distance between my cordless phone while placing a sheet of aluminium foil up against my WI-FI modem. All helped out greatly, but none of my home-brew remedies were 100% effective, or at the very least to my satisfaction.
Initial Thoughts and Impressions
My initial impressions were extremely positive, and I don’t think I can REsum
up my thoughts any better than what I originally posted in the official iPurifier3 thread:With the iPurifier2, it did exactly what it was advertised to do and I stand by my review 100%. On the other hand, the iPurifier3... well... the performance... it goes far beyond iFi’s claims! I have spend a good deal of time with high end devices such as the Soundaware Esther M1 and M1 Pro, Sony's WM1Z Walkman (my brother still has too much money), the Sennheiser HDV820 (with and without the iPurifier2), and of course the xDSD. I know my headphones. I know my music. I know my gear. To this date, I have never muttered nor typed the words " I am hearing things in my music I have never heard before! ", yet... I - just - did.
The improvements in audio performance goes way, way beyond good engineering. Sacrificing your first born to the old Gods, I think not, and black magic is simply not strong enough to produce the given results. I would even laugh off claims that one starry night a meteor fell from the sky, landing out back of the iFi labs and the casing of the iPurifier3 is made of a yet to be named space metal! No, there is something more going on here than a small pocket dimension contained inside the iPurifier3 feeding pure cosmic energy from a new born galaxy through the bitstream. I am not sure what though. All I know is that the iPurifier3 defies logic!
Silliness aside, the iPurifier3 is a HUGE leap over the previous model! The folks at iFi are masters of engineering, and with the iPurifier3 they managed to one-up themselves (again).
Shortlist of expected improvements:
- Blacker background
- Better RFI/EMI protection
- Better elimination of jitter
- Better construction
- Badass new colour scheme
Result = Layers of invisible grain peeled away revealing greater overall transparency
What I was not expecting:
- Greater speed and accuracy
- Greater focus; absolutely no blurring nor colouring outside of the lines
- Improved channel separation/less crosstalk contamination
- Vast improvement in soundstage; width, depth, and height
- Greater impact throughout the frequency range
- Improved texture across the whole frequency range
- Liquidity in the frequency transitions!
- Greater sense of "air" and space without the usual boost in treble
- Cleaner sub-bass rumble
- A sense of an effortless grip of the sound
- Micro/macro detail retrieval
To my ears, the iPurifier3 supercharged my whole chain! My micro iCAN SE and micro iDAC don't sound like they used to. It's as if THEY got the upgrade and not the USB dongle! What I am hearing sounds much more than a cleansed USB signal, it's more akin to cleaning up the complete signal path from the USB out from my computer right through to the 1/4" jack on the micro iCAN, including passing though the micro iTube2! The iPurifier3 also got rid of a nasty buzzing noise audible at higher volumes through the micro iCAN while using the included iPower; More on this below.
Testing
Headphones: HiFiMan HE-560, Meze 99 Classics and 12 Classics, Sennheiser HD600, PSB M4U1, AKG Q701
Source: Audirvana set to Exclusive access mode, Direct mode, Integer mode 1
Generic USB DAC/AMP - StarTech, Vantec, Skarkoon, It matters not what vendor this device came from, I am sure most of you reading this have seen some variation on this 16/44 small 1” square silver USB 1.0 dongle. It’s cheap, it’s basic, and I purchased mine for $4 to use if I am ever in a pinch. This device literally picks up any and all sounds coming out go my computer; Fans, hard drives, etc. With the iPurifier2 the signal was perfectly silent, but the DAC still sounded like the price I paid for it. Adding in the iPurifier3 was nothing short of magic! Not only did it silence any and all noise, it greatly improved the dynamics, approaching the quality of my on-board audio of my computer! Still not a great sounding DAC, but it did noticeably improve the quality.
ASUS Xonar U3 - ASUS claims the U3 has built in noise suppression, marketing the solution as Hi-Fi class audio: Powered by Hyper Grounding Technology. I can tell you that this is nothing more than buzz-word up-selling. The amount of noise coming through the USB dongle is nothing short of garbage. Much like the generic DAC/AMP in the paragraph above, any and all computer noise is clearly audible which is a shame because the sonic quality is quite good for what it is. Needless to say, putting the iPurifier3 before the U3 significantly reduce the noise as well as improved dynamics! I wouldn’t recommend this combo as the cost of the iPurifier3 alone is double that of the Xonar U3, and for the cost one would be better off simply purchasing a higher quality DAC/AMP. The ASUS engineers should really take a cue from the masters, iFi Audio, before making any unsubstantiated claims on noise reduction.
Creative Sound Blaster E3 - The Creative SB E3 can be equated iFi’s xDSD; An affordable all-in-one device that’s a DAC, AMP, On-The-Go for mobile devices with Bluetooth. My time with it was nothing but positive, with the exception of the nasty computer noise present when used as a PC DAC, depending on which USB port I used which more often than not was the front USB header; It was a hassle to not only attach/re-attach from the back, let alone freeing up a port. To make things short, the iPurifier3 not only quelled all PC noise, it added clarity and quality to the overall sound of the E3. While I gave this device to my friend, if I had the iPurifier3 while in my possession, chances are that I would still be using the E3 today. That is, until iFi awarded me with my own xDSD which makes the E3 redundant for my usage(s). Very few devices in it’s class, if any, can compete both in value and quality of the xDSD.
iFi Micro iDAC - My impressions of the iDAC with the iPurifier3 have already been summed up in the section above, so I will save you the reader the effort of reading the same but in different words. What I will do is tell you my very first experience with the two devices paired. Normally I’d start off my new listening experience with an audiophile classic such as Spanish Harlem - Rebecca Pidgeon or Colour to the Moon - Allan Taylor, but after hearing the original on Spotify earlier in the day, I had a hankering to listen to Livingston Taylor’s cover of Baker Street. Expresso Latte in hand, I warmed up the micro iTube2, place the HE-560’s upon my head, and pushed play expecting to sit in place and have myself a lengthy un-interrupted listening session. It took until the 2nd bar of the harmonica, mere seconds in, before I hit pause. I seriously thought I had XBass or 3D+ toggled on either the iTube2 or the iCAN SE. Nope! I then proceeded to check if I had Sonarworks engaged. Nope! Everything was disengaged, as pure as it comes. What is going on here? There is no way that what I was hearing was true; Tighter bass, greater texture, expanded soundstage, smoother presentation. Literally everything I had listed under the above sub-section “ What I was not expecting “ I was hearing! Before I went any further, I swapped out the iPurifier3 with the iPurifier2 and listened to the whole song through, twice. Song after song, upon re-introducing the iPurifier3 into the chain I came to the realization that my ears were in no way deceiving me. While the iPurifier2 did a commendable job at improving the sonic quality of the music while eliminating annoyances such as jitter and outside interference, the iPurifier3 easily decimates the previous model in every way imaginable! All I can say is wow, good job iFi; Once again my hats off to your brilliant engineers!
iFi xDSD - The xDSD has built-in iPurifier technology. According to iFi, it is not as mature or robust as an actual iPurifier2/3. I call it iPurifier lite. No complaints though as it is impressive how much tech iFi managed to squeeze into the device. When it came to pairing the iPurifier3 to the xDSD, I will admit I had my reservations as power and USB signals were separate to alleviate noise, as well as the aforementioned iPurifier technology, but the folks at iFi assured me that there were improvements to be had. At the time of the xDSD’s review tour I only had the iPurifier2, which makes sense as the iPurifier3 was not yet announced. The improvements with the iPurifier2 I regards to noise reduction as well as sonic enhancements were best described as minimal. An improvement yes, but after losing myself in the music (and/or game) they quickly disappeared. With the iPurifier3 in play, all of my pre-conceived notions quickly vanished. Not to doubt the good folk at iFi, but I was quite impressed as to how much the xDSD benefited from the iPurifier3! The noise floor was reduced to pure blackness, the already fantastic sonics were greatly improved, all with a better grip on the frequency range and expanded soundstage while sounding perfectly natural. The already analogue sounding xDSD became, well, more so! For those of you who wonder how much more of an improvement the iPurifier3 could have on your device which already has great internal clock chips and noise suppression, rest assured the iPurifier3 will benefit them in a positive way, bar none!
iFi micro iCAN SE - So why do I include an amp in this section? Well, to be honest, since I received my iCAN SE I have not used the included iPower. The simple answer is that it creates an annoying buzzing/popping noise noticeable at moderate to high volume. My solution was to purchase an aftermarket power supply with an included ground plug. The iPower itself is not faulty as I wave swapped out the included one with the one came with the micro iTube2, with the same result. I have since swapped out my WiFi modem with a newer version, changed cordless phones (both unrelated to the issue) and even with the iPurifier2 in the chain, the problem persisted. It was by pure chance when moving my iFi stack to make room for a new computer monitor that I accidentally plugged in the iPower from the iTube2 into the iCAN SE, and vice versa. I didn’t notice for a few days of usage before I realize what I had done, again after moving things around. Scratching my head as to why I was not hearing the usual noise, I brought out the included power supply and both the iTube2 and iCAN SE were now powered with an iPower; No noise whatsoever. “ Could this be the result of the iPurifier3? “ I thought to myself and I quickly swapped it out with the iPurifier2 and behold, noise once again! A quick swap back confirmed that indeed, it was the iPurifier3 at work! This goes against my logic. How can a USB device at the start of the chain have an affect on the (assumed) power supply noise on a device at the end of it? I am afraid I can’t answer my own question, only accept that somehow it does. My ears don’t lie, and my testing tells me it’s true. Unbelievable, but hey, I am not complaining! I now reap the added dynamics, clarity, and soundstage that the iPower provides!
iPurifier2 + iPurifier3 on a daisy chain - As we all know (I assume), the length of a USB cable matters when it comes to signal transmission. If the cable is longer than 6 feet/2 meters, the data being carried along can degrade causing the device at the other end to either have drop-outs or simply will not work. The solution for long runs is to either purchase a cable with a built in repeater, or bridge the cables with a powered USB hub to repeat the signal and give it more strength, which can be a hassle. In the past, to get audio from my computer to my stereo some 15 feet away I used a USB DAC with a powered hub in the middle; Using a 20’ USB cable simply did not work, even with a built in repeater (which for the record, killed my USB front header as well as the attached DAC). Not liking the clunkiness of the solution, I switched to fibre optics (with a repeater at the start) so I can run the cable through my floor vents (which I still use as of today). Last year I read in the iPurifer3 thread that the folks over at iFi had chained along multiple iPurifiers to a 10+ meter long run and it worked, as to what it worked for I could not tell you. However, I saw this as “ challenge accepted “! Using 3x 1 meter long USB cables with the iPurifier2 and iPurifier3 bridging the gaps, I hooked up the xDSD to my computer to see if I can get audio to play on my home stereo without signal degradation. Not only did it work, it worked flawlessly! Nice! Not that this matters to me, but it is good to know that if I were to start using my iFi stack with my home stereo, I have options other than the digital out on my computer, which is limited to 96KHz for macOS.
Value
With an MSRP of $129.99 USD, the iPurifier3 is a must-have for those who are serious about their audio. The design and build quality, stellar performance, coupled with iFi Audio’s outstanding customer/community support make the investment cost of the iPurifier3 an absolute no-brainer; The added benefits greatly out-weigh the extremely reasonable price.
Conclusion
iFi Audio are the masters of sculpting a pure digital signal into one that closely resembles analogue. They continue to impress me with each iteration of their popular products and the iPurifier3 is no exception. Having used the iPurifier2 since the launch, I thought my system was at the pinnacle of audio bliss. I was wrong, and I could not be happier with the outcome. I know I have said both in person and in the forums that the iPurifier2 would never leave my audio chain, however I say out with the old and in with the new! The iPurifier3 is a vast improvement over the predecessor offering up a more mature and refined performance, and that’s not an easy statement to make. I am keeping this little marvel of technological engineering; It’s never going to leave my chain… that is until the iPurifier4 is released. Needless to say I am not returning the iPurifier3 now that I am done this review, rather giving iFi Audio my hard earned money. An investment with no regrets!
Into
Between updating existing product lines, slapping on coats of anodized black awesomeness, and giving MQA playback across the board, iFi Audio has been busy as of late. So, when the xDSD and it’s tour was announced here at Head-Fi I was both surprised and intrigued. What was this sleek little device and it’s purpose, why the new the “X” branding, just what the heck is Cyberdrive (a buzzword?), and why do I absolutely need to try it? I couldn’t sign up fast enough to find out!
About iFi
iFi is a brand born from trickle-down technology licensed from AMR with one simple mission: To provide the absolute best quality ‘Bit-Perfect’ audio from computer generated sources. All iFi products proudly boast clean Class A analogue circuitry with absolutely no digital signal processing; The signal stays true to the source throughout! Since iFi broke into the scene in 2012 they have been making huge waves in the audiophile community, offering products who’s performance is on par with their beautiful, modular and Iconic design! Every product has been carefully engineered for perfect symmetry and synergy with one another, allowing the user to custom tailor their devices to their desired needs.
Disclaimer/Acknowledgement
I received the xDSD in order as part Canadian leg of the North American tour in exchange for my impressions and review. The words I write are my own and are honest, objective, and free of bias. I received no financial compensation for my effort, only the satisfaction of trying out a quality product for a week.
About Me
Born in 1978, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs. I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both basic electronics and Sound: Electro-Acousto - The Path to Golden Ears. While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Specifications:
Official xDSD discussion thread can be found here.
iFi Audio xDSD webpage can be found here.
Accessories
1x Soft velvet carry pouch
1x TOSLink to mini digital adaptor
4x 3M Dual Lock adhesive strips; 1 large, 3 thin
2x USB Type-A female to Type-B female adaptors; one stubby, the other cabled and is designed to fit neatly inside the xDSD’s rear USB port
1x USB Type-A male to Type-A female cable; used to connect the xDSD to a PC and is again, designed to fit neatly inside the xDSD’s rear USB port
2x USB Type-A male to Micro-B charging cables; one short, the other slightly shorter… why?
Like all of iFi’s products, the xDSD comes with a plethora of accessories. Everything you need to get things up and running is included. While it would have been great to include a USB OTG cable, considering the fact that iFi recently released their own audiophile quality OTG dongle (and reasonably priced at that) I can understand why they chose to leave one out. As for an included iOS compatible USB Lightning cable, there really is no mystery why they’d leave one out; Why pay Apple for Mi-certification when at best, only 50% of the users would use such a cable. Honestly, a smart move on iFi’s part for both the OTG and Lightning cables.
Build/Design
If one is familiar with iFi’s products, the first thing they’d notice is how the xDSD’s design is a radical departure from the iconic look of their micro and nano lines. Gone is the iconic angled anodized aluminium body, the xDSD sports a compact and stylish 6063-T5 aluminium-magnesium alloy casing with the rear of the device capped off with a matte black plastic, taking on a size and form factor more similar to a standard portable DAC/amp.
The front of the xDSD is a very minimalistic design. There is a single S-balanced 3.5mm jack and four small LED indicators, kHz/Input on one side, 3D+/XBass+ on the other, in the middle lays the Cyberdrive knob, illuminated with a multi-colour LED that indicates both function and volume level, while off to the side sits a multi-purpose Settings button. More on Cyberdrive and the front’s functionality below.
The rear of the xDSD houses what you’d expect: a digital S/PDIF mini input, USB Type-A input with a large enough opening to fit dongles such as the Apple CCK or USB OTG, the Filter toggle, and a USB Type-B mini jack with LED indicator for charging the device.
Gnerd-pr0n
(Bonus points if you know the reference)
One thing that always impresses me about iFi products is how much technology the cram into their micro and nano devices, and the xDSD is no exception! Take a look at the pictures below; Nicely done iFi!
Cyberdrive
Not merely a buzzword invented by iFi to sell a product, Cyberdrive is the brains of the xDSD and deserves it’s own section! The all new circuitry allows all analogue functions (volume, amplification/sensitivity, and the battery) to be digitally controlled! Incorporating the iFi exclusive OV4627 ultra low noise FET input Op-Amp and W990VST digitally controlled stepped attenuator (the analogue volume signal is broken up in 101 1dB steps), Cyberdrive technology allows for the xDSD to deliver eardrum splitting power to difficult to drive full sized over-ear headphones, while at the same time providing deadly noise free silence to sensitive IEMs! Cyberdrive detects the impedance of the headphones in use in and adjusts on-the-fly so the user simply has to plug and play without any hassle of switching or enabling anything!
Not content with keeping things to just the amplification, Cyberdrive technology extends to the battery operations as well. The xDSD draws power from a separate micro USB charging port, meaning that when connected to a smart device via USB no power will be drawn when in operation from it’s host! It doesn’t end there either. When connected to a PC, the xDSD will still draw power from either the battery or the 5V micro USB, thus eliminating the possibility of excess noise traveling through the USB cable from the power supply or motherboard! Even better is that when the battery is fully charged, the Cyberdrive circuitry will automatically disengage the 5V charging signal while still powering the xDSD! A lot of battery operated devices these days will continually do a damaging and potentially dangerous dance of charge/drain when connected to an external power source. They are (despite their moniker) not smart enough to simply disengage the battery charging when at a full charge and power the device straight via the 5V power signal. Instead the device will still draw it’s power from the battery while its being charged. This cycling will create excess and unnecessary heat which in turn will cause a slow degradation of the battery’s capacity to fully charge, not to mention a hazard of catching fire and exploding! Cyberdrive does battery charging right!
S-Balance
With the growing number of headphones incorporating a balanced connection, iFi included the option with the xDSD. What makes iFi’s implementation of a balanced connection so special is that they incorporated it into a single 3.5mm jack that is capable of accepting a non-balanced plug and not cause damage to the amplifier! I’d like to know what old gods the engineers over at iFi pray to as this is a seemingly impossible feat to accomplish! What’s more insanely impressive is the fact that S-Balance technology also benefits un-balanced headphones, giving them performance that approaches a true-balanced connection! Mind-blown!
Besides having a combined 3.5mm un-balanced/balanced jack, the xDSD one-ups the competition yet again and throws in a true line-out option. Most hi-end DAPs and portable DACs have a line out option, sure. However the line out always has it’s own separate jack (and more times than I can recall not at a fixed volume either), with a second for headphones. What makes the xDSD special and excel over it’s competition is the fact that iFi combined the 3.5mm out into a volume controlled un-balanced/balanced headphone with a true fixed level line-out jack; the xDSD can ether transport audio through it’s amplifier, or bypass it, the volume, and the XBass+/3D+ option and output the signal to a universal > 2.1V @ 0dBFS line out format, all from a single 3.5mm jack! One jack, three types of output!
Initial Thoughts/Impressions
Upon gazing upon and picking up the xDSD for the first time, to quote iFi, “ Its dark titanium vacuum ion plated metal enclosure is pleasingly tactile and compact. “ And shiny too… so very shiny… However despite being glossy, I never had any issues with the xDSD slipping in my fingers or losing my grip, thanks in part to the unique (and sexy) wavy form factor. On the other hand, after some manhandling finger prints will be left behind on the casing. I for one didn’t really care, but for others their OCD may be knocking at their door.
The xDSD is, as one would expect being a portable device, very light weight. Similar sized DAC/amp with metal enclosures I have experience with feel a lot more hefty, and likewise add far too much weight when coupled to the back of smart device or DAP. I was actually a little surprised at how light the xDSD was in my hand. Despite it’s weight, I never got the sense of fragility. Between the aluminium-magnesium alloy casing and high quality plastic end cap, the xDSD feels solid and I am confident the materials will hold up to the test of time.
What surprised me the most was the centre control knob. I like it! Made of a strong and rugged plastic, the knob has a satisfying tactile feel to it, both in texture and operation. With a slight rise above the casing, the outside of the dial is akin to a gear thus giving excellent tactile grip for easy turning with minimal effort. I thought that this may hinder operation of the potentiometer when the xDSD lays flat on a surface (or on top of my iFi stack), but my fears were quickly eased as the 4 rubber feet on the bottom not only provides enough clearance but gives the light unit excellent (and much needed) grip. The potentiometer itself trades smooth turning found on iFi’s micro and nano lines for a radically different click-style turn. At first I was uneasy about this departure from iFi’s norm, but the more I used it the more I understood their decision to go this route. This not only reduces the risk of having the knob accidentally turned up causing unpleasant and potentially damaging effects to one’s ears, but gives the user tactile feedback. You feel the click, you know the volume has changed as intended.
Functionality
Functionality is full featured yet ingeniously minimalistic in implementation. All (manual) operations are controlled by using either the centre Cyberdrive knob, the setting button, or a combination of the two. This eliminated interface clutter as well as eliminating accidental toggling of the functions. Implementing each of the functions could not be easier either. Hold down the Cyberdrive button to power on/off. Volume is (obviously) controlled by rotating the centre knob. To activate XBass+ and 3D+ simply click the settings button to cycle through and engage one or both. To enable line-out mode hold the setting button while powering on the xDSD. To enable/disable Bluetooth mode, rotate the centre knob clockwise while holding down the button when powering on.
The settings and volume indicators are streamlined and combined into colour coding LEDs. I love this and is simply brilliant! The good folks at iFi decided using colour coding visual cues for the functionality would be a more natural and effortless way for the user to quickly determine what’s what. In our every day lives we humans, above all else, use colour as visual cues. Not words, not symbols, colour. It’s simple, transcends language, and if properly illuminated highly noticeable. As the xDSD is not only a small portable device but dark in aesthetics, it would be cumbersome to try and read either a display or individually labeled switches, and can be a pain in both the time and effort it takes to take out the device and hold it in such a way as to see everything, as well as the physical aspect of straining to see what is set to what. iFi made this simple by combining all the indicators into six colour coded LEDs separated into four zones. They are as follows.
Battery status - located on the rear next to the USB charge port
XBass+/3D+ - located on the front right side
Each of these settings have a white LED indicating on/off. Pretty simple.
Input - located on the front botton left
Audio Format (kHz) - located on the front top right
Cyberdrive Rotary Control - located in the front centre
Performance
Unless specifically noted, all performance impressions have been averaged between the headphones used:
Circumaural
Sennheiser HD 600, Momentum (1st gen.)
PSB M4U 1
Meze 99 Classics
AKG K340, K240 Sextett/Monitors, Q701
HiFiMan HE 560
IEM
Polk Nue Voe
Meze 12 Classics
Bass - Neither accentuated nor underwhelming, the bass is response is relatively neutral and under control. Mid-bass is nimble and weighted enough to give transients an excellent slam while accurately rendering the lower frequency response as to provide nuanced detail without overwhelming the rest of the spectrum. Sub-bass ruble is decent, though not overwhelming in quantity. It is what it is and gets the job done, nothing more.
Midrange - I wouldn’t say the response is forward, but it certainly take centres stage compared to the rest of the frequency spectrum. Rich with good texture and body, vocals and instruments alike come across as organic, smooth, and natural. The midrange detail is impressive for such a small device. While I never had any trouble picking out the micro details of a recording, they were not very forward in their presentation. Not a negative in my opinion, however there are some who clammer for these details to pop.
Treble - Great extension and transparency, yet not bright nor aggressive. The treble is controlled and articulated enough provide excellent detail, however it’s presentation does lack a touch of air. Performance wise nothing is lacking or out of place, and much like the bass region it gets the job done.
Soundstage/Imaging - The xDSD’s soundstage is not the largest nor the smallest; I am sensing a trend here. Much like the frequency response, sound-space is pretty neutral though accurate in presentation. Regardless if I was listening to a live recording performed in an intimate closed in modern venue or a wide open 16th century gothic Church, the xDSD’s sounded natural and correct. Imaging was excellent, with superb separation. I never got the sense of clutter nor did I ever have a hard time picking out 3D cues.
XBass+/3D+ - It wouldn’t be an iFi product without XBass and 3D+. As their names imply, the former gives a bass boost while the latter increases the soundstage. What makes these features stand out above the competition is that they are not a DSP effect, rather they are 100% analogue filters, and the implementation of each of these features is fantastic. XBass+ give a gentle nudge in the lower frequency response, not enough to turn a pair of HD 600 into bass cannons, rather just enough to give something like the Q701 the boost needed to fill out the lower end. Likewise, 3D+ is not overwhelming nor does it sound cheap. The increase of the sound space is subtle, but is enough to give music a more airy and expanded sound without sounding un-natural. All in all, quality over quantity!
Amplification/Sensitivity - With regards to the full size headphones used, the xDSD had no trouble powering my most hard to drive cans to acceptable levels. For standard 32 Ohm headphones with moderate sensitivity such as the Meze 99 Classics or PSB M4U 1, the xDSD provides deafening amounts of power while maintaining coherency and control. Moving up the impedance chain to 300 Ohm, with excellent grip and control, the xDSD handled the legendary Sennheiser HD 600 with grace and ease while still having ample power in reserve. With more demanding (fussy) headphones such as the AKG Q701 and HiFiMan HE 560, the xDSD was able to drive both sets to acceptable levels though in some cases, while rare and mainly in regards to DSD files, volume did have to be nearly maxed out to achieve what I would consider moderate a volume level. Super high impedance headphones such as my AKG K240 600 Ohm Monitors and K340 400 Ohm x2 Electrostatik/Dynamic hybrids, well, lets just say it was an admirable attempt by the xDSD to try and power them big boys. 24mW @ 600 Ohm is not nearly enough juice for fussy high impedance AKGs, and alas the xDSD met it’s match.
As for sensitivity with IEMs, the xDSD absolutely destroyed the notion of hiss and distortion! While the only two IEMs I own are the Meze 12 Classics and the Polk New Vo, both are relatively sensitive with the former being 16 Ohm @ 101dB sensitivity, and the latter being a balanced armature driver. No matter what amount of volume was required for each IEM in respect to the source track, both IEMs displayed absolutely no hiss, no buzz, no breaking up of the sound, simply a smooth effortless rendering! It’s one thing to provide a black background while simultaneously supplying sufficient power for larger cans, but to do so for IEMs as well without the aid of a switch or dongle is impressive!
Speaking of a black background, my testing would not be complete without the playing a lossless “digital black” file, a track composed purely of nothing! Why play such a track you might ask? Simple really. When a powered on device is idle, it should (in theory) have a solid black background. For the most part the circuitry is inactive, hence the silence. To fully gauge how silent or black the background truly is the circuits must be active and the only way to accomplish this is to push music through the device. However, music is music and not silent. This is where a file containing nothing matters. It essentially activates the signal path without producing sound, thus enabling the user to precisely hear any potential hiss or hum. In regards to the xDSD, even at full volume, regardless of the headphone or connection type used, the background was completely silent. Nothing from the amp, nothing from an outside source, simply blackness!
Listen/Measure - This is a feature iFi recently started including in their product line-up, and like XBass+ and 3D+ is becoming a staple. I always found this filter toggle intriguing. What this switch does is change the latency from “minimum phase” (Listen) to “linear phase” (Measure). In short, with linear-phase filters the phase-shift is linear across frequencies however it will introduce “pre-ringing”, whereas minimum phase filters implement a lesser delay time but can introduce phase distortion artifacts. Basically, what this does to the sound is give you the option of either shaping the sound to become more neutral with Measure, or give the sound a little more excitement through an optimized transient response with Listen.
This was not my first time experiencing phase shift as I have messed around with software latency previous, so I did have somewhat of an idea as to what to expect. The effects of the toggle ranged from subtle to noticeable, depending on the track in play and the headphone used. There really is no right or wrong way to go, it is all up to the user and their preference and easy enough to toggle between the two settings. What I did find is that selecting Measure helps alleviate a headphone’s “house sound”, whereas selecting Listen helped breathe some fun into headphones of a more neutral nature. When I paired the xDSD with the 99 Classics I like to select Measure. This helps bring down and give greater control to the somewhat prominent bass response. When listening to the HE 560 I would choose Listen as this gave the ruler flat low end some much needed extra slam.
Summary - One might conclude from my description of the xDSD’s sonic characteristics that the sound might be somewhat lacklustre. This is not the case, rather that was me being objective. With respect to the xDSD sound it holds it’s own against it’s competitors in the same price bracket, and those costing many times more. I recently had the opportunity to test-drive the Sennheiser HDV 820 for a month, along with Sony’s flagship NW-WM1Z DAP (my brother has too much money) and in all honesty, the xDSD was not that far off in performance. Smooth, detailed, effortless, elegant, and powerful, no matter what track I threw at it, no matter what headphone used, the xDSD made short work of the sound and rendered it to near perfection! To my ears, the xDSD is pure sonic bliss!
Connectivity/Versatility
What makes the xDSD so great is it’s flexibility in connectivity to modern digital devices. With so many option available to the end user whether on-the-go or at home, the xDSD is quite possibly the most versatile audio transport device on the market! It’s time to put the xDSD through it’s paces! While I tried to cover a wide range of uses, it merely represents my personal experience. As always, your millage may vary.
DAC - Sporting the highly respected multi-bit DSD1793 Burr-Brown chipset, the xDSD makes an excellent option to use as a stand-alone DAC. Without a doubt, the Burr-Brown chip is leagues ahead of the ESS Sabre chip, effortlessly revealing the subtlest of detail while delivering excitement and emotion all while retaining a sense of liquidity throughout the frequency spectrum! With the aid of the micro iTube2 coupled with the micro iCAN SE, I replaced my micro iDAC in my stack with the xDSD and started down a journey of re-appreciation. Rotating between headphones, I spent hours sitting at my desk going through my favourite tracks. Needless to say, it was very difficult for me to unchain the xDSD and move the micro iDAC back in. 7 years of DAC evolution between the two chips was a real eye opener!
Bluetooth - AptX and AAC at it’s finest! Well, performance wise that is. Connectivity wise, well, I’ll get to that. First, the good. Quite honestly, I am a wire loyalist. In my experience nothing beats a hard wire connection. It’s solid and it’s reliable, and most importantly, it’s lossless. I haven’t made the move to Bluetooth because the audio quality just isn’t there. Much like USB was, Bluetooth audio still has a long way to go. The xDSD’s Bluetooth performance has changed my mind.
Absolutely, without a doubt, the xDSD’s Bluetooth audio quality is near perfect, and unbelievably so! Hard as I tried, when listening to both ACC and AIFF tracks I could not tell the difference between wired and Bluetooth! It got to the point where durning my testing downtime I stopped using the CCK with my iPod touch and went purely Bluetooth. Every nuance could be heard, and the tonality remained as neutral as if it was connected via USB or S/PDIF! iFi wizardry I tell you!
In regards to both the range and connection strength, I encountered zero issues. Absolutely none! Once connected, with my iPod touch stationary in the living room on the coffee table, I was able to move around freely between all 3 levels of my townhouse without any loss of the signal. Moving the iPod to my basement yielded similar results. I could be on the top level with two floors and bedroom walls in-between the myself and the source yet the xDSD did not skip a beat. I was even able to go outside and do work in the front and back yard, even go down to the dumpster (which from my living room is probably close to 40’ away) and the connection remained solid, no word of a lie! My cordless phone doesn’t even have half the range nor clarity at distance, and it uses DECT 6.0 technology!
The last bit of Bluetooth goodness comes in the form of pairing. If the xDSD is in Bluetooth mode it will search for a previously paired device and connect when found. If the Bluetooth device is new to the xDSD, it can be 'force paired' by pressing the 'Settings' button for 3 seconds. Easy breezy! Pairing really couldn’t be more simple. Once paired with my iPod the xDSD was remembered as a connected device, and would subsequently without any issues… almost. Now for the bad.
Before I go ahead I have to say that what you are about to read is the xDSD only issue/flaw I encountered, and in my opinion one that absolutely needs to be remedied. While pairing the xDSD with a Bluetooth enabled device is easy and straight forward, it is not without an annoying snag. Regardless of using the 3.5mm jack as headphone or line-out, when switching from wired mode to Bluetooth after pairing has already occurred and the device is has previously streamed audio flawlessly, the xDSD will not output ANY audio. Neutron and iOS recognized the xDSD and states that it is paired (and seemingly working fine), yet regardless of the output type no sound can be heard. To fix this I simply had to go into the Bluetooth settings in iOS and forget the device (iFi Audio), and then re-press the ‘Settings’ button for 3 seconds for the xDSD to be re-discovered. I had to do this literally every time I switched between line-in/Bluetooth when previous it had worked fine. Sure, it is only seconds of extra work consisting of a few swipes and a press of a button, but the fact remains that this should not be necessary.
Line Out - As pre-mentioned, the xDSD sports a true line-out. This adds ultimate versatility. So many possibilities, and I paired the xDSD to anything in my possession that had an input. While I won’t overwhelm you with the task of reading my mundane (yet fantastic sounding) results, below is just a small list of what one can do with the xDSD.
One can easily stream and control audio through their smart device to a bookshelf stereo or a home theatre system. Perhaps you need greater amplification, connect the xDSD to more powerful desktop headphone amplifier (such as a micro iCAN SE or iTube2). Even through most new vehicles having Bluetooth pairing, in many cases only for voice and not audio streaming. Solution: Connect the xDSD through the vehicle’s 3.5mm/RCA in! Heck, one can even forgo a fantastic sounding portable sound-brick’s sub-par or outdated Bluetooth and line in from the xDSD providing both superior sound quality and range, as well as saving on the speaker’s battery! The list of possibilities goes on and on!
USB - PC & OTG/CCK - What can I say, they just work! Connecting to a PC is a simple as connecting the included cable to a free USB port. What makes the xDSD a cut above the rest is the inclusion of USB 3.0 connectivity for a superior connection over the USB 2.0. The inclusion of iFi’s femto precision GMT Clock and intelligent memory buffer system derived from AMR Audio’s USD $5,500 flagship DAC products eliminates jitter, thus providing an exceptional listening experience! The majority of my listening experience was done using USB, and I can say the transport is solid! I experienced no hick-up that normally are associated with USB audio. On a plus, the xDSD is fully compatible with iFi’s recently announced iPurifier3; USB 2.0/iPurifier2 users need not worry, the xDSD will work just fine!
Whether using my 6th gen. iPod touch, or my co-worker’s Galaxy S9, both devices worked flawlessly with an OTG/CCK. Using Neutron on both iOS and Android, the xDSD showed up under the Audio Hardware options menu, and I had full Hi-Rez and DSD transport! Thanks to the xDSD’s built in battery, there was absolutely no excess power drain on either smart device, at least none that I could detect. On a side note, my co-worker was blown away at how much better the xDSD sounded over his flagship phone! I love it when someone hears true quality audio for seemingly their first time.
S/PDIF - Having the ability to accept both optical and coaxial signals, this is a extremely useful feature to have, and I am glad iFi included this input. For most, I would assume the biggest use of this connection would be to pair the xDSD to a high end DAP. I however do no own such a device with that output. What I do own is a S/PDIF booster and 15’ of fibre optic cable running under my floor linking my PC via TOSLink to my home theatre receiver. Perfect! Here’s why.
One major problem I have making use of my micro iTube2 with my stereo is the fact that I have to do some pretty cumbersome USB and RCA cabling across my living room, bridging it halfway to my iDAC which in turn is linking off a USB hub extension, all just to reach! Needless to say, the micro iTube2/stereo combo doesn’t get much, if any use. Enter the xDSD! With little effort I was able to simply unchain the micro iTube2 from my desktop stack and hook it up by my stereo! By having a set of short RCA cables plugged into my receiver and an iPower near by, it was a simple process to connect the xDSD via S/PDIF and line-out to the micro iTube2, and in turn it to receiver’s discreet RCA input and presto, musical bliss without ANY excess mess! Everything is neat and tidy, and sounding fantastic! Booya!
MQA - My only experience with streaming audio is through Spotify, and that’s only while at work. I tend to stay away from streaming due to the fact that my audio gear reveals too many flaws associated with streaming. However, because I had to put the xDSD through it’s paces I did sign up for Tidal and hear for myself what all the fuss is about surrounding this new MQA streaming format. Using Audirvana as the transport, I proceeded to building a playlist of MQA tracks. From the moment I pushed play, I was blown away! The MQA tracks sounded remarkably similar to my AIFF copies, and the xDSD decoded them with sonic perfection without any hiccups along the way!
While personally I have no use for MQA streaming (yet), I can most certainly see a future ahead for codec! As more and more tracks are added, I can see how having truly lossless streaming audio of thousands of songs that are available at your whim would be appealing to the end user. Kudos to iFi for having forward thinking and not only having the xDSD natively handle MQA decoding, but updating your existing lines well!
Battery Life
iFi claims the xDSD’s 3.8V/2,200mAh Lithium Polymer battery provides 6-10 hours of playback, depending on the transport type; 10 hours for S/PDIF, 8 hours for Bluetooth and 6 hours for USB. While I only roughy eyeballed the time throughout my various testing, I can not call them on their claims. The only thing I can say is that the xDSD’s performance is in fact, as advertised. If anything, I got slightly greater battery life using USB and line out, achieving closer to 6 1/2 hours.
Firmware/Drivers
iFi gives the xDSD the option of two official firmware choices. The pre-installed version is v5.30, which has been optimized for MQA playback. This limits the user to a max sample rate of PCM384/DSD256, which for the vast majority of us would be more than sufficient for our libraries. Firmware v5.20 enables the xDSD to decode sample rates up to (an overkill of) PCM768/DSD512, however this will disable native MQA playback. While the choice is yours as to which firmware version best suits your needs (and is a great option to have), I have a feeling that most of us will simply not bother to mess around with changing the default install.
As for the drivers, things couldn’t be more simple, no matter what platform you are on. macOS/Linux need not do a thing; Connect the xDSD via USB and you are good to go. In Windows, a simple download of the USB drivers and install is required, followed by a restart. With today’s modern systems, we are talking about 1 minute time. Once installed an iFi menu tray icon will appear where you will be able to adjust ASIO settings, and of course full functionality from within the Sound Control Panel.
Value
In my review of the micro iTube2, I stated that it was the Swiss Army Knife of pre-amplifiers. Well, I think iFi has outdone themselves (yet again) and created a new contender for the moniker with the xDSD! With respect to audio transport, what can’t it do, and at $399, what’s not to love? The xDSD literally has all of your bases covered! Beautiful yet rugged design, a powerful headphone amplifier with analogue volume output that can be used on-the-go or at home, USB and digital inputs with a separate power connector for the cleanest sound, fantastic implementation of bass and soundstage enhancers that don’t sound gimicky and actually enhance, S-Balanced 3.5mm out with the option of true line level output, MQA and DSD decoding, and probably the cleanest the purest Bluetooth audio I have had the privilege of experiencing! Once again, iFi managed to deliver a plethora of cutting edge trickle-down flagship technology and performance in a compact device and offer it at a price that screams “ Shut up and take my money! “
Conclusion
My time with the xDSD was nothing but a joy, and I feel truly privileged to have be able to experience all that it had to offer. Whenever I get my hands on an iFi product they always blow my expectations, which is why I not only own several myself, but will continue to look to them for future upgrades. They have a bad habit of releasing a product I never knew I needed, and the xDSD is no exception. I was blow away with the performance and features offered by such a compact and extremely sexy device. My hat’s off to you again iFi, keep up the awesome work, our ears appreciate it greatly!
Between updating existing product lines, slapping on coats of anodized black awesomeness, and giving MQA playback across the board, iFi Audio has been busy as of late. So, when the xDSD and it’s tour was announced here at Head-Fi I was both surprised and intrigued. What was this sleek little device and it’s purpose, why the new the “X” branding, just what the heck is Cyberdrive (a buzzword?), and why do I absolutely need to try it? I couldn’t sign up fast enough to find out!
About iFi
iFi is a brand born from trickle-down technology licensed from AMR with one simple mission: To provide the absolute best quality ‘Bit-Perfect’ audio from computer generated sources. All iFi products proudly boast clean Class A analogue circuitry with absolutely no digital signal processing; The signal stays true to the source throughout! Since iFi broke into the scene in 2012 they have been making huge waves in the audiophile community, offering products who’s performance is on par with their beautiful, modular and Iconic design! Every product has been carefully engineered for perfect symmetry and synergy with one another, allowing the user to custom tailor their devices to their desired needs.
Disclaimer/Acknowledgement
I received the xDSD in order as part Canadian leg of the North American tour in exchange for my impressions and review. The words I write are my own and are honest, objective, and free of bias. I received no financial compensation for my effort, only the satisfaction of trying out a quality product for a week.
About Me
Born in 1978, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs. I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both basic electronics and Sound: Electro-Acousto - The Path to Golden Ears. While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Specifications:
Official xDSD discussion thread can be found here.
iFi Audio xDSD webpage can be found here.
Accessories
1x Soft velvet carry pouch
1x TOSLink to mini digital adaptor
4x 3M Dual Lock adhesive strips; 1 large, 3 thin
2x USB Type-A female to Type-B female adaptors; one stubby, the other cabled and is designed to fit neatly inside the xDSD’s rear USB port
1x USB Type-A male to Type-A female cable; used to connect the xDSD to a PC and is again, designed to fit neatly inside the xDSD’s rear USB port
2x USB Type-A male to Micro-B charging cables; one short, the other slightly shorter… why?
Like all of iFi’s products, the xDSD comes with a plethora of accessories. Everything you need to get things up and running is included. While it would have been great to include a USB OTG cable, considering the fact that iFi recently released their own audiophile quality OTG dongle (and reasonably priced at that) I can understand why they chose to leave one out. As for an included iOS compatible USB Lightning cable, there really is no mystery why they’d leave one out; Why pay Apple for Mi-certification when at best, only 50% of the users would use such a cable. Honestly, a smart move on iFi’s part for both the OTG and Lightning cables.
Build/Design
If one is familiar with iFi’s products, the first thing they’d notice is how the xDSD’s design is a radical departure from the iconic look of their micro and nano lines. Gone is the iconic angled anodized aluminium body, the xDSD sports a compact and stylish 6063-T5 aluminium-magnesium alloy casing with the rear of the device capped off with a matte black plastic, taking on a size and form factor more similar to a standard portable DAC/amp.
The front of the xDSD is a very minimalistic design. There is a single S-balanced 3.5mm jack and four small LED indicators, kHz/Input on one side, 3D+/XBass+ on the other, in the middle lays the Cyberdrive knob, illuminated with a multi-colour LED that indicates both function and volume level, while off to the side sits a multi-purpose Settings button. More on Cyberdrive and the front’s functionality below.
The rear of the xDSD houses what you’d expect: a digital S/PDIF mini input, USB Type-A input with a large enough opening to fit dongles such as the Apple CCK or USB OTG, the Filter toggle, and a USB Type-B mini jack with LED indicator for charging the device.
Gnerd-pr0n
(Bonus points if you know the reference)
One thing that always impresses me about iFi products is how much technology the cram into their micro and nano devices, and the xDSD is no exception! Take a look at the pictures below; Nicely done iFi!
Cyberdrive
Not merely a buzzword invented by iFi to sell a product, Cyberdrive is the brains of the xDSD and deserves it’s own section! The all new circuitry allows all analogue functions (volume, amplification/sensitivity, and the battery) to be digitally controlled! Incorporating the iFi exclusive OV4627 ultra low noise FET input Op-Amp and W990VST digitally controlled stepped attenuator (the analogue volume signal is broken up in 101 1dB steps), Cyberdrive technology allows for the xDSD to deliver eardrum splitting power to difficult to drive full sized over-ear headphones, while at the same time providing deadly noise free silence to sensitive IEMs! Cyberdrive detects the impedance of the headphones in use in and adjusts on-the-fly so the user simply has to plug and play without any hassle of switching or enabling anything!
Not content with keeping things to just the amplification, Cyberdrive technology extends to the battery operations as well. The xDSD draws power from a separate micro USB charging port, meaning that when connected to a smart device via USB no power will be drawn when in operation from it’s host! It doesn’t end there either. When connected to a PC, the xDSD will still draw power from either the battery or the 5V micro USB, thus eliminating the possibility of excess noise traveling through the USB cable from the power supply or motherboard! Even better is that when the battery is fully charged, the Cyberdrive circuitry will automatically disengage the 5V charging signal while still powering the xDSD! A lot of battery operated devices these days will continually do a damaging and potentially dangerous dance of charge/drain when connected to an external power source. They are (despite their moniker) not smart enough to simply disengage the battery charging when at a full charge and power the device straight via the 5V power signal. Instead the device will still draw it’s power from the battery while its being charged. This cycling will create excess and unnecessary heat which in turn will cause a slow degradation of the battery’s capacity to fully charge, not to mention a hazard of catching fire and exploding! Cyberdrive does battery charging right!
S-Balance
With the growing number of headphones incorporating a balanced connection, iFi included the option with the xDSD. What makes iFi’s implementation of a balanced connection so special is that they incorporated it into a single 3.5mm jack that is capable of accepting a non-balanced plug and not cause damage to the amplifier! I’d like to know what old gods the engineers over at iFi pray to as this is a seemingly impossible feat to accomplish! What’s more insanely impressive is the fact that S-Balance technology also benefits un-balanced headphones, giving them performance that approaches a true-balanced connection! Mind-blown!
Besides having a combined 3.5mm un-balanced/balanced jack, the xDSD one-ups the competition yet again and throws in a true line-out option. Most hi-end DAPs and portable DACs have a line out option, sure. However the line out always has it’s own separate jack (and more times than I can recall not at a fixed volume either), with a second for headphones. What makes the xDSD special and excel over it’s competition is the fact that iFi combined the 3.5mm out into a volume controlled un-balanced/balanced headphone with a true fixed level line-out jack; the xDSD can ether transport audio through it’s amplifier, or bypass it, the volume, and the XBass+/3D+ option and output the signal to a universal > 2.1V @ 0dBFS line out format, all from a single 3.5mm jack! One jack, three types of output!
Initial Thoughts/Impressions
Upon gazing upon and picking up the xDSD for the first time, to quote iFi, “ Its dark titanium vacuum ion plated metal enclosure is pleasingly tactile and compact. “ And shiny too… so very shiny… However despite being glossy, I never had any issues with the xDSD slipping in my fingers or losing my grip, thanks in part to the unique (and sexy) wavy form factor. On the other hand, after some manhandling finger prints will be left behind on the casing. I for one didn’t really care, but for others their OCD may be knocking at their door.
The xDSD is, as one would expect being a portable device, very light weight. Similar sized DAC/amp with metal enclosures I have experience with feel a lot more hefty, and likewise add far too much weight when coupled to the back of smart device or DAP. I was actually a little surprised at how light the xDSD was in my hand. Despite it’s weight, I never got the sense of fragility. Between the aluminium-magnesium alloy casing and high quality plastic end cap, the xDSD feels solid and I am confident the materials will hold up to the test of time.
What surprised me the most was the centre control knob. I like it! Made of a strong and rugged plastic, the knob has a satisfying tactile feel to it, both in texture and operation. With a slight rise above the casing, the outside of the dial is akin to a gear thus giving excellent tactile grip for easy turning with minimal effort. I thought that this may hinder operation of the potentiometer when the xDSD lays flat on a surface (or on top of my iFi stack), but my fears were quickly eased as the 4 rubber feet on the bottom not only provides enough clearance but gives the light unit excellent (and much needed) grip. The potentiometer itself trades smooth turning found on iFi’s micro and nano lines for a radically different click-style turn. At first I was uneasy about this departure from iFi’s norm, but the more I used it the more I understood their decision to go this route. This not only reduces the risk of having the knob accidentally turned up causing unpleasant and potentially damaging effects to one’s ears, but gives the user tactile feedback. You feel the click, you know the volume has changed as intended.
Functionality
Functionality is full featured yet ingeniously minimalistic in implementation. All (manual) operations are controlled by using either the centre Cyberdrive knob, the setting button, or a combination of the two. This eliminated interface clutter as well as eliminating accidental toggling of the functions. Implementing each of the functions could not be easier either. Hold down the Cyberdrive button to power on/off. Volume is (obviously) controlled by rotating the centre knob. To activate XBass+ and 3D+ simply click the settings button to cycle through and engage one or both. To enable line-out mode hold the setting button while powering on the xDSD. To enable/disable Bluetooth mode, rotate the centre knob clockwise while holding down the button when powering on.
The settings and volume indicators are streamlined and combined into colour coding LEDs. I love this and is simply brilliant! The good folks at iFi decided using colour coding visual cues for the functionality would be a more natural and effortless way for the user to quickly determine what’s what. In our every day lives we humans, above all else, use colour as visual cues. Not words, not symbols, colour. It’s simple, transcends language, and if properly illuminated highly noticeable. As the xDSD is not only a small portable device but dark in aesthetics, it would be cumbersome to try and read either a display or individually labeled switches, and can be a pain in both the time and effort it takes to take out the device and hold it in such a way as to see everything, as well as the physical aspect of straining to see what is set to what. iFi made this simple by combining all the indicators into six colour coded LEDs separated into four zones. They are as follows.
Battery status - located on the rear next to the USB charge port
XBass+/3D+ - located on the front right side
Each of these settings have a white LED indicating on/off. Pretty simple.
Input - located on the front botton left
Audio Format (kHz) - located on the front top right
Cyberdrive Rotary Control - located in the front centre
Performance
Unless specifically noted, all performance impressions have been averaged between the headphones used:
Circumaural
Sennheiser HD 600, Momentum (1st gen.)
PSB M4U 1
Meze 99 Classics
AKG K340, K240 Sextett/Monitors, Q701
HiFiMan HE 560
IEM
Polk Nue Voe
Meze 12 Classics
Bass - Neither accentuated nor underwhelming, the bass is response is relatively neutral and under control. Mid-bass is nimble and weighted enough to give transients an excellent slam while accurately rendering the lower frequency response as to provide nuanced detail without overwhelming the rest of the spectrum. Sub-bass ruble is decent, though not overwhelming in quantity. It is what it is and gets the job done, nothing more.
Midrange - I wouldn’t say the response is forward, but it certainly take centres stage compared to the rest of the frequency spectrum. Rich with good texture and body, vocals and instruments alike come across as organic, smooth, and natural. The midrange detail is impressive for such a small device. While I never had any trouble picking out the micro details of a recording, they were not very forward in their presentation. Not a negative in my opinion, however there are some who clammer for these details to pop.
Treble - Great extension and transparency, yet not bright nor aggressive. The treble is controlled and articulated enough provide excellent detail, however it’s presentation does lack a touch of air. Performance wise nothing is lacking or out of place, and much like the bass region it gets the job done.
Soundstage/Imaging - The xDSD’s soundstage is not the largest nor the smallest; I am sensing a trend here. Much like the frequency response, sound-space is pretty neutral though accurate in presentation. Regardless if I was listening to a live recording performed in an intimate closed in modern venue or a wide open 16th century gothic Church, the xDSD’s sounded natural and correct. Imaging was excellent, with superb separation. I never got the sense of clutter nor did I ever have a hard time picking out 3D cues.
XBass+/3D+ - It wouldn’t be an iFi product without XBass and 3D+. As their names imply, the former gives a bass boost while the latter increases the soundstage. What makes these features stand out above the competition is that they are not a DSP effect, rather they are 100% analogue filters, and the implementation of each of these features is fantastic. XBass+ give a gentle nudge in the lower frequency response, not enough to turn a pair of HD 600 into bass cannons, rather just enough to give something like the Q701 the boost needed to fill out the lower end. Likewise, 3D+ is not overwhelming nor does it sound cheap. The increase of the sound space is subtle, but is enough to give music a more airy and expanded sound without sounding un-natural. All in all, quality over quantity!
Amplification/Sensitivity - With regards to the full size headphones used, the xDSD had no trouble powering my most hard to drive cans to acceptable levels. For standard 32 Ohm headphones with moderate sensitivity such as the Meze 99 Classics or PSB M4U 1, the xDSD provides deafening amounts of power while maintaining coherency and control. Moving up the impedance chain to 300 Ohm, with excellent grip and control, the xDSD handled the legendary Sennheiser HD 600 with grace and ease while still having ample power in reserve. With more demanding (fussy) headphones such as the AKG Q701 and HiFiMan HE 560, the xDSD was able to drive both sets to acceptable levels though in some cases, while rare and mainly in regards to DSD files, volume did have to be nearly maxed out to achieve what I would consider moderate a volume level. Super high impedance headphones such as my AKG K240 600 Ohm Monitors and K340 400 Ohm x2 Electrostatik/Dynamic hybrids, well, lets just say it was an admirable attempt by the xDSD to try and power them big boys. 24mW @ 600 Ohm is not nearly enough juice for fussy high impedance AKGs, and alas the xDSD met it’s match.
As for sensitivity with IEMs, the xDSD absolutely destroyed the notion of hiss and distortion! While the only two IEMs I own are the Meze 12 Classics and the Polk New Vo, both are relatively sensitive with the former being 16 Ohm @ 101dB sensitivity, and the latter being a balanced armature driver. No matter what amount of volume was required for each IEM in respect to the source track, both IEMs displayed absolutely no hiss, no buzz, no breaking up of the sound, simply a smooth effortless rendering! It’s one thing to provide a black background while simultaneously supplying sufficient power for larger cans, but to do so for IEMs as well without the aid of a switch or dongle is impressive!
Speaking of a black background, my testing would not be complete without the playing a lossless “digital black” file, a track composed purely of nothing! Why play such a track you might ask? Simple really. When a powered on device is idle, it should (in theory) have a solid black background. For the most part the circuitry is inactive, hence the silence. To fully gauge how silent or black the background truly is the circuits must be active and the only way to accomplish this is to push music through the device. However, music is music and not silent. This is where a file containing nothing matters. It essentially activates the signal path without producing sound, thus enabling the user to precisely hear any potential hiss or hum. In regards to the xDSD, even at full volume, regardless of the headphone or connection type used, the background was completely silent. Nothing from the amp, nothing from an outside source, simply blackness!
Listen/Measure - This is a feature iFi recently started including in their product line-up, and like XBass+ and 3D+ is becoming a staple. I always found this filter toggle intriguing. What this switch does is change the latency from “minimum phase” (Listen) to “linear phase” (Measure). In short, with linear-phase filters the phase-shift is linear across frequencies however it will introduce “pre-ringing”, whereas minimum phase filters implement a lesser delay time but can introduce phase distortion artifacts. Basically, what this does to the sound is give you the option of either shaping the sound to become more neutral with Measure, or give the sound a little more excitement through an optimized transient response with Listen.
This was not my first time experiencing phase shift as I have messed around with software latency previous, so I did have somewhat of an idea as to what to expect. The effects of the toggle ranged from subtle to noticeable, depending on the track in play and the headphone used. There really is no right or wrong way to go, it is all up to the user and their preference and easy enough to toggle between the two settings. What I did find is that selecting Measure helps alleviate a headphone’s “house sound”, whereas selecting Listen helped breathe some fun into headphones of a more neutral nature. When I paired the xDSD with the 99 Classics I like to select Measure. This helps bring down and give greater control to the somewhat prominent bass response. When listening to the HE 560 I would choose Listen as this gave the ruler flat low end some much needed extra slam.
Summary - One might conclude from my description of the xDSD’s sonic characteristics that the sound might be somewhat lacklustre. This is not the case, rather that was me being objective. With respect to the xDSD sound it holds it’s own against it’s competitors in the same price bracket, and those costing many times more. I recently had the opportunity to test-drive the Sennheiser HDV 820 for a month, along with Sony’s flagship NW-WM1Z DAP (my brother has too much money) and in all honesty, the xDSD was not that far off in performance. Smooth, detailed, effortless, elegant, and powerful, no matter what track I threw at it, no matter what headphone used, the xDSD made short work of the sound and rendered it to near perfection! To my ears, the xDSD is pure sonic bliss!
Connectivity/Versatility
What makes the xDSD so great is it’s flexibility in connectivity to modern digital devices. With so many option available to the end user whether on-the-go or at home, the xDSD is quite possibly the most versatile audio transport device on the market! It’s time to put the xDSD through it’s paces! While I tried to cover a wide range of uses, it merely represents my personal experience. As always, your millage may vary.
DAC - Sporting the highly respected multi-bit DSD1793 Burr-Brown chipset, the xDSD makes an excellent option to use as a stand-alone DAC. Without a doubt, the Burr-Brown chip is leagues ahead of the ESS Sabre chip, effortlessly revealing the subtlest of detail while delivering excitement and emotion all while retaining a sense of liquidity throughout the frequency spectrum! With the aid of the micro iTube2 coupled with the micro iCAN SE, I replaced my micro iDAC in my stack with the xDSD and started down a journey of re-appreciation. Rotating between headphones, I spent hours sitting at my desk going through my favourite tracks. Needless to say, it was very difficult for me to unchain the xDSD and move the micro iDAC back in. 7 years of DAC evolution between the two chips was a real eye opener!
Bluetooth - AptX and AAC at it’s finest! Well, performance wise that is. Connectivity wise, well, I’ll get to that. First, the good. Quite honestly, I am a wire loyalist. In my experience nothing beats a hard wire connection. It’s solid and it’s reliable, and most importantly, it’s lossless. I haven’t made the move to Bluetooth because the audio quality just isn’t there. Much like USB was, Bluetooth audio still has a long way to go. The xDSD’s Bluetooth performance has changed my mind.
Absolutely, without a doubt, the xDSD’s Bluetooth audio quality is near perfect, and unbelievably so! Hard as I tried, when listening to both ACC and AIFF tracks I could not tell the difference between wired and Bluetooth! It got to the point where durning my testing downtime I stopped using the CCK with my iPod touch and went purely Bluetooth. Every nuance could be heard, and the tonality remained as neutral as if it was connected via USB or S/PDIF! iFi wizardry I tell you!
In regards to both the range and connection strength, I encountered zero issues. Absolutely none! Once connected, with my iPod touch stationary in the living room on the coffee table, I was able to move around freely between all 3 levels of my townhouse without any loss of the signal. Moving the iPod to my basement yielded similar results. I could be on the top level with two floors and bedroom walls in-between the myself and the source yet the xDSD did not skip a beat. I was even able to go outside and do work in the front and back yard, even go down to the dumpster (which from my living room is probably close to 40’ away) and the connection remained solid, no word of a lie! My cordless phone doesn’t even have half the range nor clarity at distance, and it uses DECT 6.0 technology!
The last bit of Bluetooth goodness comes in the form of pairing. If the xDSD is in Bluetooth mode it will search for a previously paired device and connect when found. If the Bluetooth device is new to the xDSD, it can be 'force paired' by pressing the 'Settings' button for 3 seconds. Easy breezy! Pairing really couldn’t be more simple. Once paired with my iPod the xDSD was remembered as a connected device, and would subsequently without any issues… almost. Now for the bad.
Before I go ahead I have to say that what you are about to read is the xDSD only issue/flaw I encountered, and in my opinion one that absolutely needs to be remedied. While pairing the xDSD with a Bluetooth enabled device is easy and straight forward, it is not without an annoying snag. Regardless of using the 3.5mm jack as headphone or line-out, when switching from wired mode to Bluetooth after pairing has already occurred and the device is has previously streamed audio flawlessly, the xDSD will not output ANY audio. Neutron and iOS recognized the xDSD and states that it is paired (and seemingly working fine), yet regardless of the output type no sound can be heard. To fix this I simply had to go into the Bluetooth settings in iOS and forget the device (iFi Audio), and then re-press the ‘Settings’ button for 3 seconds for the xDSD to be re-discovered. I had to do this literally every time I switched between line-in/Bluetooth when previous it had worked fine. Sure, it is only seconds of extra work consisting of a few swipes and a press of a button, but the fact remains that this should not be necessary.
Line Out - As pre-mentioned, the xDSD sports a true line-out. This adds ultimate versatility. So many possibilities, and I paired the xDSD to anything in my possession that had an input. While I won’t overwhelm you with the task of reading my mundane (yet fantastic sounding) results, below is just a small list of what one can do with the xDSD.
One can easily stream and control audio through their smart device to a bookshelf stereo or a home theatre system. Perhaps you need greater amplification, connect the xDSD to more powerful desktop headphone amplifier (such as a micro iCAN SE or iTube2). Even through most new vehicles having Bluetooth pairing, in many cases only for voice and not audio streaming. Solution: Connect the xDSD through the vehicle’s 3.5mm/RCA in! Heck, one can even forgo a fantastic sounding portable sound-brick’s sub-par or outdated Bluetooth and line in from the xDSD providing both superior sound quality and range, as well as saving on the speaker’s battery! The list of possibilities goes on and on!
USB - PC & OTG/CCK - What can I say, they just work! Connecting to a PC is a simple as connecting the included cable to a free USB port. What makes the xDSD a cut above the rest is the inclusion of USB 3.0 connectivity for a superior connection over the USB 2.0. The inclusion of iFi’s femto precision GMT Clock and intelligent memory buffer system derived from AMR Audio’s USD $5,500 flagship DAC products eliminates jitter, thus providing an exceptional listening experience! The majority of my listening experience was done using USB, and I can say the transport is solid! I experienced no hick-up that normally are associated with USB audio. On a plus, the xDSD is fully compatible with iFi’s recently announced iPurifier3; USB 2.0/iPurifier2 users need not worry, the xDSD will work just fine!
Whether using my 6th gen. iPod touch, or my co-worker’s Galaxy S9, both devices worked flawlessly with an OTG/CCK. Using Neutron on both iOS and Android, the xDSD showed up under the Audio Hardware options menu, and I had full Hi-Rez and DSD transport! Thanks to the xDSD’s built in battery, there was absolutely no excess power drain on either smart device, at least none that I could detect. On a side note, my co-worker was blown away at how much better the xDSD sounded over his flagship phone! I love it when someone hears true quality audio for seemingly their first time.
S/PDIF - Having the ability to accept both optical and coaxial signals, this is a extremely useful feature to have, and I am glad iFi included this input. For most, I would assume the biggest use of this connection would be to pair the xDSD to a high end DAP. I however do no own such a device with that output. What I do own is a S/PDIF booster and 15’ of fibre optic cable running under my floor linking my PC via TOSLink to my home theatre receiver. Perfect! Here’s why.
One major problem I have making use of my micro iTube2 with my stereo is the fact that I have to do some pretty cumbersome USB and RCA cabling across my living room, bridging it halfway to my iDAC which in turn is linking off a USB hub extension, all just to reach! Needless to say, the micro iTube2/stereo combo doesn’t get much, if any use. Enter the xDSD! With little effort I was able to simply unchain the micro iTube2 from my desktop stack and hook it up by my stereo! By having a set of short RCA cables plugged into my receiver and an iPower near by, it was a simple process to connect the xDSD via S/PDIF and line-out to the micro iTube2, and in turn it to receiver’s discreet RCA input and presto, musical bliss without ANY excess mess! Everything is neat and tidy, and sounding fantastic! Booya!
MQA - My only experience with streaming audio is through Spotify, and that’s only while at work. I tend to stay away from streaming due to the fact that my audio gear reveals too many flaws associated with streaming. However, because I had to put the xDSD through it’s paces I did sign up for Tidal and hear for myself what all the fuss is about surrounding this new MQA streaming format. Using Audirvana as the transport, I proceeded to building a playlist of MQA tracks. From the moment I pushed play, I was blown away! The MQA tracks sounded remarkably similar to my AIFF copies, and the xDSD decoded them with sonic perfection without any hiccups along the way!
While personally I have no use for MQA streaming (yet), I can most certainly see a future ahead for codec! As more and more tracks are added, I can see how having truly lossless streaming audio of thousands of songs that are available at your whim would be appealing to the end user. Kudos to iFi for having forward thinking and not only having the xDSD natively handle MQA decoding, but updating your existing lines well!
Battery Life
iFi claims the xDSD’s 3.8V/2,200mAh Lithium Polymer battery provides 6-10 hours of playback, depending on the transport type; 10 hours for S/PDIF, 8 hours for Bluetooth and 6 hours for USB. While I only roughy eyeballed the time throughout my various testing, I can not call them on their claims. The only thing I can say is that the xDSD’s performance is in fact, as advertised. If anything, I got slightly greater battery life using USB and line out, achieving closer to 6 1/2 hours.
Firmware/Drivers
iFi gives the xDSD the option of two official firmware choices. The pre-installed version is v5.30, which has been optimized for MQA playback. This limits the user to a max sample rate of PCM384/DSD256, which for the vast majority of us would be more than sufficient for our libraries. Firmware v5.20 enables the xDSD to decode sample rates up to (an overkill of) PCM768/DSD512, however this will disable native MQA playback. While the choice is yours as to which firmware version best suits your needs (and is a great option to have), I have a feeling that most of us will simply not bother to mess around with changing the default install.
As for the drivers, things couldn’t be more simple, no matter what platform you are on. macOS/Linux need not do a thing; Connect the xDSD via USB and you are good to go. In Windows, a simple download of the USB drivers and install is required, followed by a restart. With today’s modern systems, we are talking about 1 minute time. Once installed an iFi menu tray icon will appear where you will be able to adjust ASIO settings, and of course full functionality from within the Sound Control Panel.
Value
In my review of the micro iTube2, I stated that it was the Swiss Army Knife of pre-amplifiers. Well, I think iFi has outdone themselves (yet again) and created a new contender for the moniker with the xDSD! With respect to audio transport, what can’t it do, and at $399, what’s not to love? The xDSD literally has all of your bases covered! Beautiful yet rugged design, a powerful headphone amplifier with analogue volume output that can be used on-the-go or at home, USB and digital inputs with a separate power connector for the cleanest sound, fantastic implementation of bass and soundstage enhancers that don’t sound gimicky and actually enhance, S-Balanced 3.5mm out with the option of true line level output, MQA and DSD decoding, and probably the cleanest the purest Bluetooth audio I have had the privilege of experiencing! Once again, iFi managed to deliver a plethora of cutting edge trickle-down flagship technology and performance in a compact device and offer it at a price that screams “ Shut up and take my money! “
Conclusion
My time with the xDSD was nothing but a joy, and I feel truly privileged to have be able to experience all that it had to offer. Whenever I get my hands on an iFi product they always blow my expectations, which is why I not only own several myself, but will continue to look to them for future upgrades. They have a bad habit of releasing a product I never knew I needed, and the xDSD is no exception. I was blow away with the performance and features offered by such a compact and extremely sexy device. My hat’s off to you again iFi, keep up the awesome work, our ears appreciate it greatly!
Koolpep
Well done review! Thanks!
Intro
iFi is a brand born from trickle-down technology, licensed from AMR with one simple mission: To provide the absolute best quality ‘Bit-Perfect’ audio from computer generated sources . All iFi products proudly boast clean Class A analogue circuitry with absolutely no digital signal processing; The signal stays true to the source throughout! Since iFi broke into the scene in 2012 they have been making huge waves in the audiophile community, offering products who’s performance is on par with their beautiful, modular design! Every product has been carefully engineered for perfect symmetry and synergy with one another, allowing the user to custom tailor their stacks to their desired needs.
As part of the original micro line, the micro iTube was an incredibly popular product. Described as the ‘Swiss Army Knife’ of components, the original micro iTube boasted a tube buffer (0dB or 6dB gain), pre-amp with analogue volume control (0dB or 6dB gain), 3D enhancement effects for speakers, as well as ‘Digital Antidote Plus’, a feature designed to take the “digital’ out of the source and make it sound more ‘analogue’. For many, the sleek and sexy multi-functional micro iTube was hailed as something they never knew they wanted, let alone needed! Building upon it’s success, iFi audio took everything that made the micro iTube great and started over, keeping only the NOS GE 5670 tube! Heavily influenced by their flagship product, the iCAN Pro, built from the ground up using trickle-down technology the micro iTube2 was born!
Disclaimer/Acknowledgement
The micro iTube2 was sent to me on loan direct from iFi Audio USA in exchange for my impressions and review. The words I write are my own and are honest, objective, and free of bias. I received no financial compensation for my effort, only the satisfaction of trying out a quality product for a few weeks.
More importantly, I would like to thank Lawrance over at iFi Audio for providing me the opportunity to review the micro iTube2. Out of the blue I was sent a message here at Head-Fi asking me if I would like to spend some time with their newly released micro iTube2! As a proud owner of iFi products, how could I say no? However, due to popular demand and higher than expected sales by the time our e-mails had crossed back and forth, there were no units left to send out! No worries as I was asked if there was another product that I would be interested in trying out until the inventory levels for the micro iTube2 had been refreshed. How awesome was that? I chose the iPurifier2, and if your would like to read what I thought of the device, click here. So anyway, a short time later a review unit was ready to be shipped out, and here we are today, micro iTube2 in hand. You know what they say, “ All good things come to those who wait. “… or perhaps “ Shut up and take my money! “ might be better suited in this case!
About Me
Born in 1978, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs. I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both basic electronics and Sound: Electro-Acousto - The Path to Golden Ears. While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Specifications
Tube: N.O.S. G.E. 5670
Maximum output: > 7.75V (>+20dBu)
SNR: 119dB(A) re. 2V, buffer, 0dB Gain
DNR: 131dB(A) re. +20dBu, buffer, 0dB Gain
THD & N: < 0.009% (re. 2V, buffer, 0dB Gain, A- weighted)
Frequency Response: < 10Hz -to > 200kHz (-1dB) 20Hz – 20kHz (+/-0.003dB)
Input impedance: 1M ohm Direct Tube Buffer 100k ohm Pre-Amplifier with Volume Control
Output stage output impedance: <1 ohm
Corrected output impedance: <150 ohm
Input voltage: AC 100-240V, 50/60Hz
Power consumption: <4W idle, 10W max
Dimensions: 175(l) x 67 (w) x 28 (h) mm
Weight: 278g (0.61lbs)
Features
- Anodized in ‘titanium’
- Analogue Volume Control
- iPower (15V)
- 3D Holographic+ matrix for speakers (off/3D+ width/3D+ 30°)
- XBass+ for speakers (off/6dB 20Hz/12dB 20Hz)
- Tube+ (SET/Classic/Push-Pull)
- Tube buffer (0dB/9dB gain)
- Tube Preamp (0dB/9dB gain)
Brand-new PCB, Direct-Coupled for purest signal path
The iTube2, in-line with the latest iFi products, is ‘Direct-Coupled.’ This means no output coupling capacitor for the purest, most direct signal path.
Reference class parts quality
The iTube2 employs Japan TDK C0G type capacitors. These are complimented by Japan Panasonic ECPU Film Capacitors explicitly designed for audio use with extremely low distortion (<0.00001% @ 1V/10kHz).
The iTube 2 also uses ELNA SIlmic capacitors. These and other parts are only found in components with an extra ‘0’ to the price.
The proof is in the listening. The best tube buffer/pre-amp out there just pulled even further ahead.
‘Magic’ of SET, Push-Pull or Classic Tube sound
In the ‘magic of tubes’ listening stakes, the iTube2 offers the listener the choice of different key sonic signatures:
– a Single-Ended Triode power amplifier;
– a classic tube amplifier.
– a Push-Pull tube power amplifier;
Just to note from the iFi team – there is no ‘right’ setting. We advise you to set according to your systems synergy and your listening preferences.
XBass+® matrix for Speakers
XBass+® for Speakers is quite different to its sister technology XBass+® for Headphones. The only similarity is in philosophy as the ability to enhance your Speaker listening is quite different to enhancing Headphone listening.
The former gives each and every audio system adjustable levels of bass control to enhance listening enjoyment through speakers that have limited bass extension. We have taken great care to ensure no degradation in sound quality occurs.
20 Hz (6dB): For speakers missing only the lowest bass notes (below 40Hz).
20 Hz(12dB): For speakers missing some bass notes (below 80Hz).
OFF: XBass+ switched out
3D Holographic+® matrix for Speakers
The latest 3D Holographic+ matrix for Speakers offers something quite special. It takes high-end systems to another level of performance. It was drawn from the original ground-breaking work of Alan Blumlein, the ‘father of stereo.’
Firstly, it corrects the fundamental spatial distortion in recordings. And secondly, it increases the width of the soundstage beyond that of the speaker placement.
30˚+ : This matrix adds an extra 30˚ to redress the narrow placement of speakers (eg either side of a PC monitor).
+ : This matrix recreates original ‘width’ of the soundstage and is the recommended DEFAULT setting.
Off : 3D+ switched out.
Accessories
iFi includes everything that is needed; High quality RCA interconnects (+1 for being purple!), an L-adaptor for the iPower to keep the connection flush against the unit, a handy super tiny flathead screw-driver to adjust the DIP switches in the event one’s fingers are unable to toggle them manually, a pad of rubber stick on feet, specification and warranty cards, and for good measures an anti-moisture pack.
Packing
I am a huge fan of minimalistic yet functional packaging that gives the consumer the sense that they have purchased a quality product, and the iPurifier checks off all boxes on the list. Much like iFi’s other products, the iTube 2 comes in a white, almost Apple-esque sturdy box made of 100% recycled materials free of any toxins that meet environmental standards. The device is nestled in a sturdy cardboard tray with the accessories neatly packaged in compartment underneath; There is no wasted space holding nothing but air, rather only what is needed. A big ‘“hats-off” to iFi for thinking of more than just their bottom-line!
Build/Design
Measuring 158 x 68 x 28mm and constructed of recycled CNC aluminum, from a build and design perspective the micro iTube2 is purposefully identical to the rest of iFi’s micro line. Every component of the micro line are designed to be stacked with one another so consistency and conformity is a must for both logistics as well as aesthetics. Like it’s line-mates, the micro iTube2’s anodized shell is titanium in colour (albeit a slightly darker shade) with identical body lines and curves. The front and back plates are held together with 4 small screws and adds a nice utilitarian look without being too cluttered or gaudy in relation to the controls.
Growing up in the 1980’s I am very familiar with analogue volume potentiometer and toggle switches. Rarely have I encountered a more smooth, solid, and balanced pot as I have on the micro iTube2. Saying that the volume pot is of high quality is an understatement as it not only possess perfectly smooth rotary tension, to my ears there is virtually zero channel imbalance when turned to the lower quarter of the dial! The recessed chromed toggle switches are of equal quality, and possess a smooth yet tactile rigidity. The toggle action is solid; Moving the switches up and down was easily done with absolutely no wiggle or play detected while in action or in place! Without a doubt, much like every one of iFi’s products, the micro iTube 2 is a quality product that is built to last!
The text on the micro iTube2, both on the faceplate as well as the underside, was easily discernible despite being essentially grey-on-grey. Whether the environmental lighting was akin to a man-cave, recording studio, living room during high-noon, or simply nothing more than the LEDs of a computer monitor, no matter the situation I never had readjust my viewing angle to read what operation I was trying to achieve. This can not be said about iFi’s previous generation and even more recent products. From my own observations, the darker titanium anodized coating and the darker colour of the graphics give both a better contrast under a wide range of lighting as well as helps alleviate the reflection across the surfaces. Owning the original micro iDAC (mid 2012) as well as the recently released micro iCAN SE (late 2015), I can tell you first hand that the new colouration is a welcome change.
Pre-Amp and Buffer
While loaded with a plethora of features, the micro iTube2’s basic functionality can be summed up as either a pre-amplifier or a buffer (SET filter). So what is the difference and which should you choose to use for your set-up? Before I answer some basic understanding of why a pre-amplifier is needed. In an audio system the input circuit is the electrical audio signal recorded on media or running in from a microphone or pick-up. Its load is modifying the output circuit and applies a varying resistance to the output circuit to re-create the voltage fluctuations of the original audio signal. In most amplifiers, this load is too much work for the original audio signal. For this reason, the signal is first boosted by a pre-amplifier, which sends a stronger output signal to the power amplifier. The pre-amplifier works the same basic way as the amplifier in that the input circuit applies varying resistance to an output circuit generated by the power supply.
A good preamp is like Lingerie. It makes the content and playback more revealing, allowing the man a deeper insight into the source material, and paints a vivid seductive picture of the artists original intent, and keeps him thirsting for more... A good preamp titillates the listeners senses!
I hope this post explains things as it really matters, in a format more understandable to the lay audience than all the previous needlessly technical and geeky explanations.
--G0bble
- It can boost a low signal when your source and destination are far away from each other. A pre-amp can be beneficial in minimizing the noise that is picked up on the line to the power amp.
- It can clean up the signal. If you were going to be performing some filtering on a signal (i.e. a vacuum tube), the filtering elements can add noise to your system and by adding a preamp the noise is minimized compared to the signal.
- It can adjust the signal. Power amps can be more difficult to directly change the volume on while a preamp is much easier. So you can change your volume on the preamp and have a fixed gain on the power amp.
- It can act as a simple buffer between your source and the filtering equipment.
- Impedance matching. In electronics, impedance matching is the practice of designing the input impedance of an electrical load or the output impedance of its corresponding signal source to maximize or minimize signal reflection from the load. In other words, it takes the signal and optimizes it for the receiver.
Now that we have a basic understanding and uses of a pre-amplifier defined, why use the micro iTube2 as a buffer? Simply put, the buffer has fixed output and the pre-amplifier has variable output; It all comes down to one’s specific application and whether or not the volume pot is needed. If you have no use for a pre-amplifier and simply want to add in the magic of class-A SET into your system while implementing 3D Matrix and XBass, you would want to use the micro iTube2 as a buffer. If any of the above uses of a pre-amplifier is applicable to you, using the micro iTube2 as such is the way to go.
Break-in Period
While there is no mention of a break-in period in any of iFi’s documentation, the recommended industry standard for electrical devices and components is 40 hours. Personally, while I do tend to wait until 48 hours of real word use before making any written impressions, it is done not so much to listen for any changes in the sound rather to make sure the device and it’s components are operating correctly. From my own experience in both my home life and profession, if any issues arise they are usually detected early in the device’s life. Much like with the micro iDAC and iCAN SE, the 48 hour break-in period with the micro iTube2 yielded absolutely no change in sound, nor did I encounter any perceived problems or issues, a sign of a well engineered and constructed product!
Tube Warm-up
Don’t expect to turn the knob and immediately start jamming out to your tunes. Due to the nature of the tube itself, a warm-up period is required when the micro iTube2 is first powered on. Essentially, the inner workings of the tube has to reach an operating temperature before any sound could be heard. This time will vary depending on the ambient temperature, but it is not long at all. From my experience, the micro iTube2 will reach the optimum temperature in about 1 minute, give or take. Once fully heated, the device itself will get warm to the touch. This is normal and in no way will harm the device nor the components near by; The aluminium shell does a great job at absorbing and dissipating the heat evenly.
Initial Impressions and General Thoughts
Being old enough to remember the transition from analogue to digital, I had a longing to hear my music without the edge and sharpness created by todays digital equipment as I once did. A few summers past I went on a journey of (re)discovery and purchased several tube buffer/pre-amps from eBay ranging in price between $50 and $200 CND as well as every type of compatible NOS tubes I could get my hand on (including the GE 5670 JAN, my favourite). It was no co-incidence that at the time I had been reading up on the original micro iTube with an end goal of bringing life back to my digital recordings. My experience could only be described as lacklustre. Given the absence of such devices in my signature and profile, as well as my lack of postings here at Head-Fi, it goes to show just how much I truly though of the cheap Chinese tube kits. While they all worked as advertised, each underperformed. In terms of tube buffers/pre-amps most suffered from some form of clipping, attenuation, distortion, and noise. Sure, they did smooth things over and there was some fun to be had with shaping the sound, however in regards to the “tube magic”, there was none. While I did get a flavour of each specific tube(s) I rolled, the sonic effects could be better emulated using AU/VST plug-ins and a quality amp. Then there was the cheap components used and the sub-par construction… Needless to say by Christmas of that year all were sold, and I went back to drooling over the micro iTube.
A lot has changed in terms of my equipment between then and now, most notably my switch from the likes of Teac UD-H01, Audioengine D1, and SoundBlaster E3 to an exclusive iFi stack. My search for a smooth and detailed analogue sound was pretty much over as I was more than content with micro iCAN SE/DAC combo. After my experience with less than great tube buffers/amps and experiencing the class-A TubeState technology found in the updated micro iCAN SE (amongst others), I had come to the conclusion that a device such as the micro iTube2 wouldn’t be beneficial to my set-up, and if anything detract from the overall transparency through tube distortion. I couldn’t have been more wrong! Once integrated into the chain, it took but one song for me to realize that the micro iTube2 was more than a well engineered class-A SET pre-amplifier and tube buffer, it was magic!
The micro iTube2 came shipped with default setting of 9dB: pre-amp mode, and while that would be the eventual setting I would leave it set to, initially I changed it to 0dB: buffer mode as I was mostly going to be testing the unit in my iFi stack and headphones. Wearing my PSB M4U 1, the very first thing I noticed was the perfectly black background, and I do not mean it simply did not introduce any background noise, no, I mean it crated a vacuum like silence free of any discernible noise! I honestly thought the tube had not heated up enough and therefore I simply was not hearing the noise, yet. 10 minutes passed and at idle I still was hearing absolutely nothing! Switching the buffer and pre-amp gain to 9dB yielded impressively similar results. I used my PSBs for this test as they provide the absolute best seal I have encountered in a headphone and thus allows me to hear, if present, any garbage coming down the chain, and I encountered nothing of the sort. Even with both my BA and dynamic driver IEMs, at 9dB gain and maxed out volume of the micro iCAN SE, I could detect no audible noise. It was not until I switched the gain on the micro iCAN SE to 24dB that I started to hear a less than perfect black background. However, regardless of the headphone, under no circumstance would I, or probably anyone for that matter, ever be needing 33dB of gain on an iFi stack outside of attempting to amplify a phono source, and iFi makes the micro iPhono2 for that application!
Plugging in my HD 600, I loaded up Audirvana and pushed play, on random, because that’s how I like to roll! At this point I decided to throw all my previous experience and expectations with tube buffers out the window. Judging by the iFi products I own as well as what I was hearing (or rather not hearing), I knew the micro iTube2 will be a world apart from all I have tried before. What I was not prepared for was the magic that was about to be unleashed! With 3D and XBass off, I started with the ‘Classic SET’ Tube+ setting. First up was Dukas - The Sorcerer’s Apprentice as performed by Telarc’s Cincinnati Pops Orchestra, and I was floored! Every note was rendered with such smoothness yet possessed enhanced texture as well as greater focus, all while maintaining transparency with no loss of detail! Moving along to the ‘Classic Tube’ setting, I was immediately greeted with the familiar classic sound of the GE 5670 JAN, un-like I have ever heard before; The micro iTube2 fully unleashed the true potential of the GE 5670! Adding in both warmth and crispness, the soundscape became more expansive, full of weighted air that allows sound to bloom with a sonic delight! What can best be described as “ the best of both worlds “, switching to ‘Push-Pull’ proved to be the setting that many times caused my eventual drifting into hours of what can only described as meditative audio-nirvana!
Lets go over some of my overall impressions of the Tube+, shall we? As previously stated from iFi above, there is no right or wrong setting to use, and is completely dependant on both the listener’s preference as well as the source. While I completely agree with that statement, often finding myself switching modes depending on what headphone I am wearing as well as what track is currently being played, the actual naming of each setting, technically, is somewhat ambiguous. Class-A SET power amplifier, classic tube amplifier, and a push-pull tube amplifier, all describe the basic fundamentals of a device such as the micro iTube2. Reading them, I find myself saying “ Uhm, yes? ”. I do however understand iFi’s reasoning behind their labeling, and I will do my best to describe what I think each of the three settings is trying to achieve.
Classic Single-Ended-Triode Power Amplifier: This setting can best be though of as passthrough or neutral, with an added bonus. The classic tube effects are the least prevalent on this setting, and the source retains most of it’s original sound signature. However, this setting can also be though of as the original micro iTube’s ‘Digital Antidote Plus’! While the overall presentation of the source remains virtually unchanged, the sound now possesses an very analogue smoothness to it! There is added weight and warmth to both the bass and midrange, the treble has an added layer of crispness, and there does seem to be greater focus, but in no way would I describe it as adding colouration to the sound. Simply put, there is no frequency deviation from the source, only the addition of even ordered harmonics, or saturation, to the sound.
Classic Tube amplifier: The name of the setting says it all, and is the most prominent of the three. While I could use clichéd terms like expansive, weighted, warm yet airy, powerful and crisp, and I would not be wrong in doing so, this setting is so much more, and the best way of describing what I hear would be smooth-voluminous-analogue-tube-magic! As previously mentioned, this setting literally brings out the true potential of the GE 5670 JAN and punches you in the ears with it’s breathtaking sound!
Classic Push-Pull amplifier: 50% SET, 50% Classic Tube? Like Classic SET, but in hyperdrive, or perhaps Classic Tube on steroids? Actually, I tend to think of this setting more as the-complete-sound! Saying it’s the best of both world’s is simplifying things too much. I would best describe the sound as breathtaking, unbridled, powerful, pure class-A SET perfection! Or magic… definitely magic!
In regards to the 3D+ and XBass, I won’t be giving any thought and impressions in this section of the review. They are simply not applicable to me. The vast majority of my listening involves my headphones and my iFi stack, and this portion of the review is focused around just that. 3D+ and XBass are specifically designed with the use of loudspeakers, not headphones. Sure, one can toggle either and it “may” sound pleasant with their headphones, but let it be known that 3D+ and XBass on the micro iCAN (SE/BL) do a far greater job at their respected functions for headphones than the micro iTube2. In terms of their basic functionality, they are pretty straight forward and iFi does such a great job defining them that any words of mine would be nothing more than redundancy. I will however be covering numerous application in the upcoming paragraphs, which will include the use of both features. Much like Tube+, both redefine what I thought was possible in such a compact device, and will not be overlooked!
To end off my initial thoughts and general impressions, I was correct in forgetting what I knew, or thought I knew, of how a tube buffer should perform. Introducing rich saturation and unadulterated musical bliss, track after track, no matter the genre, the micro iTube2 exceeded my expectations in which I experienced no negative qualities whatsoever! From both my readings as well as personal experience, adding a tube buffer into the chain will always have a give/take relationship with the sound. For example, while the bass may become more defined it can lose impact, or the soundstage may become more expansive but at the same time the treble can become more harsh. Not so with the micro iTube2! There was no perceived colouration to the sound, no audible attenuation/accenting, no clipping, basically zero negative distortion! It mattered not the Tube+ setting nor the song played, the micro iTube2 simply enhanced the sound to a musical level my ears have yet to experience up until now!
Impressions (Application Specific)
* All testing was done using a variety of controlled A/B and sources that would be too numerous to list, as well as add in unneeded bulk to the review
Audirvana—> iPurifier2—> micro iDAC—> micro iTube2—> micro iCAN SE—> any headphone
To start off this section, lets begin with synergy. First, a definition: Synergy is the interaction or cooperation of two or more organizations, substances, or other agents to produce a combined effect greater than the sum of their separate effects. From their aesthetics to their features, the whole of iFi’s micro line of products are designed to operate in perfect synergy with one another. While the micro iTube2 is a multifaceted device, it’s main functionality is to be stacked onto other iFi devices, meaning there is the ability to mix and match settings for headphones. This is where synergy comes into play. Regardless of what combination I tried, there was never an instance where I got a sense that the features of the micro iTube2 were conflicting with that of the micro iCAN SE, quite the opposite in fact; Every feature was completely complimentary!
Engaging XBass in no way muddied the sound, nor did it accentuate or detract. Bass, no matter on high or low boost, remained incredibly controlled; The micro iCAN SE kept an absolute grip on the low end, regardless of the Tube+ setting on the micro iTube2! I am not sure how, but the tube magic introduced by the micro iTube2 enhanced XBass to a whole new level of ‘wow’! Both texture and definition were kicked up a notch, a sign no sluggishness has been introduced, while impact and sub-bass alike received added saturation and weight. One major take away to note would be that in no way does the micro iTube2 boost the low end, it simply adds what was missing.
With 3D+ engaged, I half expected that engaging 3D+ high on the micro iCAN SE and using ‘classic tube’ or ‘push-pull’ would result in an overload of soundscape expansiveness, like engaging Dolby Headphones and SRS at the same time; yuck! Well, things got real! Much like XBass, it mattered not which combinations I tried, the result was nothing but a complimentary enhancement! The sound remained coherent with the effects of both devices melding into an effect that seemingly makes the headphone disappear!
Overall, I am more than impressed with the absolute perfect synergy between iFi’s products! Call it what you want, magic or great engineering, when it comes to the mixing and matching of desired enhancing features à la carte, there really is no wrong way to go considering there are zero negatives to be had! On there own, every toggle function outperforms many over-engineered/over-priced products, as well as ones who’s selling points overshadow their actual performance. Add in the fact that you can combine multiple toggles to shape the sound to your desire, all while the stack maintains absolute control of the sound, is nothing short of impressive! Or perhaps even magical!
Audirvana—> iPurifier2—> micro iDAC—> micro iTube2—> micro iCAN SE—> Sennheiser HD 600, AKG Q701, Grado SR60e, PSB M4U 1, Meze 99 Classics/99 Neo
The Sennheiser HD 600, AKG K70X, and Grado Prestige series are probably the three most popular open backed headphone lines in current production, thus the headphones used for this section are a good representation of what the average end user may own. Closely resembling the sound presentation one would expect from a loudspeaker, their open design gives the user a more natural listening experience, but they are not without flaws. One common complaint myself and other have with open back headphones in general is the subdued bass impact, weight and resonance. Regardless of how well textured and defined it may be, without having and enclosed system such as a closed backing (or in respect to a loudspeaker, a room) the low end tends to flutter out and suffer due to the lack of reflecting surfaces.
Using the Classic SET setting, without engaging XBass on the micro iCAN SE, the micro iTube2 re-introduced all that was missing from the low end to both the HD 600 and Grado SR60; Impact and weight. Admittedly, for the Q701 I did have to engage the lowest XBass setting to achieve satisfactory results, but hey, that’s what the feature is there for, and now the bass has, what I consider, proper impact and weight! For both the SR60e and Q701, another common issue many have is the upper midrange and lower treble. While well extended, for some this range of frequency can sound too hot, too piercing, and thus fatiguing, and I am no exception. The micro iTube2 manages to smooth over the troublesome regions, providing a far less fatiguing sound yet does so with no loss of resolve or detail! Try as I did, I was unable to detect anything missing from the music, nor did I encounter any drop out or roll off when playing test tones/sine sweeps. One thing I did find with all three headphones is that overall the sound stage seemed more contained, more defined. What I mean by that statement is that I am hearing more of the track’s recording environment(s), something that is more prevalent in closed back headphones, yet the natural openness has not been diminished!
Moving along to the closed back headphones, the PSB M4U 1 and both the Meze 99 Classics and 99 Neo all share a common sound signature; Slightly elevated yet well extended bass and controlled bass, silky smooth liquid like midrange, and a crisp, fatigue free detailed treble that offers the perfect balance of sparkle and air. They are wonderful performers and very well received within the community. Keeping with SET and starting with the PSBs, I immediately noticed how much more relaxed the upper mids and lower treble are when at a higher volume. On certain tracks at higher than normal listening levels this region can become somewhat strident for the M4U 1. Like magic not an once of detail is lost, yet much like the afore mentioned Grado and AKG this region of the frequency response became less fatiguing! Bass weight and impact became more apparent while the lower midrange was enhanced with greater texture and focus! Both Meze faired equally as well in that micro iTube2 did nothing but enhance what was already great sounding headphones! Texture popped with a greater focus throughout, bass became more weighted yet remained controlled, and the treble received a good does of a natural sense of air while maintaining it’s crisp nature!
While the micro iTube2 essentially enhances the sound of both closed and open back headphones in a similar manner, it is interesting to note that in regards to the sound scape the behaviour is the polar opposite. For open backed headphones, the micro iTube2 seemingly adds a greater sense of the room. While maintaining their openness, there is a far greater focus on the boundary of the sound, much like a closed back headphone. It is the reverse for closed back. Because of the nature of their design, there is no missing sense of boundaries as the sound is enclosed within the cup. What the micro iTube2 adds is a greater sense of air and space to the soundscape, giving way to a sound more akin to a open air headphone! Impressive!
Both the classic tube and push-pull settings yielded results that went beyond my expectations, regardless of the headphone. While the bass became more solid, even coherent overall, what impressed me the most is the return of resonance… kind of. SET brought greater bass weight and impact, but classic tube and push/pull introduced a large, voluminous sub-bass! In no way is it boosted, rather saturated and expanded! Adding weight and air to the midrange, texture is brought to a whole new level with much greater focus and resolve. Treble also gets a boost thanks to the the increased saturation, creating a more crisp and defined upper range without negating any sense of natural air! Lastly, the soundstage became more focused and expanded, almost as if invisible boundaries were created thus providing a greater sense of imaging, yet still maintained the openness the style of these headphone produce. I have always been quite content with the sound of these headphones, they are all well reviewed and respected, but the simple inclusion of the micro iTube2 brought them to a whole new level of audio excellence! Nothing sounds boosted nor out of place, simply enhanced in a natural and organic way!
Before I round off this section, I have to give special props to both the HD 600 and 99 Classics. Earlier I talked about synergy, well, the HD 600 and the iFi stack are the epitome of the word! I don’t think it’s too far fetched to assume that the folks at iFi have this headphone readily on hand, nor would it be to likewise assume the HD 600 is the final step in their testing. I am having trouble finding words to describe their relationship, other than they are a match made in Heaven! Unadulterated, pure music magic! Including the micro iTube2 into my stack has not only made me appreciate the HD 600 to a greater level, it has re-ignited my love of these legendary headphones!
Not to be outdone by the HD 600, the Meze 99 Classics and micro iTube2 share perfect complimentary symmetry! Unlike speculation about iFi and the HD 600, I know the folks at Meze have iFi products sitting at their desks; I have seen the pictures! They don’t lie, and neither does the pairing of the two. Simply put, the micro iTube2 enhanced the “classic” of the Mezes and took the already phenomenal sounding headphone to the next echelon of listening enjoyment! Well done guys!
Audirvana—> iPurifier2—> micro iDAC—> micro iTube2—> Yamaha HTR-6040 Natural Sound receiver —> Klipsch WF 34 Icon loudspeakers
Over the years I have gone through great lengths to bridge the audio from my computer to my home theatre system and achieve optimum sound reproduction. The problem stems from the distance between the two, and how to connect them without introducing interference. Most people, like myself, will simply use a standard RCA that is long enough to reach, which is fine for short runs, but once the distance spans greater than 15’ there is a good chance that the signal will start to break up and artifacts introduced. Buzzing, hum, clicks, noise, fuzz, even radio stations, I have heard it all! This is why XLR or balanced cables were created. I however do not have this luxury. My solution to achieve a clean, uninhibited signal was to purchase a TosLink (optical digital) booster and use a 20’ optical connection from my computer to my receiver. This means that over the years I have missed out on using my Audioengine, my TEAC, and now my micro iDAC, and relied solely on the Yamaha’s AKM DAC. Enter the micro iTube2!
When it came time to test the micro iTube2 with my home stereo, I was admittedly at a loss as to how I was going to get the audio from the iFi stack to the receiver. Do I temporarily move my whole computer closer? Maybe chain a few powered USB hubs together and move the iFi stack closer? Then it dawned on me, and I felt pretty silly for not realizing this earlier. By design, a pre-amp is a signal booster! So I now had a solution: bridge the micro iTube2 between the micro iDAC and my Yamaha receiver using 2 short RCA cables! Duh! So after I got over my blonde moment I dug out a pair of 10’ audiophile grade RCA and made it happen. This actually worked out great as my listening position just happened to be at exactly 9’ away from both my computer and my stereo, meaning the micro iTube2 was able to sit on my coffee table, thus allowing me to easily select and control the various settings! Yeah, I now have thick RCA cables running across my floor, but it it is a small and temporary price to pay for a clean, unhindered signal!
The Klipsch WF 34 Icons are not only perfectly angled to 30° but perfectly spaced and distanced from each other and the walls. I opted for 3D+ and XBass to be disabled, and started things off using nothing more than SET. The moment I pushed play the inclusion of the micro iTube2 was noticeable; Smooth, warm, inviting! My Icons never sounded so sweet, so analogue! Bass became more impactful, the midrange gained a nice layer of warmth leading way to fantastic texture, and the treble completely smoothed over becoming less fatiguing yet more detailed and focused! I always thought the Icons were detail monsters before, but SET added such beautiful saturation that I am hearing not detail that I have never heard before rather hearing detail presented in a way I have never experienced before!
Things were starting to look very promising, so I decided to switch on XBass 6dB gain. I have to note, the WF 34 Icons only reach down to 50Hz. Bass is solid and very impactful thanks to their kevlar reinforced fibre glass drivers, but it never really gave me that deep inner body sub-bass rumble. Essentially, my feet on the floor could feel the bass, my body could not. Engaging XBass is a whole different ball game! If I were to use the receiver’s bass tone control and give it a boost of 6dB the result is merely louder bass, while engaging XBass seemingly fills in the gaps and enhances the sub-bass to a visceral level! Wow, I am actually ‘feeling’ the sub-bass throughout my body! What I find very interesting is that with the receiver’s bass boost, anything that hangs on my walls will start to vibrate, however XBass lets me feel the music yet my walls remain unaffected! How is this possible!? Magic?
Moving along to 3D+ toggles, as the loudspeakers are angled to 30° selecting 30°+ would not be beneficial. For poops and laughs I did try, and the result was an over-focus and narrowing of the sound field, much like if the loudspeakers were toed in at a greater angle, and did not sound that pleasant. However, engaging the 3D+ was nothing short of amazing! I expected this setting would simply add greater width to the sound field, and it does in a way that sounds extremely natural and not forced. What I was not expecting is how 3D + seemingly pulls the sound away from the speakers and extends it outwards! I have heard many 3D enhancers both software and hardware driven, and they all sound like a DSP. 3D+, simply put, organically enhances the soundscape to a degree that I can’t put into words other than it has to be heard to be believed!
Keeping with 3D + and XBass 6dB, the real magic began once I toggled Tube+ from SET to Classic. The first track to play was Nah Neh Nah - Vaya Con Dios and my jaw hit the floor! I literally had one of those moments where the hair stands up on the back of your neck, eyes start to water, a chill of excitement flows through your veins, and you forget to breathe! Such life, such flawless beauty, such emotion and excitement! My senses were ignited, and I was in another dimension completely detached from this reality! It was like I was placed front and centre in a cabaret hall with a private performance of Vaya Con Dios for only myself! Every nuance of the sound came to life and was brought to the forefront. Nothing sounded coloured, bolstered, or distorted negatively; Simply natural, organic transparency! Just…wow! In all honesty, I had to mellow out and compromise with Push/Pull for a while after; Tube+ was just too darn good!
To sum up this section, all I have to say is that the micro iTube2 enhanced my home stereo to a level I never thought was technically possible outside of purchasing all new components! Call it wizardry or a technological marvel, I have upgraded both speakers and amplifiers to a much lesser effect than what the micro iTube2 adds to my music, bar none! iFi really knows both their engineering and what is lacking in todays modern home audio solutions, and redefines what I thought possible in a SET tube pre-amplifier. Hearing what I have heard there is no going back to the old way; My ears will not allow it!
CPU—> iPurifier2—> micro iDAC—> micro iTube2—> Lepy LP-2020A —> Mission Model 80 monitors
The Lepy and Mission combo fed from my PC’s on-board audio is what I use for my desktop audio set-up, and is used almost exclusively for watching streaming videos. It’s not fancy but it gets the job done by providing decent performance while taking up the least desktop space. Including the micro iDAC and micro iTube2 into the mix really stepped up the sound, by a large margin! It was like a upgraded my amp! Simply by using nothing more than SET toggled, the first thing that became apparent was the smoothness of the rendering. The digital harshness typical with class-D amplifiers dissolved, leaving only a classic analogue sound! Of course, switching things up and selecting the other two Tube+ settings yielded expected results; Enhanced bass, greater texture, and a more open soundstage!
Normally, the Missions are angled to 30°, so to test out the 3D Holographic+ 30° option I moved them flush against my monitor. I must say, the implementation of the 30°+ setting is absolutely spot on! To my ears, I heard very little deviation of the soundscape between having the speakers naturally placed at 30° or with the 30°+ toggled. Everything sounded natural and organic, and not forced; Very impressive! Moving the speakers back to their normal angle, I engaged 3D + and what I heard was identical to my WF 34 in that the sound, like magic, seemingly detached itself from the cones and expanded outward! While the effect was not quite as prevalent as my loudspeakers, it did give a greater sense of size to the monitors as well as the accompanying sound stage!
Not to overlook XBass+, but for my application and use of this set-up I found this option to be not needed, and in all honesty too much. Engaging 6db was enough to cause distracting vibration of my desktop, and at 12dB gain the amp starts to show signs of distortion. I will say this though, compared to the bass pot on the Lepy, XBass+ 6dB does a far greater job at enhancing the bass providing a clean, impactful sound without sounding like a cheap inclusion as with the LP-2020A!
(Hitachi 46” LED) HDTV—> micro iTube2—> Genius GX 1250 amp—> Nuance 101 monitors
For many years now this has been the setup I use for TV viewing. It is a nice combo, with the 20W class A/B amp providing decent power and sound to the 100W monitors. The sound is miles ahead of the TV’s built in speakers, and destroy what a sounder could produce! Unfortunately, due to their large size as well as the overall size of my sunken living room in relation to my Klipsch loudspeakers, the placement of the monitors have to be flush against the TV. I could angle them to 30°, however only 1 person on the couch, me, would receive the benefit of the speaker’s positioning. A simple flip of a switch would remedy this issue!
The TVs I have owned in the past all had some sort of SRS 3D, Dolby Virtual Surround, or some form of generic virtual surround, and most were, at best, neat sounding. They were somewhat effective, but essentially amounted to nothing more than a gimmicky selling point. 30°+, simply put, not only brought the wow factor to the monitors but put all other implementations to shame! Much like with my desktop setup, the monitors did indeed sound like they were in fact angled at 30°. Unlike my desktop setup, because of the 9-10’ distance between me and the monitors the perception of the effect was much greater; No matter where I was seated on the couch (or even standing in the room) the effects could be heard.
Just to note, I did engage both XBass and 3D + to give them a try. While latter setting magically pulled the sound out and away from the cones, the effect was not as satisfying as 30°+. XBass, once again, was not too applicable in this setup as the monitors have the capacity to reach down to 20Hz. Engaging 6dB XBass gain was fun, 12dB probably angered my neighbours, but essentially both are not needed. As with anything, YMMV. In this particular setup 30°+ was enough to bring a more than satisfying TV watching experience.
iPod Tough 6th Gen.—> micro iTube2—> Topping NX1s
While the micro iTube2 on it’s own ins’t considered an OTG device, I thought I would include this combination as I know of many who use a portable music player in conjunction with a portable amplifier for use at their desks away from home. However for this chain I won’t be including my impression on the sound, as it would be redundant, rather speak about functionality and ergonomics. This is where using the micro iTube2 as a pre-amp comes in very handy.
Having 3 devices in a chain that each has their own separate volume control can be a mess. Most digital devices have digital volume (duh), which means you have the potential to not only lose ‘bits’, but have a nasty step progression in it’s adjustments (i.e. one click up equals 3dB , then 2dB, then back to 3dB and so on). As well, most portable devices do not have a separate line out jack. To remedy this with use of an external amplifier, the headphone volume output will be set to max out on the source device. However, depending on the internal amp, you can also get double amping as well as a difference in the output impedance, which in most cases alters/degrades the sound. Not ideal if you want the absolute best out of your demanding headphones.
Besides the plethora of enhancements and features previously covered, in this scenario including the micro iTube2 into the chain has two benefits. Firstly, because a pre-amp is essentially an analogue sound processor, it will take any signal and change it into something that is universally accepted. It matters not what signal is being fed in because the micro iTube2 will always output essentially an optimum amp friendly signal. This ensures that you are getting the absolute best quality of signal being passed through. Secondly, the pre-amp’s analogue volume pot can be used to adjust the output, forgoing the external amp’s. Besides ease of use, this also allows the user to adjust the volume to a much finer degree!This is very useful as most people who use a portable music player with an external amp also have the two devices banded together, making any volume adjustments rather cumbersome. Essentially one would set the amp’s volume once and use the micro iTube2’s analogue pot to make any further adjustments. Another benefit would be clutter and cable management between the devices. One could easily set the player/amp on top or beside the micro iTube2 hand have the leads snaking behind. Great for people like me who despises desk clutter and is constantly clearing away mess like I have OCD.
iPod Tough 6th Gen.—> micro iTube2—> Sanyo MCD 950
Just when I thought I had tried just about every combination available to me, while working on a project in the basement it dawned on me that I had overlooked my “work tunes”. Normally while at either my work bench or work out bench I listen to my Sanyo shelf unit being fed by my iPod. It’s a rather nice albeit 30 year old twin CD boombox featuring a dual woofer bass chamber. Back in the day this was considered top on the line, and has served my family well before making it’s way into my possession. I have to say, and not to my surprise, adding in the micro iTube2 turned this now vintage gem into an absolute delight to work to!
Setting the boombox to flat EQ with the bass port on low, I started off with 3D + default and SET and was greeted with a pleasant warm expansion of the sound width. Not too bad in terms of achieving a smooth and expansive sound from such a unit. Switching things to 30° was a whole different animal! The sound seemingly detached itself from the unit and expanded outward! While the “sweet spot” was rather small, depending on the distance from the boombox, the effect was large enough to be heard several feet away regardless if I was seated or on my back. However, the combination of 30° and Classic Tube or Push/Pull blew my mind; The sound was now presented in what I can only describe as a 3D vacuum bubble! All I can say is wow, I didn’t think it were possible to achieve such a large expansive sound from a boombox! But what about XBass? Literally Earth shaking! By simply toggling 6dB, no matter what the bass tube was set to, the micro iTube2 brought power to the low end, so much so that I could feel the increased air pressure the ports were exhausting! Switching up to 12dB and having the chamber fully open was too much… for the wife upstairs… but oh was it glorious!
All in all, I was pleasantly surprised at how much the micro iTube2 could enhance a boombox! While I am not too sure if I would continue using the combination, it is not because of the hassle of unchaining, then bringing the micro iTube2 downstair, and chaining things back together. Nope, it is because I don’t think I would get any work done! Having background tunes is one thing, but I wouldn’t get too much accomplished if I spent most of the time more engrossed in the music!
Storey Time: Road Trip!
Because iFi’s micro line of products share a common power requirement, I was able to make use of my 15V 2A battery power pack I whipped up for my micro iCAN SE and take the micro iTube2 on the road! As stated, my family is composed of musicians and professionals. While I have a good selection of gear to try, what my brothers have fills the gaps. The micro iTube2 is so versatile, I simply could not overlook the opportunity to try out and showcase to those who would appreciate what the device brings to the table.
I do have to note though, there was some cable wizardry going on in connecting the micro iTube2 in most of the below cases, so for simplicity sake accept the chain and don’t think too much on the connectivity rather the results.
Panasonic DMP-BDT700—> Onkyo M-3000R DAC/Pre-amp—> micro iTube2—> Onkyo M5000R Amplifier—> Proac Response D38 loudspeakers
My eldest brother is the one who lead me down the path of the audiophile. Being a purist himself, his audio setups were a thing of beauty, both in topology and performance! What he currently has would be considered unattainable to the average enthusiast. Before reading any further, please, take the time to do a quick search of the components listed, maybe even read a few reviews. It’s cool, I don’t mind! This is his end-game, and hot diggity dog does it sound heavenly!
I had originally popped in to play with his HTC Vibe and get a little VR time in before we had to attend a gathering at my parent’s, but I had ulterior motives; I HAD to try out the micro iTube2 on his dream system! I did not inform my brother I was bringing the micro iTube2, I knew he would have lectured me on how tubes are inferior to the semiconductor. He is the type who’s vast music collection is on CD, and will quote Nyquist whenever Hi-Rez audio is mentioned! So when I arrived I sprang the device on him and right away, and he started to state his opinion on why he doesn’t think a tube pre-amp would be in any way beneficial to the sound, as predicted. I told him to “ Trust me, this is going to be good! “ and proceeded to chain the micro iTube2 between the pre-amp and amp. His reaction was kind of meh, but he sat down in the sweet spot and indulged my demonstration.
Starting off with Dire Straits Money For Nothing (original Brothers in Arms CD release), I set the micro iTube2 to SET and 3D + and pushed play. To receive the full effect, I stood behind him both listening and watching his reaction. As the melodramatics of the lyrics and synthesizer slowly faded in, followed by the powerful room filling drums and the eventual iconic guitar rift, I could feel the impact of the micro iTube2 immediately, and wow did it sound amazing! I really don’t like using this cliché, but it was as if I was hearing the song for the first time! The subtle nuances that were brought out, the full impact of the bass, the spacious room filling sound, and the organic smoothness can only described as (apologies for the crudeness) an eargasm! Looking down my brother had the all too familiar “silly grim”! I think he was impressed to say the least.
As the song is over 8 minutes in length, about half way through I went over and turned down the music and asked “ Well? “ and he replied “ Turn it back up! “, and I obliged but not before toggling Tube +. His reaction was priceless. If anyone remembers the only BASF tape magazine adds, the one where there is a fellow sitting in an armchair in front of a stereo who is literally being blown away by the sound, that would be my brother! I must admit, returning to the spot behind him yielded a similar reaction! Holy H E double hockey sticks did it sound amazing! The next hour and a half was spent toggling various settings on the micro iTube2 and swapping out CD after CD, an exhausting effort, but it was so worth it and I really didn’t mind. A small price for perfection I’d say!
Before we ended the listening session, it occurred to me that I had overlooked something; Removing the Onkyo pre-amp from the chain entirely! Relying on the Blu-ray player’s DAC and using the micro iTube2 as the pre-amp alone to the main Onkyo amplifier, my brother and I were more than impressed with the results. While there was a slight loss in refinement, the micro iTube2 managed to trade blows with the much, much more expensive pre-amp while enhancing and enriching the sound with blissful tube magic, something the latter could not! In the end, my brother made the remark that perhaps after he upgrades his computer’s graphics card, he may just pick up a micro iTube2 for himself. Nice! In my opinion, it is an absolute must have for him; It would be a disservice if he didn’t! Who needs flawless, silky smooth VR anyway?
Jackson Flying-V—> micro iTube2—> Marshal Amplifier
The next three sections are a result of yet another family gathering, this time at my 2nd older brother’s; I have three, one younger and 2 older, and they are all audio and tech enthusiasts in one way or another. Anyway, my younger bro had stopped by to pick my wife and I up to carpool to the event. As we were getting into the back of the truck, he turned and said “ Watch out for the guitar… “. I replied “ Guitar? Hmm… “ and it struck me, why not add a little bit of classic tubiness and bring the micro iTube2! I quickly ran back inside and grabbed the device. “ What’s that? “ he asked. “ Oh, you guys will see… “ I smirked!
Shortly after we arrived and got settled in (beers and munchies) us brothers went down to the basement for a little rocking out to the game Rocksmith! My brother brought his Jackson because he could not stand to use the pack-in basic electric guitar, a move appreciated for those who would be playing. Myself, I am not musically inclined, so I would merely be a spectator. Connecting the flying-V to the small Marshal amp the rocking out begin! I did not immediately bring out the micro iTube2 as I wanted to get a good impression of the guitar/amp combo sounded on it’s own. After a few rounds, I decided it was time! During a quick vape break, I connected the micro iTube2 and awaited their return. Almost instantly my older brother noticed the device chained in and asked what it was. I told him it was a tube pre-amp and his eyes lit up! “ No way! “ he exclaimed as he crouched down to take a better look. My younger brother wasn’t sure what a tube pre-amp was, but we filled him in and he replied “ Cool! “, and the jamming out resumed!
Starting off with only SET enabled, like magic the sound was transformed into what can best be described as a classic, warm, pleasantly distorted, fat sounding grittiness! We were all in amazement of the amplified sound coming out of the small amp! Toggling the Tube + and Push/Pull were equally impressive, both enhancing the airiness of the higher registers and adding organic crunchiness to the midrange texture. Adding the micro iTube2 transformed a modern run-of-the-mill amp into something more akin to an actual classic tube based amplifier. However what impressed all of us the most was the ability to push the micro iTube2 in terms of power without any break-up, something that is very common in classic tube based amps! You get all of the benefits without the usual disadvantages!
In regards to both XBass and 3D+, neither setting really benefited the sound, and in some way just sounded weird or unpleasant. The latter really needs to be stereo for full effect, and XBass seemed to overdrive the sound too much resulting in negative distortion. I consider this in no way a shortcoming of the features as in actuality, in this application, neither really makes sense to use.
Technics 1200 turntable—> micro iTube2—> M-Audio Project Mix I/O—> M-Audio M3-8 powered monitors
Once fingers tired, it was time to move on to something less physically involving. Being a DJ, songwriter, and mixmaster, my brother has a pretty good set-up to record and master tracks. Of course, what professional in this genre would not have a decent turntable, and my brother is no exception. “ What do you got for vinyl? “ I asked. He responded by removing a cover, exposing a classic Technics 1200 turntable. My eyes lit up and I started to say “ Is that the one… “ and was interrupted with “ That’s THE one! “. You see, in our teen years he had picked up the legendary Technics 1200 and it has been serving him well ever since. I have quite a few fond memories with that baby. I knew I we were in for a treat, and so did he! With a wide range of albums to sample, ranging from Queen, Boney M, New Order, and Björk us brothers, with beers in hand, sat back and absorbed the the classic vinyl sound!
The settings used was 3D+ enabled as the monitors were already angled, and XBass was disabled because the they have no problem reaching the lower registers. I figured that SET and Push/Pull to be too smoothing for vinyl (eventual testing proved my suspicions correct), so only the Classic Tube+ setting would be used. Normally, I find vinyl to sound rather flat, and lacking dynamics when compared to modern digital music, but the inclusion of the micro iTube2 injected all that I find lacking with the format! The sound came to life with a greater sense of expanded air and space, as well as greater focus of individual instruments and effects. Dynamics were enhanced and brought a much greater level of excitement; Bass possessed a nicely weighted bloom, the midrange texture gained a smooth and organic quality, and the treble became more crisp and well extended, with a much greater sense of natural air! Both my brothers couldn’t get over how much of an enhancement the micro iTube2 brought to vinyl, and to be honest neither could I! It was pure magic!
AKG C314 Mic—> micro iTube2—> M-Audio Project Mix I/O—> M-Audio M3-8 powered monitors
There was one last piece of audio tech that was staring me in the face, begging to be paired up with the micro iTube2; An AKG C314 microphone! “ Hey, can we try out that bad boy? “ I asked pointing to the mic. “ For sure! “ my brother replied “ There are actually microphones that have built in tube buffers. This should be good! “ and it was. 3D and XBass disabled, starting off with SET brought a wonderful enhancement to the already stellar sound. All 3 of us were adding in various Tom Foolery and no matter which voice, the resulting sound was smooth, detailed, well textured and possessed a classic richness to the tonality! Switching to the Classic Tube + and Push/Pull resulted in a more airy and crisp sound while simultaneously enhancing the natural texture and focus of both the lower-mid and midrange frequencies! Eventually, our voices were sampled and added into various tracks my brother was working on. It would have been pretty cool to include some of the audio we sampled, but on further thought the content wasn’t too crass to be review friendly. All in all, we had too much fun with the the micro iTube2! It was very rewarding to hang with my brothers, but to do so over fine spirits and great sounding music was priceless!
Value
At $375 USD, unparalleled, the micro iTube2 is a tube output stage, active tube preamp, tube buffer, as well as an impedance-matching device all in one package. If I were judging on versatility alone, the the micro iTube 2 would be more than fairly priced. The inclusion of the super sleek and sexy aircraft-grade CNC-aluminium anodized shell, top quality reference class components, and the 15V iPower make the micro iTube2 one heck of a deal! Sprinkle on some tube magic of iFi Audio’s class-A engineering and the micro iTube2 is a must have for any audiophile and enthusiast; There literally is nothing quite like it!
Conclusion
In closing, I can not help but think of the line from The Million Dollar Man: “ We can rebuild him. We have the technology. We can make him better than him was. Better, stronger, faster. “. Once hailed as the “Swiss army knife” of pre-amps, the micro iTube2 is not simply an upgraded model to the original, rather a complete redesign built upon trickle-down flagship topology. If I had to choose a word to best describe the overall qualities of the micro iTube2, it would be magic: The power of apparently influencing events by using mysterious forces, a quality of being beautiful and delightful in a way that seems remote from daily life, exceptional skill or talent! Bringing the analogue back to the music in today’s digital world is no small feat, yet with the micro iTube2 iFi defies what was once though impossible and delivers a 100% class-A SET tube buffer and pre-amp that not only magically re-introduces the forgotten natural harmonics but does so organically with absolutely zero negative effects! I don’t think I have ever encountered a device that has been as impactful on my music than the micro iTube2! It’s not often I label a product as a “must have!” (in fact, never), but given it’s price, outstanding features (that are border line magic!), flawless performance, and extreme versatility, if one is serious about their music the micro iTube2 is a must have and should be your next upgrade! Period!
Condocondor
I disagree with not hearing any difference after a break-in period. I began to notice a significant difference after 15hours and a serious difference ater 24 hours of break-in that started to show the magic the iTube is capable of. Tubes do require break-in time.
Intro
Meze Headphones is a company with a simple philosophy; Motivation, Values, People. With a passion for art and music, achieved through patience and dedication, Meze design timeless masterpieces. Ignoring current trends that come and go with the seasons, influenced by none, they create headphones as if for themselves. Consisting of passionate specialists, with backgrounds in sound engineering, design, crafting, and music, the team has stood by their company’s values since the beginning.
In late 2015 Meze Audio blindsided the headphone community with their release of the 99 Classics, a full sized headphone built from the ground up that combined a stunning and timeless fusion of wood and metal with an incredibly detailed yet smooth sound. The following year Meze introduced us to the 11 Neo, a balanced sounding IEM sporting an all metal construction, and soon after the IEM brother to the 99 Classics in both aesthetics and sound, the 12 Classics. Meze Audio once again showed us that affordability and style doesn’t have to compromise sonic fidelity. While the full sized Classics have the smaller companion Classics, the 11 Neo sat alone, seemingly longing for a kinship of it’s own. Enter the 99 Neo, a full sized headphone who’s design and sound is based around Meze’s current flagship, the 99 Classics!
Disclaimer
As part of the Canadian leg of the World wide pre-launch tour, I had 7 days to audition the headphones before shipping them off to the next participant. Besides one week of pure listening enjoyment, I received no compensation or incentives for my words. As always, my review will be objective and free of bias.
About Me
38 years old, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both electronics and sound (Electro-Acousto aka The Path to Golden Ears). While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Specifications
Accessories
For more information and nice eye candy, head over to the 99 Neo website.
To read up on general discussion and impressions, check out the official thread here.
Design & Ergonomics
Made of high quality and durable black textured ABS plastic, the 99 Neo share an identical design to it’s older sibling the 99 Classics. The metal hardware is a cast zinc alloy with electroplated coating, and are fastened to the spring steel headband with screws and nuts; There is zero adhesives and plastics used in their construction! Both the memory foam ear pads and the headband are made of a soft polyurethane leather.
Due to the use of ABS plastic in the 99 Neo’s design, the headphones are incredibly light, weighing in at 260 grams. Thanks to the extra wide headband and the double-wishbone style of the spring, wearing the 99 Neo feel almost weightless; The headband extends to a perfect fit every time. Clamping force is extremely tolerable, with very little discomfort coming from the ear pads. Included with the 99 Neo are the new 3rd generation ear-pads. Listening to the community, Meze Audio increased the size of the included ear-pads giving the 99 Neo a more universal fit. This combination of design features ensures for long term wearability.
The detachable cables are of the Y-design, meaning that the left and right channels connectors are separate. With no cable running through the headband, not only is there less microphonic noise, but less potential for channel imbalance due to unequal cable lengths, all while making the 99 Neo more user serviceable. Listened to community feedback, once again, this time around the 99 Neo’s cables are a hybrid of sorts. The included cables with 99 Classics featured a cloth sleeve that ran the full length, where as the 99 Neo’s cable have only rubber after the Y-split. Because of this change, microphonic noise has been greatly reduced after the split, making it virtually silent when rubbed or knocked. All three of the jack plugs (2.5mm and 3.5mm), as well as the Y-split have silver and black metal housings featuring seamless rubber stress reliefs.
First Impressions
Like reuniting with an old friend, I was greeted with the familiar well designed mag-latched embossed black box featuring the outlined portrait of the “Classics”. Inside sat the re-skinned moulded hard carry case containing the 99 Neo, featuring a fibre weave design over the hard leather found with the 99 Classics; An unexpected yet nice touch that helps distinguish the two models from one another! I actually couldn’t help but pet the case as it’s texture is extremely pleasant to the touch. So smooth! Once again, Meze presented me with a quality product that radiated elegance!
Much like the box, the contents of the travel case was all too familiar but instead of a stunning pair of wood wrapped headphones sat a pair of Classics all dolled up, ready for a night out on the town! Damn the 99 Neo looked sexy staring back at me. Black textured housings highlighted by a subtle silver band, much like the carry case I couldn’t help but run my fingers across the surface. I didn’t think I would like the ABS plastic on the 99 Neo as much as I do the natural walnut wood of the Classics, but that assumption was quickly removed. While I had seen pictures, nothing compares to viewing in person as natural ambient lighting strikes the surface! This seems to have become my normal response to ALL of Meze Audio’s products; Open box, stare in awe, touch the product, drool, come to senses and place on head!
Since owning the 12 and 99 Classics, I half expected the 99 Neo to have a very similar sound to the 11 Neo, and I wasn’t wrong in my thinking. The 11 Neo offer a very balanced, smooth sound with a slight emphasis on bass whereas the 12 Classics had a little more control and refinement with a warm, crisp, organic sound very reminiscent of the 99 Classics. In other words, the 99 Neo sound like a full sized version of the 11 Neo, and I couldn’t be more pleased! I would have been very disappointed if the 99 Neo were simply a more affordable version of the 99 Classics. In my opinion, from a business point of view it would serve no purpose as it would cannibalize sales of the more expensive model while offering consumers nothing new.
Sound - The Basics
Bass - First and foremost, the 99 Neo are bass heavy cans. Not in the realm of bass-head territory, rather the bass can be described as somewhat omni-present. Mid-bass is fairly tight and quick, with excellent punch and the ability to slam with authority. While overall linear with excellent detail, it does poses a slight hump that does at times walk the line of spilling over into the lower midrange. I wouldn’t describe the mid-bass as boomy or sloppy, however it does somewhat lends a hand to the mids giving certain instruments and vocals an added layer of warmth. Gently rolled off, sub-bass is nicely weighted and has a fair amount of detail. Overall the sub-bass is slower and a tad looser than the mid-bass, but in no way does it overpower the rest of the spectrum nor distort.
Midrange - Warm and detailed with fantastic texture and resolve. The 99 Neo’s midrange ins’t aggressive or hyper-detailed, instead offering a very smooth and relaxed listening experience. Make no mistake, detail and resolution is there it’s simply not in-your-face. Lower mids are slightly elevated over the upper region, accounting for the added warmth to the frequency range. Both male and female vocals sound sublime, possessing excellent body and outstanding resolve, yet at the same time sound incredibly smooth. Likewise instruments sound very natural with great texture and resolve while at the same time posses a velvety smoothness that flows effortlessly within the soundscape.
Treble - Well detailed and extended with a gentle roll-off, treble does it’s job and nothing more. While the 99 Neo’s ability to render the finer details with just the right amount of sparkle and shine is done so with ease, much like the mid-range it does so with added warmth. In other words the top end does lack a bit of air, slightly tilting the 99 Neo’s overall tonal quality more towards dark from neutral. However this contributes to absolutely zero accentuation or peakiness to the sibilance in recordings, and adds to an absolute fatigue-free listening experience.
Soundstage - For a closed back headphone, the 99 Neo’s soundstage is far above average. Left/right and up/down have excellent width and height, giving the listener a good sense of hearing the sound “outside of the head”. Front and rear depth is there and can be described as above average, however it’s only so because it takes a back seat to the width and height. 3D and holographic imaging is spot on with excellent instrument separation; I never got the sense of things sounding congested nor cluttered. Overall, despite it’s hugeness, I found the 99 Neo’s soundstage to be natural sounding and not forced.
Isolation - In terms of passive sound isolation, the 99 Neo are basically average for a headphone of it’s design. Nothing exceptional but nothing garbage either. Wearing the 99 Neo out in public running errands or heading to work on public transit, they fall within the same range as my Sennheiser Momentums; Most sounds were blocked out to a moderate degree (dependant on the track and volume setting) with only the deep rumble of a Diesel engine while riding or passing a city bus being able to really penetrate and annoy my ears. In terms of sound leakage, the 99 Neo has virtually none! Sitting next to my wife while listening to heavy metal at a louder than moderate volume she heard absolutely nothing, which also meant I was not able to hear her! Ha ha, zing!! Of course, wearing glasses/shades and/or a cap of sorts may break the ear pad’s seal, thus causing both sound leakage (in and out) as well as slightly changing the presentation of the sound (i.e. less prominent bass). But like always, this depends on each individual’s head and YMMV.
Sound - Music
Listening to the audiophile classic Spanish Harlem - Rebecca Pidgin is a must for all music lovers. I always turn to this song as a test of a headphone’s dynamics, and the 99 Neo handled this track with ease. Rebecca’s voice was well rendered, with a good sense of naturalness. The sibilance of her voice can pose problems for headphones of all quality, including ones that cost numerous times more that the 99 Neo, but not so here! Every note was pitch perfect with a velvety smooth naturalness. The bass, while a touch more prominent over neutral, had excellent definition and weight yet played perfectly, un-obscuring towards the rest of the sound. Each draw of the bow across the violins had great texture with a silky resolve. Every shake of the rattle sounded unique, and could be easily discerned, never sounding lost in the background. The piano was smoothly rendered without glare or congestion.
Colour to the Moon - Allan Taylor, is another great audiophile classic. Between the deeper octaves of the vocals and the lower registers of the acoustic and electric guitars, this song is a great test of both the male voice as well as separation of bass frequencies. Allan’s voice is beautifully rendered with detail and emotion, trenched with warmth it’s deep sound saturates the sound-space. The delicate picking of the acoustic guitars glistened with great texture and resolve, each pluck sounding clean and distinct. Possessing an almost holographic quality, the bass cleanly resonated from the back with deep, enveloping, and powerful detail, yet never sounding overwhelming nor overshadowing the rest of the spectrum’s sounds. Despite it’s somewhat strong bass, the 99 Neo smoothly rendered this song both truthfully and effortlessly.
Stravinsky’s The Royal March - Soloist New York is an excellent track to demonstrate a headphones ability to handle transients. Between the brass, strings, and percussion, this song features powerful transients. To fully appreciate the 99 Neo ability, (as always) I turned up the volume to above average listening levels. What I was presented with was an awesome sense of excitement! The drums were tight and taut, never sounding dull, sluggish, or lacking definition despite the 99 Neo’s somewhat omni-present bass. The horns sounded smooth yet crisp and clean, well defined with just enough ear-tickling bite! Cymbals splashed with very fast and accurate attack, sustain, decay, and release albeit lacking just a touch of air. The bass-strings resonated deep with both speed and definition, never overshadowing any of the more delicate sounds heard thought the track. Nothing sounded flat or congested rather I was presented with a large, well defined soundscape.
The trance/electronica track ‘Up On You’ from the Audiophile compilation by Audiomatic features both impressive amounts of elevated mid-bass and sub-bass as well as a plethora of 3D sounds. Thanks to the detailed mids and large soundstage, the 99 Neo rendered the computer generated and digitized effects with both speed and clarity. The electronic sounds filled the soundscape with a fantastic texture and a great sense of 3D imaging! The 99 Neo was able to deliver mid-bass punch with authority, yet still revealing the nuanced low frequency textures of the electronica sounds. Though rolled off in the extreme lows, sub-bass possessed impressive amount of weight and energy and was rendered with decent speed; Never did the bass sound too sloppy or sluggish. Simply put, the 99 Neo is more than capable of supplying ample but appropriate bass when needed, but nothing more. Bass-heads should be satisfied with the output quantity while audiophiles will pleased with the quality.
Sound - Movies, Games, and General Use
Movies - Admittedly, I was half expecting the 99 Neo to sound way too bass heavy or perhaps boring given their neutral-warm tonal quality, and thankfully my concerns were short lived! As per usual, 2013’s Pacific Rim, specifically the 15 minute intro, is my go-to movie for critical testing. Nominated and awarded in both audio and visual effects categories, this action packed movie brings to life Guillermo del Toro’s tale of giant robots vs monsters in an against-all-odds rollercoaster ride of humanity’s last chance for survival! Thanks to the slightly elevated bass and exceptional soundstage coupled with their well rendered midrange and detailed yet fatigue free treble, the 99 Neo deliver a theatre-like experience! Both Charlie Hunnam’s narrative overlay as well as general dialogue came across as both well rendered and well centred. From the rain drops pelting the Jaeger’s metal plating, the hydraulics, mechanics, and instrument inside the cockpit, the waves crashing against a massive Godzilla-like Kaiju, every nuance of the background sounds was easily discernible with excellent 3D positioning all while the epic soundtrack pumped excitement into my ears! Normally after the intro and the title credits roll is where I end things, bit I ended up watching the whole movie! From start to finish not only did I have an enjoyable listening experience but did so without any discomfort with either the headband nor ear-pads and I must note, for anything other than music I wear glasses.
YouTube/Podcasts - Lets face it, next to music streaming media would probably rank a very close #2 in terms of the general public’s use for headphones, myself included. As someone who used both public transit and a good set of runners to get around town I see it everywhere, even at work. Two key factors are a must here; Comfort and balanced sound. Combining both comfort and decent passive noise attenuation, the 99 Neo check off the first with ease. For the 7 days I had the headphones I used them as my daily driver. Sitting in my gaming throne watching various YouTube vloggers, both male and female of various ethnicity, in a room that not only has 2 lovebirds and a parrot but a wife watching TV while babbling on the phone, I was able to do so un-bothered by neither outside noise nor discomfort. Thanks to their smooth and balanced sound, the 99 Neo do a remarkable job rendering the human voice. I was worried that, again, the added bass would make certain presenters, especially the ones who like to add a “broadcaster’s” effect to their voice (you know the ones), would sound way too bass heavy and again, the 99 Neo proved me wrong and held their composure! For use as a pair of desk warriors, the 99 Neo do a fantastic job for daily use.
Games - Over the years, up until I took interest in true audiophile headphones (albeit mid-fi), I have owned virtually every top-tiered gaming headsets from Corsair to Sennheiser. I even pop in to my local computer centre and demo the latest offerings, and things haven’t changed much at all. Because of the gamer’s need to hear the most minute of detail, by design their sound signature is always very mid centric with rolled off (yet detailed) bass and treble. In other words, unexciting. Fantastic at hearing footsteps, great at hearing both in-game and chat voices, but there is a reason they all come with a software suit of sorts; To add some pizzaz! Well, I don’t believe in any of that jazz (though I do love jazz!) rather a headphone should be able to render what the game designers intended on their own. The 99 Neo absolutely destroy gaming headsets I have heard in their price range! Whether it be the latest Call of Duty or Battlefield, Forza, Tomb Raider, Witcher 3, Diablo 3, Prey, Doom, or Hitman, not only was I able to hear the minute details needed for pin-point accuracy and survivability, there was an excellent sense of natural 3D positioning as the environments came alive within a large soundscape! DolbyHeadphones or SBX be damned, the 99 Neo did a far greater job at rendering the sound engineer’s model than cheap sounding post processing! Because of the 99 Neo’s well extended low and top end, nothing ever sounded dull or uninspiring. Explosions hit hard but never overpowering, bullets sounded like they whizzed past my hears, spells dazzled and sparkled, the music was as clear and concise as it was dynamic, and voices/dialogue was smooth and clean! And of course, comfort wise, while wearing glasses and spending hours in front of my monitor with few breaks, absolutely zero issues what so ever! If the 99 Neo had an option for a boom-mic, I would argue that we’d have a new top contender in the gaming headset market!
Sound - Summary
Jack of all trades and master of none! What impressed me about the 99 Neo is their ability to handle every genre flawlessly. From Classical to Heavy Metal, Jazz to Electronica, gaming or watching the latest Hollywood blockbuster, I was never let down by their evenhandedness towards the genres; None were fundamentally better suited for the 99 Neo! I would like to point out that if the track is poorly mastered, or an mp3 of a low bit-rate, you will notice the flaws. While not of the ear-screeching-in-your-face here-I-am sort, the 99 Neo will gently point them out. On the plus side, high bit-rate/High-rez music tracks sound fantastic! While not hyper detailed, the 99 Neo are detailed and resolving enough that one will benefit from the tracks taking up more space on their storage device.
Amping and Scaleability
With an impedance of 26 Ohm, the 99 Neo are efficient enough to be driven by virtually any source with a 3.5mm jack. This however doesn’t mean that the 99 Neo will not benefit from a higher end source, quite the opposite in fact. I always say that the quality of a headphone is determined by the user being able to discern the differences between not only higher performing hardware but higher quality recordings. While the 99 Neo sound fantastic straight out of my iPod listening to 256Kbs AAC, they are in a whole different league running out of my iFi stack listening to 24-bit high-res audio! I was easily able to hear a substantial gain in fidelity both in the source file and the hardware, something that simply can not be said about quite a few (over-priced) headphones at this price-point I have owned/heard, even from well established and well regarded competitors.
Burn-in
40 hours is what is recommended by Meze, and I highly encourage anyone to give the 99 Neo at least that amount of time before any critical listening. I am not only referring to driver burn-in but the breaking in of the ear-pads as well. Bass becomes more controlled, less loose and bloomy, and treble detail definitely comes up a few notches. Overall, after burn-in of both the drivers and ear-pads, the sound becomes less stiff, more natural, and balanced.
Value
Sitting at the sweet spot of $249 USD, like all of Meze Audio’s products, the 99 Neo offer great value for the money that won’t break the bank. High quality hard travel case: √! Two high quality 99.99% pure OFC cables: √! Cutting edge style and construction: √! Incredibly smooth and balanced sound that is detailed yet non-fatiguing: √ √ √! At it’s price point, there is a lot going for the 99 Neo that would warrant it’s purchase over it’s competitors, and I would gladly shut up and give Meze my money!
Conclusion
It matters not if you are a headphone junky who wants to add to their ever growing collection, or if you are simply someone in the market looking to find a headphone that offers a detailed, fatigue free, and balanced sound, you can’t go wrong choosing the 99 Neo over the other more established brands. With a price of $249 US, Meze Headphones has another solid contender with the 99 Neo. Combining a smooth and natural listening experience that incorporates a visually striking modern-yet-timeless design while maintaining a comfortable fit, much like the 99 Classics there are few reasons not to fall in love with these headphones! Once again my hat’s off to you, Antonio Meze, and your awesome team; You have made yet another great headphone!
Meze Headphones is a company with a simple philosophy; Motivation, Values, People. With a passion for art and music, achieved through patience and dedication, Meze design timeless masterpieces. Ignoring current trends that come and go with the seasons, influenced by none, they create headphones as if for themselves. Consisting of passionate specialists, with backgrounds in sound engineering, design, crafting, and music, the team has stood by their company’s values since the beginning.
In late 2015 Meze Audio blindsided the headphone community with their release of the 99 Classics, a full sized headphone built from the ground up that combined a stunning and timeless fusion of wood and metal with an incredibly detailed yet smooth sound. The following year Meze introduced us to the 11 Neo, a balanced sounding IEM sporting an all metal construction, and soon after the IEM brother to the 99 Classics in both aesthetics and sound, the 12 Classics. Meze Audio once again showed us that affordability and style doesn’t have to compromise sonic fidelity. While the full sized Classics have the smaller companion Classics, the 11 Neo sat alone, seemingly longing for a kinship of it’s own. Enter the 99 Neo, a full sized headphone who’s design and sound is based around Meze’s current flagship, the 99 Classics!
Disclaimer
As part of the Canadian leg of the World wide pre-launch tour, I had 7 days to audition the headphones before shipping them off to the next participant. Besides one week of pure listening enjoyment, I received no compensation or incentives for my words. As always, my review will be objective and free of bias.
About Me
38 years old, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both electronics and sound (Electro-Acousto aka The Path to Golden Ears). While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Specifications
- Transducer size: 40mm
- Transducer Type: Dynamic Neodymium / Mylar
- Frequency response: 15Hz - 25KHz
- Sensitivity: 103dB at 1KHz, 1mW
- Impedance: 26 Ohm
- Rated input power: 30mW
- Maximum input power: 50mW
- Detachable Kevlar OFC cable
- Plug: 3.5mm gold plated
- Ear-cups: ABS Plastic
- Weight: 260g (without cable)
Accessories
- 1.2m OFC cable with 1-button control talk module
- 3m OFC cable
- Airplane adapter
- 6.35mm adapter
- Cable pouch
- Headphone travel case
For more information and nice eye candy, head over to the 99 Neo website.
To read up on general discussion and impressions, check out the official thread here.
Design & Ergonomics
Made of high quality and durable black textured ABS plastic, the 99 Neo share an identical design to it’s older sibling the 99 Classics. The metal hardware is a cast zinc alloy with electroplated coating, and are fastened to the spring steel headband with screws and nuts; There is zero adhesives and plastics used in their construction! Both the memory foam ear pads and the headband are made of a soft polyurethane leather.
Due to the use of ABS plastic in the 99 Neo’s design, the headphones are incredibly light, weighing in at 260 grams. Thanks to the extra wide headband and the double-wishbone style of the spring, wearing the 99 Neo feel almost weightless; The headband extends to a perfect fit every time. Clamping force is extremely tolerable, with very little discomfort coming from the ear pads. Included with the 99 Neo are the new 3rd generation ear-pads. Listening to the community, Meze Audio increased the size of the included ear-pads giving the 99 Neo a more universal fit. This combination of design features ensures for long term wearability.
The detachable cables are of the Y-design, meaning that the left and right channels connectors are separate. With no cable running through the headband, not only is there less microphonic noise, but less potential for channel imbalance due to unequal cable lengths, all while making the 99 Neo more user serviceable. Listened to community feedback, once again, this time around the 99 Neo’s cables are a hybrid of sorts. The included cables with 99 Classics featured a cloth sleeve that ran the full length, where as the 99 Neo’s cable have only rubber after the Y-split. Because of this change, microphonic noise has been greatly reduced after the split, making it virtually silent when rubbed or knocked. All three of the jack plugs (2.5mm and 3.5mm), as well as the Y-split have silver and black metal housings featuring seamless rubber stress reliefs.
First Impressions
Like reuniting with an old friend, I was greeted with the familiar well designed mag-latched embossed black box featuring the outlined portrait of the “Classics”. Inside sat the re-skinned moulded hard carry case containing the 99 Neo, featuring a fibre weave design over the hard leather found with the 99 Classics; An unexpected yet nice touch that helps distinguish the two models from one another! I actually couldn’t help but pet the case as it’s texture is extremely pleasant to the touch. So smooth! Once again, Meze presented me with a quality product that radiated elegance!
Much like the box, the contents of the travel case was all too familiar but instead of a stunning pair of wood wrapped headphones sat a pair of Classics all dolled up, ready for a night out on the town! Damn the 99 Neo looked sexy staring back at me. Black textured housings highlighted by a subtle silver band, much like the carry case I couldn’t help but run my fingers across the surface. I didn’t think I would like the ABS plastic on the 99 Neo as much as I do the natural walnut wood of the Classics, but that assumption was quickly removed. While I had seen pictures, nothing compares to viewing in person as natural ambient lighting strikes the surface! This seems to have become my normal response to ALL of Meze Audio’s products; Open box, stare in awe, touch the product, drool, come to senses and place on head!
Since owning the 12 and 99 Classics, I half expected the 99 Neo to have a very similar sound to the 11 Neo, and I wasn’t wrong in my thinking. The 11 Neo offer a very balanced, smooth sound with a slight emphasis on bass whereas the 12 Classics had a little more control and refinement with a warm, crisp, organic sound very reminiscent of the 99 Classics. In other words, the 99 Neo sound like a full sized version of the 11 Neo, and I couldn’t be more pleased! I would have been very disappointed if the 99 Neo were simply a more affordable version of the 99 Classics. In my opinion, from a business point of view it would serve no purpose as it would cannibalize sales of the more expensive model while offering consumers nothing new.
Sound - The Basics
Bass - First and foremost, the 99 Neo are bass heavy cans. Not in the realm of bass-head territory, rather the bass can be described as somewhat omni-present. Mid-bass is fairly tight and quick, with excellent punch and the ability to slam with authority. While overall linear with excellent detail, it does poses a slight hump that does at times walk the line of spilling over into the lower midrange. I wouldn’t describe the mid-bass as boomy or sloppy, however it does somewhat lends a hand to the mids giving certain instruments and vocals an added layer of warmth. Gently rolled off, sub-bass is nicely weighted and has a fair amount of detail. Overall the sub-bass is slower and a tad looser than the mid-bass, but in no way does it overpower the rest of the spectrum nor distort.
Midrange - Warm and detailed with fantastic texture and resolve. The 99 Neo’s midrange ins’t aggressive or hyper-detailed, instead offering a very smooth and relaxed listening experience. Make no mistake, detail and resolution is there it’s simply not in-your-face. Lower mids are slightly elevated over the upper region, accounting for the added warmth to the frequency range. Both male and female vocals sound sublime, possessing excellent body and outstanding resolve, yet at the same time sound incredibly smooth. Likewise instruments sound very natural with great texture and resolve while at the same time posses a velvety smoothness that flows effortlessly within the soundscape.
Treble - Well detailed and extended with a gentle roll-off, treble does it’s job and nothing more. While the 99 Neo’s ability to render the finer details with just the right amount of sparkle and shine is done so with ease, much like the mid-range it does so with added warmth. In other words the top end does lack a bit of air, slightly tilting the 99 Neo’s overall tonal quality more towards dark from neutral. However this contributes to absolutely zero accentuation or peakiness to the sibilance in recordings, and adds to an absolute fatigue-free listening experience.
Soundstage - For a closed back headphone, the 99 Neo’s soundstage is far above average. Left/right and up/down have excellent width and height, giving the listener a good sense of hearing the sound “outside of the head”. Front and rear depth is there and can be described as above average, however it’s only so because it takes a back seat to the width and height. 3D and holographic imaging is spot on with excellent instrument separation; I never got the sense of things sounding congested nor cluttered. Overall, despite it’s hugeness, I found the 99 Neo’s soundstage to be natural sounding and not forced.
Isolation - In terms of passive sound isolation, the 99 Neo are basically average for a headphone of it’s design. Nothing exceptional but nothing garbage either. Wearing the 99 Neo out in public running errands or heading to work on public transit, they fall within the same range as my Sennheiser Momentums; Most sounds were blocked out to a moderate degree (dependant on the track and volume setting) with only the deep rumble of a Diesel engine while riding or passing a city bus being able to really penetrate and annoy my ears. In terms of sound leakage, the 99 Neo has virtually none! Sitting next to my wife while listening to heavy metal at a louder than moderate volume she heard absolutely nothing, which also meant I was not able to hear her! Ha ha, zing!! Of course, wearing glasses/shades and/or a cap of sorts may break the ear pad’s seal, thus causing both sound leakage (in and out) as well as slightly changing the presentation of the sound (i.e. less prominent bass). But like always, this depends on each individual’s head and YMMV.
Sound - Music
Listening to the audiophile classic Spanish Harlem - Rebecca Pidgin is a must for all music lovers. I always turn to this song as a test of a headphone’s dynamics, and the 99 Neo handled this track with ease. Rebecca’s voice was well rendered, with a good sense of naturalness. The sibilance of her voice can pose problems for headphones of all quality, including ones that cost numerous times more that the 99 Neo, but not so here! Every note was pitch perfect with a velvety smooth naturalness. The bass, while a touch more prominent over neutral, had excellent definition and weight yet played perfectly, un-obscuring towards the rest of the sound. Each draw of the bow across the violins had great texture with a silky resolve. Every shake of the rattle sounded unique, and could be easily discerned, never sounding lost in the background. The piano was smoothly rendered without glare or congestion.
Colour to the Moon - Allan Taylor, is another great audiophile classic. Between the deeper octaves of the vocals and the lower registers of the acoustic and electric guitars, this song is a great test of both the male voice as well as separation of bass frequencies. Allan’s voice is beautifully rendered with detail and emotion, trenched with warmth it’s deep sound saturates the sound-space. The delicate picking of the acoustic guitars glistened with great texture and resolve, each pluck sounding clean and distinct. Possessing an almost holographic quality, the bass cleanly resonated from the back with deep, enveloping, and powerful detail, yet never sounding overwhelming nor overshadowing the rest of the spectrum’s sounds. Despite it’s somewhat strong bass, the 99 Neo smoothly rendered this song both truthfully and effortlessly.
Stravinsky’s The Royal March - Soloist New York is an excellent track to demonstrate a headphones ability to handle transients. Between the brass, strings, and percussion, this song features powerful transients. To fully appreciate the 99 Neo ability, (as always) I turned up the volume to above average listening levels. What I was presented with was an awesome sense of excitement! The drums were tight and taut, never sounding dull, sluggish, or lacking definition despite the 99 Neo’s somewhat omni-present bass. The horns sounded smooth yet crisp and clean, well defined with just enough ear-tickling bite! Cymbals splashed with very fast and accurate attack, sustain, decay, and release albeit lacking just a touch of air. The bass-strings resonated deep with both speed and definition, never overshadowing any of the more delicate sounds heard thought the track. Nothing sounded flat or congested rather I was presented with a large, well defined soundscape.
The trance/electronica track ‘Up On You’ from the Audiophile compilation by Audiomatic features both impressive amounts of elevated mid-bass and sub-bass as well as a plethora of 3D sounds. Thanks to the detailed mids and large soundstage, the 99 Neo rendered the computer generated and digitized effects with both speed and clarity. The electronic sounds filled the soundscape with a fantastic texture and a great sense of 3D imaging! The 99 Neo was able to deliver mid-bass punch with authority, yet still revealing the nuanced low frequency textures of the electronica sounds. Though rolled off in the extreme lows, sub-bass possessed impressive amount of weight and energy and was rendered with decent speed; Never did the bass sound too sloppy or sluggish. Simply put, the 99 Neo is more than capable of supplying ample but appropriate bass when needed, but nothing more. Bass-heads should be satisfied with the output quantity while audiophiles will pleased with the quality.
Sound - Movies, Games, and General Use
Movies - Admittedly, I was half expecting the 99 Neo to sound way too bass heavy or perhaps boring given their neutral-warm tonal quality, and thankfully my concerns were short lived! As per usual, 2013’s Pacific Rim, specifically the 15 minute intro, is my go-to movie for critical testing. Nominated and awarded in both audio and visual effects categories, this action packed movie brings to life Guillermo del Toro’s tale of giant robots vs monsters in an against-all-odds rollercoaster ride of humanity’s last chance for survival! Thanks to the slightly elevated bass and exceptional soundstage coupled with their well rendered midrange and detailed yet fatigue free treble, the 99 Neo deliver a theatre-like experience! Both Charlie Hunnam’s narrative overlay as well as general dialogue came across as both well rendered and well centred. From the rain drops pelting the Jaeger’s metal plating, the hydraulics, mechanics, and instrument inside the cockpit, the waves crashing against a massive Godzilla-like Kaiju, every nuance of the background sounds was easily discernible with excellent 3D positioning all while the epic soundtrack pumped excitement into my ears! Normally after the intro and the title credits roll is where I end things, bit I ended up watching the whole movie! From start to finish not only did I have an enjoyable listening experience but did so without any discomfort with either the headband nor ear-pads and I must note, for anything other than music I wear glasses.
YouTube/Podcasts - Lets face it, next to music streaming media would probably rank a very close #2 in terms of the general public’s use for headphones, myself included. As someone who used both public transit and a good set of runners to get around town I see it everywhere, even at work. Two key factors are a must here; Comfort and balanced sound. Combining both comfort and decent passive noise attenuation, the 99 Neo check off the first with ease. For the 7 days I had the headphones I used them as my daily driver. Sitting in my gaming throne watching various YouTube vloggers, both male and female of various ethnicity, in a room that not only has 2 lovebirds and a parrot but a wife watching TV while babbling on the phone, I was able to do so un-bothered by neither outside noise nor discomfort. Thanks to their smooth and balanced sound, the 99 Neo do a remarkable job rendering the human voice. I was worried that, again, the added bass would make certain presenters, especially the ones who like to add a “broadcaster’s” effect to their voice (you know the ones), would sound way too bass heavy and again, the 99 Neo proved me wrong and held their composure! For use as a pair of desk warriors, the 99 Neo do a fantastic job for daily use.
Games - Over the years, up until I took interest in true audiophile headphones (albeit mid-fi), I have owned virtually every top-tiered gaming headsets from Corsair to Sennheiser. I even pop in to my local computer centre and demo the latest offerings, and things haven’t changed much at all. Because of the gamer’s need to hear the most minute of detail, by design their sound signature is always very mid centric with rolled off (yet detailed) bass and treble. In other words, unexciting. Fantastic at hearing footsteps, great at hearing both in-game and chat voices, but there is a reason they all come with a software suit of sorts; To add some pizzaz! Well, I don’t believe in any of that jazz (though I do love jazz!) rather a headphone should be able to render what the game designers intended on their own. The 99 Neo absolutely destroy gaming headsets I have heard in their price range! Whether it be the latest Call of Duty or Battlefield, Forza, Tomb Raider, Witcher 3, Diablo 3, Prey, Doom, or Hitman, not only was I able to hear the minute details needed for pin-point accuracy and survivability, there was an excellent sense of natural 3D positioning as the environments came alive within a large soundscape! DolbyHeadphones or SBX be damned, the 99 Neo did a far greater job at rendering the sound engineer’s model than cheap sounding post processing! Because of the 99 Neo’s well extended low and top end, nothing ever sounded dull or uninspiring. Explosions hit hard but never overpowering, bullets sounded like they whizzed past my hears, spells dazzled and sparkled, the music was as clear and concise as it was dynamic, and voices/dialogue was smooth and clean! And of course, comfort wise, while wearing glasses and spending hours in front of my monitor with few breaks, absolutely zero issues what so ever! If the 99 Neo had an option for a boom-mic, I would argue that we’d have a new top contender in the gaming headset market!
Sound - Summary
Jack of all trades and master of none! What impressed me about the 99 Neo is their ability to handle every genre flawlessly. From Classical to Heavy Metal, Jazz to Electronica, gaming or watching the latest Hollywood blockbuster, I was never let down by their evenhandedness towards the genres; None were fundamentally better suited for the 99 Neo! I would like to point out that if the track is poorly mastered, or an mp3 of a low bit-rate, you will notice the flaws. While not of the ear-screeching-in-your-face here-I-am sort, the 99 Neo will gently point them out. On the plus side, high bit-rate/High-rez music tracks sound fantastic! While not hyper detailed, the 99 Neo are detailed and resolving enough that one will benefit from the tracks taking up more space on their storage device.
Amping and Scaleability
With an impedance of 26 Ohm, the 99 Neo are efficient enough to be driven by virtually any source with a 3.5mm jack. This however doesn’t mean that the 99 Neo will not benefit from a higher end source, quite the opposite in fact. I always say that the quality of a headphone is determined by the user being able to discern the differences between not only higher performing hardware but higher quality recordings. While the 99 Neo sound fantastic straight out of my iPod listening to 256Kbs AAC, they are in a whole different league running out of my iFi stack listening to 24-bit high-res audio! I was easily able to hear a substantial gain in fidelity both in the source file and the hardware, something that simply can not be said about quite a few (over-priced) headphones at this price-point I have owned/heard, even from well established and well regarded competitors.
Burn-in
40 hours is what is recommended by Meze, and I highly encourage anyone to give the 99 Neo at least that amount of time before any critical listening. I am not only referring to driver burn-in but the breaking in of the ear-pads as well. Bass becomes more controlled, less loose and bloomy, and treble detail definitely comes up a few notches. Overall, after burn-in of both the drivers and ear-pads, the sound becomes less stiff, more natural, and balanced.
Value
Sitting at the sweet spot of $249 USD, like all of Meze Audio’s products, the 99 Neo offer great value for the money that won’t break the bank. High quality hard travel case: √! Two high quality 99.99% pure OFC cables: √! Cutting edge style and construction: √! Incredibly smooth and balanced sound that is detailed yet non-fatiguing: √ √ √! At it’s price point, there is a lot going for the 99 Neo that would warrant it’s purchase over it’s competitors, and I would gladly shut up and give Meze my money!
Conclusion
It matters not if you are a headphone junky who wants to add to their ever growing collection, or if you are simply someone in the market looking to find a headphone that offers a detailed, fatigue free, and balanced sound, you can’t go wrong choosing the 99 Neo over the other more established brands. With a price of $249 US, Meze Headphones has another solid contender with the 99 Neo. Combining a smooth and natural listening experience that incorporates a visually striking modern-yet-timeless design while maintaining a comfortable fit, much like the 99 Classics there are few reasons not to fall in love with these headphones! Once again my hat’s off to you, Antonio Meze, and your awesome team; You have made yet another great headphone!
Intro
Meze Headphones is a company with a simple philosophy; Motivation, Values, People. With a passion for art and music, achieved through patience and dedication, Meze design timeless masterpieces. Ignoring current trends that come and go with the seasons, influenced by none, they create headphones as if for themselves. Consisting of passionate specialists, with backgrounds in sound engineering, design, crafting, and music, the team has stood by their company’s values since the beginning.
With the release of the well reviewed and highly regarded 99 Classics, Meze gave us something we didn’t even know we wanted; A gorgeous headphone with a fun yet timeless audiophile sound at a very affordable price! Continuing on their success, Meze Audio went back to the drawing board and answered with the 12 Classics, an affordable IEM featuring both the timeless style of wood-metal fusion and the familiar warm yet crisp sound of the 99 Classics.
Disclaimer
As part of the review tour, the 12 Classics were provided to me by Meze in exchange for my honest opinion and review. It matters not how I obtained my pair, this review will be both honest and objective, free of hype and/or bias.
About Me
38 years old, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both electronics and sound (Electro-Acousto aka The Path to Golden Ears). While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Specifications
- Transducer size: 8mm
- Transducer Type: Titanium coated mylar
- Copper-clad aluminium voice coil
- Frequency response: 16Hz - 24KHz
- Impedance: 16Ohm
- Sensitivity: 101dB (+/- 3dB)
- THD: < 0.5%
- Noise attenuation: Up to 26dB
- Plug Type: 3.5mm gold plated
- Cable: 7N OFC 1.2M
Accessories
- Leatherette carry case
- 4 pairs of silicone tips (S, M, L, Double flange)
- Genuine Comply 500 premium ear tips
- Cable clip
For more information and nice eye candy, head over to the 12 Classics website.
To read up on general discussion and impressions, check out the official thread here.
Burn-in
40 hours is what is recommended by Meze, and I highly encourage anyone to give the 12 Classics at least that amount of time before any critical reviews. Bass becomes more controlled, less loose and bloomy, and treble detail definitely comes up a few notches. Overall, after burn-in the sound becomes less ridged and and more natural and balanced.
Design & Ergonomics
Similar in design and style, the 12 Classics can best be described as the love-child between the 11 Neo and the 99 Classics! Constructed of walnut wood and gunmetal aluminium, the 12 Classics are one gorgeous IEM! Every angle, every curve seem to be carefully thought out to add both stunning form and functionality! The main body is constructed by the same walnut wood as the 99 Classics, with the contrasting aluminium end caps being a dark gunmetal grey. The Meze Audio logo featured in white is present on the butt of each bud and is a nice touch, easily letting on-lookers know what are in your ears!
The stylish and sexy cable is thick, and very well reinforced. Despite the thickness, the cable it is very pliable that both hangs incredibly straight yet retains an invisible memory that allows for one to easily loop up for storage within the case. Rarely do I see a cable that falls so straight yet has no issues wanting to be wound up. Although the cable is non-removable, every entry point has a generous amount of reinforcement for strain relief. Whether is was dangling my iPod or ripping out the buds by the cable, never did I get a sense that a was putting too much stress for the connections to handle.
The in-line control talk module works as it should with no issue. The placement for me is at the correct position that easily allows me to reach blind and find the unit, as well I found the button itself to have a great tactile feel and quick response. My only issue is the fact that I both prefer and am accustomed to having the module on the left side. Not a negative, just a personal gripe. The mic also works equally well, with calls over wifi as well as Siri voice commands being easily audible and recognizable. The strain relieve on the module as well as the Y-split are of exceptional quality, allowing for easy movement and bending yet remain sturdy and rugged enough that much like the connections at the plug and buds, I foresee no issues with splits or breaks.
Cable microphonic noise is not too bad, especially considering the thickness of the cable, although it is noticeable and above average. This can easily be remedied with the included cable clip. When attached, microphonic noise is grounded and greatly reduced. While walking to the store or even riding my bike cable microphonic noise wasn’t too bad when using the clip, switching things up to a quick jog or even working out with free-weights will undoubtedly cause cable knocking and thus an increase in distracting noise. In my opinion, the 12 Classics are designed for portability, but in no way would I consider them to be suitable for “active” use.
The included ear tips are of decent quality. I wouldn’t call them super premium nor would I call them cheap, rather they are simply of high enough quality reflective off their price point. Each of the standard tips seem to be a happy average respective of their size. Comparing them to what other manufacturers include, I see no reason how the average person couldn’t find a size that works with their ears. Including a double flange tip is a nice addition, though personally I would have liked to see a triple flange set, going as far as including 2 sizes as it gives the user more fit and comfort options. The icing on the cake has to be the genuine Comply premium ear tips. Too many manufacturers include generic foam ear tips that seemingly last as long as my morning bus ride, so it is fantastic to see Meze going the extra mile and giving us quality!
For size comparison: Polk Nu Voe, Apple EarPod, 12 Classics
First Impressions
As part of the tour, I received both the 11 Neo and 12 Classics at the same time. I chose to listen to the 11 Neo first, and for those wanting to know my impressions, by all means check them out here. In short, the 11 Neo got the respectable nod of approval for their balanced, almost neutral (as one can get for a dynamic IEM) sound. As with all of Meze’s products, the presentation of of the box and packaging of the product makes one feel as if they are receiving a premium product; First impressions matter! The 12 Classic along with the carry case containing the accessories were nicely nestled in foam, and to add a bit of personality make up the shape of the Meze logo! Nice, and well done! Upon switching IEMs from the 11 Neo to the 12 Classics, I was greeted with the familiar sound of the 99 Classics, just in miniature form! Coupled with the unique quality of the walnut housing, the 12 Classics brought to a new refinement to essentially everything the 11 Neo did right!
Much like the 99 Classics, the 12’s brought the wow factor! As aforementioned the 12 Classics sounded like a baby 99 featuring controlled and well extended bass, smooth mids, and crisp, detailed treble combined with the earthy tonality of the walnut wood. It didn’t take too long for me to be swept away in the music, and as usual a couple of hours had passed! Once again Meze has magically enchanted their wood with faerie dust or trapped the spirit of a muse inside the casing because I didn’t want to take the 12 Classics out! Since I had already ran pink noise for 40 hours while I gathered impressions about the 11 Neo, I couldn’t use the excuse that I needed to listen for changes due to burn-in. But wait… “ The walnut wood housing changes, slightly, over time in tone and contrast. Its mystery isn’t quick to vanish. “ Thanks Meze, you just justified me staying up past my bed-time… on a work night!
In all seriousness, for the next few days, during my downtime, the 12 Classics never left my ears. Normally I would go into analytical mode and start putting a pair of headphones/earphones through my gauntlet of tests, but the 12 Classics simply made me want to relax and enjoy the music! In all honesty it wasn’t until shortly before I started writing this review that I sat down, plugged the 12 Classics into my iCAN SE, and loaded up Audirvana with a few analyzing VST plug-ins enabled. Needless to say, right from the get go I was impressed with what I was hearing out of the 12 Classics!
Sound - The Basics
Bass - Much like all of Meze’s products, bass plays an prominent role in the overall sound of the 12 Classics. Mid bass can be described and tight, taut, and nimble. It has the ability to slam when it needs to yet remained controlled enough that I never had to listen hard to discern say the bass guitar from the bass drum. Texture is some of the best I have heard in any IEM of any price range, being both speedy and detailed. Sub-bass can only be described as beautifully weighted. It digs deep when called upon and never does it trounce on the upper bass and mids. Thanks to the nature of the walnut wood, the bass has a very natural, almost earthy tonality to it. Overall, the bass slightly above neutral, and is well suited towards audiophiles and purists, yet as someone who appreciates a little extra oomph when needed, the 12 Classics do not disappoint.
Mid Range - First and foremost, the 12 Classics are a mid-centric IEM and goes without saying are natural, organic, and Meze smooth! I wouldn’t quite describe the midrange as liquid, rather organic and earthy, something I contribute to the walnut housing(s). I think out of the rest of the frequency spectrum, the tonality of the wood is more prevalent in the midrange. None the less, thanks to the slight boost in the lower-mids male vocals have great range and body, never sounding boxy or honky while having ruler flat upper-mids gives female vocals a controlled yet sweet sound with absolutely no harshness in the upper octaves. Instruments and effects have great texture and resolve, and possess a natural, almost classic quality to them.
Treble - Crisp, well extended, and detailed. While the lower treble does sit higher than the upper regions, it does so without adding to the sibilance; It is what it is in the source, with zero harshness or accentuation! Despite having a gentle roll-off before levelling out, the upper treble still has the ability to add what I can only describe as the perfect amount of sparkle and shine! Overall, the treble has a very clean resolve with just the right amount of air contributing to an absolutely fatigue free sound!
Soundstage and Imaging - One word: Fantastic! In terms of an IEM, the 12 Classics soundstage is quite large! Both width and height are in my estimation equal, extending quite a ways outside one’s head. Forward and backwards depth is above average, never sounding congested resulting in good instrument separation as well as imaging. Thanks to the copper-clad aluminium voice coil, focus is pretty darn good for an IEM in it’s class helping to contribute to the amount of black space between the sounds.
Sound - Music, Movies, Games
Music (Vocals - Male) - Male vocals sound spot on. The deeper tones of artists such as Leonard Cohen or Allan Taylor are wonderfully rendered with the perfect amount of low-end body as well as grit. The wide ranged vocals of the a capello groups The Persuasions all possess a beautiful tonality with each singer’s unique contrasting voice sounding well layered and detailed, possessing great body and never sounding distant or detached. Whether it be the high-piched screams or guttural grunting, the 12 Classics held their own when it came to the more aggressive style of heavy metal. While the vocals of the former (such as Judas Priest’s Rob Halford) sound detailed and relatively smooth with little to no harshness, when reaching the upper octaves the presentation does tend to become a little bit earthy sounding. I wouldn’t describe it as being a negative, rather it is a unique tonal characteristic of the walnut housing, and in all honesty can take a little while to become accustomed to. On the opposite end, grunting sounds fantastic… for what it is. The 12 Classics render the lower octaves with great speed and texture with the right amount of weight as to not make the already (arguably) hard to discern vocals muddy or overpowering.
Music (Vocals - Female) - When it comes to female vocals the 12 Classics are more of a mystery when it comes to consistency. “ The walnut wood housing changes, slightly, over time in tone and contrast. Its mystery isn’t quick to vanish. “ couldn’t be more true. During my time putting the 12 Classics through my battery of tests, heck even as I listen to them now as I write this review, I am having a hard time pinpointing exactly what I even mean. While overall female vocals sound Meze smooth, possessing great body and detail with an excellent sense of breath, at times they can take on the characteristics of the walnut, sounding (much like certain higher-pithed male vocals) earthy. The trouble I have is that I am not sure if is a certain frequency range that taps into the power of wood, or if it is that in combination of certain effects (I.e. reverb). It matters not if I am listening to the soft and sweet sounding Rebecca Pidgeon, of the power vocals of Floor Janssen, or a single song or album in specific, the mystery of walnut sneaks in, giving the sound that unique woody-tonal quality to it.
Music (Instruments and Effects) - Detailed, textured, and extremely well rendered. Acoustic guitars and stringed instruments sound fantastic, possessing a very natural and organic quality to them. The body of a double-bass or cello resonate deep, with excellent weight and exceptional speed leading way to detailed texture as the bows are drawn across their strings. Violins sound sweet and airy, reaching the top frequencies without harshness or fatigue. Brass sounds fantastic with speed and exceptional bite. Cymbals splash with a good combination of body and air with excellent decay, never sounding thin or overly metallic. All in all, natural instruments sound, well, very natural, and because of the walnut housing have a classic sound to their presentation. But what about non-natural instruments, such as electronic and computer generated effects? Simply put, freakishly awesome! The 12 Classics’ speed and detail coupled with it’s exceptional soundstage render modern sounds and effects with fantastic precision! Whether it was synth-pop or dubstep, my ears were blown away with fast, textured awesomeness! To end off this section, I have to give a special mention of electric guitars. Once again, the walnut comes into play and can, depending on the presentation from the source, can take on that unique earthy tonality. I give this special mention simply because out of all the instruments and effects, electric guitar distortion takes on the wood characteristics more-so than the others. To some, this will sound pleasing, however some purists may not like the altered sound. To each their own, eh?
Youtube - I watch quite a few “vloggers”, and thanks to the wide range of both recording devices and environments in play, it goes without saying that the consistency of the audio is all over the place. I was actually quite impressed with the 12 Classics’ overall handling and presentation of the varying sources. The dialogue and narration always sounded very clear, natural, and controlled, regardless of the quality of the recordings! It mattered not if the voices had a lot of uncontrolled room reverb, added bass for that radio Dj effect, or thin sounding due to a cheap microphone, the 12 Classics, for better or for worse, accurately rendered the source and allowed me to get a real sense of how and where the audio was recorded. An added bonus was the fact that due to not only the comfort of the IEM, but tonality and control, I was able to sit at my desk and listen/watch without discomfort for quite a long time before I needed to take a break (always recommended).
Movies - As always Pacific Rim is my defect go-to for testing, specifically the opening 15 minutes. It has narration, an epic score, action packed and immersive sound effects, and a good mix of environmental dialogue. Oh, and giant robots fighting giant monsters!! The 12 Classics did not disappoint! Charlie Hunnan’s narration comes across as clear, crisp, and well centred and while nicely sitting in the background still came across as appropriately forward. The dialogue was not only easily discernible amongst the score and action but had a naturalness quality in relation to their environment I.e. Inside a Jaeger’s cockpit, on the deck of a fishing troller. The epic score sounded large and dynamic, and it goes without saying that the sound and effects were equally immersive with every subtle sound, from the raindrops upon steel to the mechanics of gears and pistons at work, coming forth with life and excitement and never getting lost in amongst the busy scene. If I were on a long trip, or even relaxing in bed or on the couch, I would have no issues watching a movie on a phone or tablet with the 12 Classics.
Games - Regardless if paired with a smart device, hand held gaming system, or one’s PC, the 12 Classics faired exceptionally well with gaming. Because of the large and spacious soundstage coupled with fast, detailed bass, natural treble, and mid-centric sound signature, the 12 Classics are a perfect fit. I never really gave IEMs much consideration when it came to gaming due to the fact that I greatly prefer full sized circumaural headphones, but I was pleasantly surprised at how well the 12 Classics performed! Thanks to the detailed midrange dialogue and narration was clear and natural sounding. Environmental sounds and effects were quite immersive and well rendered, positional audio was spot on, and much like movies the score sounded large and dynamic. During my testing of various games, at times I actually forgot (briefly) that I was listening to an IEM!
Scaleability
The 12 Classics are a good example of “ garbage in, garbage out “, in other words the better the hardware or source material the better the IEMs will perform. For comparison sake, an IEM such as Monster’s Lady Gaga Heartbeats (don’t judge) or my iPod’s pack-in EarPods simply do not have the ability to render the finer details of a properly recorded 24/96 Hi-Rez track. Listening to a 128 AAC conversion of Rebecca Pidgeon’s Spanish Harlem from a 16/44 source out of my iPod sounds pretty close to the 24/96 lossless copy out of my micro iCAN SE. With the 12 Classics in play, I can easily hear the differences in presentation between my iPod(s) and my iFi stack in relation to the hardware as well as the sample rates, irrespective of lossy/lossless.
Amping
Being 16 Ohms with a sensitivity of 101 dB, the 12 Classics are able to be driver by most sources and achieve a deafening volume. While adding an amp in the mix is always a benefit, I found the 11 Neo to be just as enjoyable using my iPod as my iFi stack. These are meant to be on-the-go IEMs so plug them in to whatever you have, push play, and enjoy!
Value
Stylish, rugged, and great sound, at $79 US one simply can not go wrong with the 12 Classics! In my humble opinion, their timeless design and solid construction warrant a much higher price tag, let alone their competent and scalable sound. I am not sure how Meze managed to release such quality products at the price point they do! While their competitors use cheap plastic and equally cheap cables Meze uses real walnut wood and aluminium, with one of the sturdiest cables I have seen on an IEM in this price range, and include genuine Comply ear-tips! Being an affordable $79, whether you are a headphone junkie or simply needing a new pair of IEM, the 12 Classics are a bargain!
Conclusion
Meze did the seemingly impossible and shrank the 99 Classics into an IEM! The 12 Classics possess a classic and natural sound, offering up hours of detailed, fatigue free listening enjoyment! Much like the Neo 11 and 99 Classics, it really is hard to fault the 12 Classics in any regard. Genre after genre the 12 Classics continued to impress, with none standing out as being ‘more better suited’ than another, which I can’t say about a lot of IEMs I have had the (dis)pleasure of listening to. While true of many circumaural I have heard, when it comes to IEMs it’s not often I have one of those nights when “one more song” turned into, well, many many more, yet the 12 Classics are the rare exception!
The 12 Classics’ stunning, gorgeous, timeless design, coupled with their detailed and balanced sound easily makes them an incredible bargain at a $79 price tag! Once again Meze has a real winner on it’s hands! Rightfully taking their spot in my collection ,I proudly hang my 12 Classics on display next to the likes of my Q701, HD600, and 99 Classics. It is clear that the great folks at Meze really care about quality products, and with their well received recent products (and highly anticipated soon to be released), is determined to carve out it’s legacy within the headphone community. Once again, my hat’s off to you guys and keep up the great work!
Intro
When it comes to Audiophiles, our number 1 goal is to achieve perfect audio transparency. Along our journey towards audio nirvana many of us, myself included, have met the snake oil salesman. With his promises of “enhanced resolution”, “deeper lows”, and “crystal clear highs” he preys on our weakness. Some of us move on, and some of us walk away with an armful of boa-thick USB cables and VCR sized power cleansers. While there are products out there that actually meet their claim, weeding out the good vs the outright deplorable can be daunting. As the saying goes, “ Once bitten, twice shy… “. So when it comes to the iPurifier2, what makes it any different than any other product and their “claims”? It’s simple; iFi Audio and their reputation!
Disclaimer/Acknowledgement
The iPurifier2 was sent to me direct from iFi Audio USA in exchange for my impressions and review. The words I write are my own and are honest, objective, and free of bias. I received no financial compensation for my effort, only the satisfaction of trying out a quality product for a few weeks.
I would also like to thank Lawrance over at iFi Audio. He had originally contacted me in regards to reviewing the new iTube2. Unfortunately (for me) sales and demand were higher than expected leaving no units available to send out for reviews, and I was asked if there was any other product that I was interested in to tide me over until re-stocking. I have always been both a believer and a critic/skeptic towards, generally speaking, cleaning up the noise from a digital audio signal, so naturally I chose the iPurifier2.
About Me
38 years old, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both basic electronics and Sound: Electro-Acousto aka The Path to Golden Ears. While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Packing
If one is familiar with my other reviews, you are aware that I am a huge fan of minimalistic yet functional packaging that gives the consumer the sense that they have purchased a quality product, and the iPurifier checks off all boxes on the list. Much like iFi’s other products, the iPurifier2 comes in a white, almost Apple-esque sturdy box. The device is nestled in foam with the contents neatly packaged in; There is no wasted space holding nothing but air, rather only what is needed. In terms of what you get, it’s not much, and not surprising considering the iPurifier is a USB powered dongle. Besides a feature card with warranty information on the flip side, all that is included is a female to female USB type A/B converter (not pictured because seriously, we all know what it looks like).
Features
- Aircraft grade CNC-aluminium shell anodized in titanium
- Active noise cancelation forged from military radar technology
- EMI/RFI filtering
- REclock® reclock/regenerate/repeat
- REbalance®
- Gold plated plug/jack
- USB Type A, B, C, or micro
- Future-proof technology compatible with all existing audio formats
By generating a signal identical to the noise signal but in the exact opposite phase, it actively cancels all the incoming noise. ANC® is the perfect ‘antidote’ for power supply noise, the bane of USB audio.
ANC® measured, noise drops by 100 times or 40dB in comparison to the Common Noise Filter. Sonically, the background and inner resolution to recordings is enhanced several levels.
REclock® reclock/regenerate/repeat the signal
Re-clocking is beneficial to audio. REclock® is a ‘3-in-1’ feature that re-clocks/re-generates/repeats USB audio data-stream. For any and every downstream DAC, REclock® technology eliminates jitter. Music flows better, is cleaner, deeper and tauter, just like the real thing.
REbalance® rectify the unbalanced signal
A core element of the original iPurifier’s success was REbalance® which has naturally been carried over to the iPurifier 2. By removing the DC offset and ‘re-balancing’ the USB audio signal, it is now perfectly balanced. As it purifies the USB audio data stream, this means noise is significantly reduced:
Build/Design
Similar to most of iFi’s products, the iPurifier2 features a shell machined of CNC-aluminium and is held together by 4 screws. Unlike it’s predecessor, the iPurifier2’s case is anodized in titanium, giving it a darker tone overall. I actually like this as it helps make the device less noticeable. With the dimensions being 62(l)x19(w)x18(h)mm, the device itself is around the size of a standard USB dongle meaning it shouldn’t interfere with the connectivity of the other cables adjacent to the USB port nor should it be too obtrusive when added into the chain. Of course, YMMV. Both the USB plug and jack are gold plated and are of good quality; Both the plug and jack fit snugly with their respective mate. A blue light illuminated when power through the USB cable is present, and a green light indicates that the device is connected to the DAC.
Why it’s needed - A summary from the pros
“ Electromagnetic interference (EMI) is an electromagnetic emission that causes a disturbance in another piece of electrical equipment. EMI can be attributed to a wide span of the electromagnetic spectrum including radio, DC and even microwave frequencies. Because anything that carries rapidly changing electrical currents gives off electromagnetic emissions, it is quite common for one object’s emissions to “interfere” with another’s. EMI compromises the performance of electrical equipment by obstructing and degrading data; sometimes even losing data completely. PCs can be affected by electromagnetic interference from other devices, in two major ways. One is direct effects through proximity with other devices; another is electrical interference over the power lines.“
(http://www.PCGuide.com)
“ The most significant way to circumvent the shortcomings of mass-market computer products is to minimize power supply noise. When power supply noise is minimized, the result is cleaner and more defined “square waves” in the digital signal, which translates to fewer bit read errors, less error correction, and less jitter. “
(http://www.mojo-audio.com)
“ Playback jitter originates from a large number of contributors, which are usually additive. These range from the master clock, which has its own jitter, to logic devices, to mechanical systems for spinning a CD. One digital cable can even add more jitter than another. Each contributor adds more jitter to the signal as it makes its way to the D/A converter. This summation of this jitter is the system jitter. “
(http://www.positive-feedback.com)
Thoughts and Impressions
Before I continue, my thoughts and impressions in this section of the review will be generalized. During my time with the iPurifier2 I used many different headphones, audio sources (movies, music, games), and hardware, and listing off impressions of them all would be both an exhausting read, let alone write.
As mentioned earlier, I am both a believer and skeptic of cleaning up a noisy digital signal. My beliefs stem from real world experience working in high-tech manufacturing. I have spoken with engineers working out of multi-million dollar, shielded test labs, and can say with 100% certainty that noise, especially digital noise not only is real but the bane of their profession. The skeptic in me, like most of us, was born out of many manufacturer’s claims basically stealing my money with little to no return. Never trust anything in a starburst folks! Needless to say, I was going in with an open mind.
Having gone though great lengths to reduce my perception of noise, coupled with iFi’s reputation for quality, I had high expectations for the iPurifier2 going into this review. My daily-driver set-up includes the micro iDAC and micro iCAN SE with iPower 15V connected via shielded solid core OFC RCA, DIY separate shielded data/power USB cable with 3 ferrite chokes on each plug, dedicated isolated USB bus, power bar with “clean power”/ 2.0A USB/ EMI/RFI filtering (up to 40dB)! Overkill? No way! I can say with complete conviction that every last piece is needed! So did the iPurifier2 make a noticeable difference? Depending on the situation, yes!
The first noticeable “purification” came in the form of overall noise reduction. As the saying goes, “you never notice it until you hear it” or in the case of the iPurifier2, “you don’t hear it”! Without a shadow of a doubt, the amount of noticeable EMI noise reduction was more than subtle. It mattered not if open or closed back, IEM or circumaural, I noticed not only a substantial amount of hiss and buzz reduction but a much blacker background as well! The blackness was very much akin to listening to a high-end battery powered Digital Audio Player (DAP).
Further listening proved to be full of surprises, ones that I was not expecting. For starters, dynamics and subtleties of certain source material gained an increase in focus and resolution. Whether it be a trio of guitars, an action packed scene from a movie, or the sense of breath from a vocalist, everything seemed more textured, detailed, and easier to discern with the iPurifier2 in the chain. Both the soundstage and imaging were increase as well with a much greater sense of space and speed. It is almost like an invisible veil has been lifted, allowing the sound to fully bloom. Then there is the smoothness, perhaps the biggest surprise. It’s hard to explain, but the iPurifier2 has an overall less jagged, less digital quality, instead giving a sense of a more analogue and natural fluidity to the sound!
Comparison
micro iDAC with standard USB cable - This is what I consider the most likely use for the iPurifer2; Computer to DAC with a built-in headphone amp via USB2 asynchronous protocol. Regardless of connecting to a stand-alone USB port or the front panel header the iPurifier2 worked it’s magic and noticeably improved the clarity and transparency of the signal. With the volume pot turned to full, the amount of audible noise was reduced to basically nothing. Dynamics were not only increased a notch or two (depending on the source) but sound more rounded and less sharp and jagged. Imaging and focus became more clear and apparent, especially when it came to subtle background sounds (i.e. rustling of leaves, shakers and tambourines). While it is difficult to tell if the iPurifier cleaned up any issues with the USB protocol, it definitely “purified” the EMI/RFI noise coming down the chain, peeling away a few layers of invisible grain!
Sharkoon USB DAC/Amp - StarTech, Vantec, Skarkoon, It matters not what vendor this guy came from, I am sure most of you folk reading this have seen some variation on this 16/44 small 1” silver USB dongle. It’s cheap, it’s basic, and I purchased mine for $4 to use if I am ever in a pinch. The purpose of me including this DAC/amp in my testing was to highlight how well the iPurifier handles what I consider a worst case scenario, and I am please to say it exceeded my expectations! Straight out of any USB port this little guy manages to seemingly pick up every bit of electronic noise coming from my system. I move the mouse I hear noise. A hard disk spools, I hear noise. I hear the hum of what I can only assume are the 10 case fans. And then there are the random pops and clicks. With the use of an adaptor, adding the iPurifier2 into the chain was like night and day! It was as if I had my headphones plugged into my iPod! While it was not 100% black (pretty close though), all the computer generated noise was completely gone; No more random pops and clicks, no more hum or hiss! It’s hard to say how much the iPurifier2 added to sonic transparency, being a $4 DAC/amp and all, and I find it absolutely laughable that anyone would ever use these two devices together. For comparison, I connected the DAC using only my DIY USB cable aforementioned on a dedicated bus. While the cable did alleviate some noise, it was no where near the same level as the iPurifier. My DIY cable performed as well as a a standard USB extension cable with a single ferret choke, and I am certain half of the noise reduction was from moving the DAC away from the source/cause of the noise.
micro iDAC and micro iCAN SE with iPower 15V (my daily driver) - With a setup like this, would adding the iPurifier2 even do anything? Absolutely! However I must admit that any changes were considered more subtle, yet still noticeable. Only at higher volume (with 24dB gain) did I hear any reduction in audible noise. In terms of improvements in dynamics, I hear less compared to the first two scenarios, although the signal once again did sound more rounded and less sharp/jagged. In this situation, the iPurifier2 did indeed improve my listening experience, and I don’t want anyone to take away from this as being “not value added” simply because the improvements were not as apparent as the other situations. To my ears the iPurifier2 performed admirably.
Value
When it comes to transparency, I like to say every little bit counts no matter how small of an improvement one may hear. Taking into consideration the performance coupled with it’s high quality construction, at a price of $109 USD the iPurifier2 is a very cost effective way to increase the fidelity of your USB audio no matter if you are an audiophile, enthusiast, or simply someone who hears too much garbage coming from one’s PC.
Conclusion
Since moving from playing music on a CD player to digital audio stored on a hard disk drive, I found myself in the seemingly endless battle of reducing noise and restoring transparency. Noise creeping into the digital signal is a real problem, one that iFi-Audio both recognizes and addresses. My time with the iPurifier2 wasn’t so much of an eye opener as it was a confirmation. While all systems will benefit to a degree from adding the iPurifier2 into the chain, undoubtedly some will yield better results than others. In my opinion adding the iPurifier2 into your audio chain is a no-brainer if one desires the absolute best in audio performance. I know what my next purchase is going to be!
When it comes to Audiophiles, our number 1 goal is to achieve perfect audio transparency. Along our journey towards audio nirvana many of us, myself included, have met the snake oil salesman. With his promises of “enhanced resolution”, “deeper lows”, and “crystal clear highs” he preys on our weakness. Some of us move on, and some of us walk away with an armful of boa-thick USB cables and VCR sized power cleansers. While there are products out there that actually meet their claim, weeding out the good vs the outright deplorable can be daunting. As the saying goes, “ Once bitten, twice shy… “. So when it comes to the iPurifier2, what makes it any different than any other product and their “claims”? It’s simple; iFi Audio and their reputation!
Disclaimer/Acknowledgement
The iPurifier2 was sent to me direct from iFi Audio USA in exchange for my impressions and review. The words I write are my own and are honest, objective, and free of bias. I received no financial compensation for my effort, only the satisfaction of trying out a quality product for a few weeks.
I would also like to thank Lawrance over at iFi Audio. He had originally contacted me in regards to reviewing the new iTube2. Unfortunately (for me) sales and demand were higher than expected leaving no units available to send out for reviews, and I was asked if there was any other product that I was interested in to tide me over until re-stocking. I have always been both a believer and a critic/skeptic towards, generally speaking, cleaning up the noise from a digital audio signal, so naturally I chose the iPurifier2.
About Me
38 years old, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both basic electronics and Sound: Electro-Acousto aka The Path to Golden Ears. While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Packing
If one is familiar with my other reviews, you are aware that I am a huge fan of minimalistic yet functional packaging that gives the consumer the sense that they have purchased a quality product, and the iPurifier checks off all boxes on the list. Much like iFi’s other products, the iPurifier2 comes in a white, almost Apple-esque sturdy box. The device is nestled in foam with the contents neatly packaged in; There is no wasted space holding nothing but air, rather only what is needed. In terms of what you get, it’s not much, and not surprising considering the iPurifier is a USB powered dongle. Besides a feature card with warranty information on the flip side, all that is included is a female to female USB type A/B converter (not pictured because seriously, we all know what it looks like).
Features
- Aircraft grade CNC-aluminium shell anodized in titanium
- Active noise cancelation forged from military radar technology
- EMI/RFI filtering
- REclock® reclock/regenerate/repeat
- REbalance®
- Gold plated plug/jack
- USB Type A, B, C, or micro
- Future-proof technology compatible with all existing audio formats
By generating a signal identical to the noise signal but in the exact opposite phase, it actively cancels all the incoming noise. ANC® is the perfect ‘antidote’ for power supply noise, the bane of USB audio.
ANC® measured, noise drops by 100 times or 40dB in comparison to the Common Noise Filter. Sonically, the background and inner resolution to recordings is enhanced several levels.
REclock® reclock/regenerate/repeat the signal
Re-clocking is beneficial to audio. REclock® is a ‘3-in-1’ feature that re-clocks/re-generates/repeats USB audio data-stream. For any and every downstream DAC, REclock® technology eliminates jitter. Music flows better, is cleaner, deeper and tauter, just like the real thing.
REbalance® rectify the unbalanced signal
A core element of the original iPurifier’s success was REbalance® which has naturally been carried over to the iPurifier 2. By removing the DC offset and ‘re-balancing’ the USB audio signal, it is now perfectly balanced. As it purifies the USB audio data stream, this means noise is significantly reduced:
Build/Design
Similar to most of iFi’s products, the iPurifier2 features a shell machined of CNC-aluminium and is held together by 4 screws. Unlike it’s predecessor, the iPurifier2’s case is anodized in titanium, giving it a darker tone overall. I actually like this as it helps make the device less noticeable. With the dimensions being 62(l)x19(w)x18(h)mm, the device itself is around the size of a standard USB dongle meaning it shouldn’t interfere with the connectivity of the other cables adjacent to the USB port nor should it be too obtrusive when added into the chain. Of course, YMMV. Both the USB plug and jack are gold plated and are of good quality; Both the plug and jack fit snugly with their respective mate. A blue light illuminated when power through the USB cable is present, and a green light indicates that the device is connected to the DAC.
Why it’s needed - A summary from the pros
“ Electromagnetic interference (EMI) is an electromagnetic emission that causes a disturbance in another piece of electrical equipment. EMI can be attributed to a wide span of the electromagnetic spectrum including radio, DC and even microwave frequencies. Because anything that carries rapidly changing electrical currents gives off electromagnetic emissions, it is quite common for one object’s emissions to “interfere” with another’s. EMI compromises the performance of electrical equipment by obstructing and degrading data; sometimes even losing data completely. PCs can be affected by electromagnetic interference from other devices, in two major ways. One is direct effects through proximity with other devices; another is electrical interference over the power lines.“
(http://www.PCGuide.com)
“ The most significant way to circumvent the shortcomings of mass-market computer products is to minimize power supply noise. When power supply noise is minimized, the result is cleaner and more defined “square waves” in the digital signal, which translates to fewer bit read errors, less error correction, and less jitter. “
(http://www.mojo-audio.com)
“ Playback jitter originates from a large number of contributors, which are usually additive. These range from the master clock, which has its own jitter, to logic devices, to mechanical systems for spinning a CD. One digital cable can even add more jitter than another. Each contributor adds more jitter to the signal as it makes its way to the D/A converter. This summation of this jitter is the system jitter. “
(http://www.positive-feedback.com)
Thoughts and Impressions
Before I continue, my thoughts and impressions in this section of the review will be generalized. During my time with the iPurifier2 I used many different headphones, audio sources (movies, music, games), and hardware, and listing off impressions of them all would be both an exhausting read, let alone write.
As mentioned earlier, I am both a believer and skeptic of cleaning up a noisy digital signal. My beliefs stem from real world experience working in high-tech manufacturing. I have spoken with engineers working out of multi-million dollar, shielded test labs, and can say with 100% certainty that noise, especially digital noise not only is real but the bane of their profession. The skeptic in me, like most of us, was born out of many manufacturer’s claims basically stealing my money with little to no return. Never trust anything in a starburst folks! Needless to say, I was going in with an open mind.
Having gone though great lengths to reduce my perception of noise, coupled with iFi’s reputation for quality, I had high expectations for the iPurifier2 going into this review. My daily-driver set-up includes the micro iDAC and micro iCAN SE with iPower 15V connected via shielded solid core OFC RCA, DIY separate shielded data/power USB cable with 3 ferrite chokes on each plug, dedicated isolated USB bus, power bar with “clean power”/ 2.0A USB/ EMI/RFI filtering (up to 40dB)! Overkill? No way! I can say with complete conviction that every last piece is needed! So did the iPurifier2 make a noticeable difference? Depending on the situation, yes!
The first noticeable “purification” came in the form of overall noise reduction. As the saying goes, “you never notice it until you hear it” or in the case of the iPurifier2, “you don’t hear it”! Without a shadow of a doubt, the amount of noticeable EMI noise reduction was more than subtle. It mattered not if open or closed back, IEM or circumaural, I noticed not only a substantial amount of hiss and buzz reduction but a much blacker background as well! The blackness was very much akin to listening to a high-end battery powered Digital Audio Player (DAP).
Further listening proved to be full of surprises, ones that I was not expecting. For starters, dynamics and subtleties of certain source material gained an increase in focus and resolution. Whether it be a trio of guitars, an action packed scene from a movie, or the sense of breath from a vocalist, everything seemed more textured, detailed, and easier to discern with the iPurifier2 in the chain. Both the soundstage and imaging were increase as well with a much greater sense of space and speed. It is almost like an invisible veil has been lifted, allowing the sound to fully bloom. Then there is the smoothness, perhaps the biggest surprise. It’s hard to explain, but the iPurifier2 has an overall less jagged, less digital quality, instead giving a sense of a more analogue and natural fluidity to the sound!
Comparison
micro iDAC with standard USB cable - This is what I consider the most likely use for the iPurifer2; Computer to DAC with a built-in headphone amp via USB2 asynchronous protocol. Regardless of connecting to a stand-alone USB port or the front panel header the iPurifier2 worked it’s magic and noticeably improved the clarity and transparency of the signal. With the volume pot turned to full, the amount of audible noise was reduced to basically nothing. Dynamics were not only increased a notch or two (depending on the source) but sound more rounded and less sharp and jagged. Imaging and focus became more clear and apparent, especially when it came to subtle background sounds (i.e. rustling of leaves, shakers and tambourines). While it is difficult to tell if the iPurifier cleaned up any issues with the USB protocol, it definitely “purified” the EMI/RFI noise coming down the chain, peeling away a few layers of invisible grain!
Sharkoon USB DAC/Amp - StarTech, Vantec, Skarkoon, It matters not what vendor this guy came from, I am sure most of you folk reading this have seen some variation on this 16/44 small 1” silver USB dongle. It’s cheap, it’s basic, and I purchased mine for $4 to use if I am ever in a pinch. The purpose of me including this DAC/amp in my testing was to highlight how well the iPurifier handles what I consider a worst case scenario, and I am please to say it exceeded my expectations! Straight out of any USB port this little guy manages to seemingly pick up every bit of electronic noise coming from my system. I move the mouse I hear noise. A hard disk spools, I hear noise. I hear the hum of what I can only assume are the 10 case fans. And then there are the random pops and clicks. With the use of an adaptor, adding the iPurifier2 into the chain was like night and day! It was as if I had my headphones plugged into my iPod! While it was not 100% black (pretty close though), all the computer generated noise was completely gone; No more random pops and clicks, no more hum or hiss! It’s hard to say how much the iPurifier2 added to sonic transparency, being a $4 DAC/amp and all, and I find it absolutely laughable that anyone would ever use these two devices together. For comparison, I connected the DAC using only my DIY USB cable aforementioned on a dedicated bus. While the cable did alleviate some noise, it was no where near the same level as the iPurifier. My DIY cable performed as well as a a standard USB extension cable with a single ferret choke, and I am certain half of the noise reduction was from moving the DAC away from the source/cause of the noise.
micro iDAC and micro iCAN SE with iPower 15V (my daily driver) - With a setup like this, would adding the iPurifier2 even do anything? Absolutely! However I must admit that any changes were considered more subtle, yet still noticeable. Only at higher volume (with 24dB gain) did I hear any reduction in audible noise. In terms of improvements in dynamics, I hear less compared to the first two scenarios, although the signal once again did sound more rounded and less sharp/jagged. In this situation, the iPurifier2 did indeed improve my listening experience, and I don’t want anyone to take away from this as being “not value added” simply because the improvements were not as apparent as the other situations. To my ears the iPurifier2 performed admirably.
Value
When it comes to transparency, I like to say every little bit counts no matter how small of an improvement one may hear. Taking into consideration the performance coupled with it’s high quality construction, at a price of $109 USD the iPurifier2 is a very cost effective way to increase the fidelity of your USB audio no matter if you are an audiophile, enthusiast, or simply someone who hears too much garbage coming from one’s PC.
Conclusion
Since moving from playing music on a CD player to digital audio stored on a hard disk drive, I found myself in the seemingly endless battle of reducing noise and restoring transparency. Noise creeping into the digital signal is a real problem, one that iFi-Audio both recognizes and addresses. My time with the iPurifier2 wasn’t so much of an eye opener as it was a confirmation. While all systems will benefit to a degree from adding the iPurifier2 into the chain, undoubtedly some will yield better results than others. In my opinion adding the iPurifier2 into your audio chain is a no-brainer if one desires the absolute best in audio performance. I know what my next purchase is going to be!
Rearwing
Great review, thank you. I have the first iPurifier, is it worth upgrading?
Robert Padgett
The iPurifier 2 is a must have accessory, no matter what system it is used with. As "Computer Audiophile on the Cheap" it is the best $109 I have spent.
Intro
Meze Headphones is a company with a simple philosophy; Motivation, Values, People. With a passion for art and music, achieved through patience and dedication, Meze design timeless masterpieces. Ignoring current trends that come and go with the seasons, influenced by none, they create headphones as if for themselves. Consisting of passionate specialists, with backgrounds in sound engineering, design, crafting, and music, the team has stood by their company’s values since the beginning.
Since the release of their 99 Classics a little over a year before the writing of this review, Meze has been no stranger here at Head-Fi. Simply put, the 99 Classics have shot to super stardom in the over-ears category, currently holding the #8 spot with good reason. Meze gave us something we didn’t even know we wanted; A gorgeous headphone with a fun yet timeless audiophile sound at a very affordable price!
The 11 Neo represents Meze’s entry level IEM. Completely redesigned from the ground up, these are not an updated or redesigned version of their earlier release, the 11 Deco. Forgoing wood in favour of a rugged metal housing yet featuring the same timeless design and Meze sound signature of their more expensive cousins, Meze’s aim was to provide a practical, more affordable, go everywhere headphone to compliment their Classics line.
Disclaimer
As part of the 12 Classics review tour, the 11 Neo was provided to me by Meze in exchange for my honest opinion and review. It matters not how I obtained my pair, this review will be both honest and objective, free of hype and/or bias.
About Me
37 years old, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both electronics and sound (Electro-Acousto aka The Path to Golden Ears). While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Specifications
- Transducer size: 8mm
- Transducer Type: Titanium coated mylar
- Frequency response: 16Hz - 24KHz
- Impedance: 16Ohm
- Sensitivity: 101dB (+/- 3dB)
- THD: < 0.5%
- Noise attenuation: Up to 26dB
- Plug Type: 3.5mm gold plated
- Cable: 7N OFC 1.2M
Accessories
- Leatherette carry case
- 4 pairs of silicone tips (S, M, L, Double flange)
- Genuine Comply premium ear tips
- Cable clip
- For more information and nice eye candy, head over to the 11 Neo website.
- To read up on general discussion and impressions, check out the official thread here.
Design & Ergonomics
Available in both Gunmetal and Iridium (mine are the latter), the 11 Neo is one sexy IEM! With their curvy aluminium casings accentuated by seamless lines, the 11 Neo are reminiscent of a well designed classic automobile. Every angle, every curve seem to be carefully thought out to add both (stunning) form and functionality! The body as well as the rear cap are beveled inwards, allowing for easy grip and proper insertion/seal. It really is difficult to gauge the size of the 11 Neo from pictures alone, but these are not a large IEM!
The gorgeous non-removable cable is thick, and very well reinforced! To give you a frame of reference, as thick as the Sennheiser Momentum! Despite the cable’s girth, it is very pliable that both hangs incredibly straight yet retains an invisible memory that allows for one to easily loop up for storage within the case; It’s almost as if some sort of dark magic is involved! Rarely do I see a cable that falls so straight yet has no issues wanting to be wound up! Every entry point has a generous amount of reinforcement for strain relief. Whether is was dangling my iPod or ripping out the buds by the cable, never did I get a sense that a was putting too much stress for the connections to handle. Cable microphonic noise is not too bad, especially considering the thickness of the cable, although it is noticeable. This can easily be remedied with the included cable clip. When attached, virtually all microphonic noise is grounded and greatly reduced.
The in-line control talk module works as it should with no issue. The placement for me is at the correct position that easily allows me to reach blind and find the unit, as well I found the button itself to have a great tactile feel and quick response. The mic also works equally well with calls over wifi as well as Siri voice commands being easily audible and recognizable. The strain relieve on the module as well as the Y-split are of exceptional quality, allowing for easy movement and bending yet remain sturdy and rugged enough that much like the connections at the plug and buds, I foresee no issues with splits or breaks!
While one might automatically assume that given the 11 Neo’s metal housings and thick cable that the IEMs would be above average in weight, and you would be wrong! I was quite pleasantly surprised at how light weight and comfortable the 11 Neo were when placed in my ears! Regardless of whether or not I was using the cable clip, I did not get a sense of pulling or weightiness with the cable itself, and the buds sat perfectly in my ears without needing adjustment.
First Impressions
Like most headphones I always like to start with a blank slate; No in depth reading of reviews, looking over FR curves, or reader’s impressions. I like to come across things in a more organic, natural manor, so needless to say I was going in blind. Judging by the packaging alone, things were already starting to look positive for the 11 Neo. As with Meze’s Classics line, the presentation of of the box and packaging of the product makes one feel as if they are receiving a premium product, a tactic that not only is appreciated but mirrors my own philosophy; First impressions matter! The 11 Neo along with the carry case containing the accessories were nicely nestled in foam, and to add a bit of personality make up the shape of the Meze logo! Nice, and well done!
I didn’t marvel too long, and didn’t even bother to change the stock tip, I just wanted to hear! My initial reaction upon pressing play on my iPod? Wow, not bad, not bad at all! The 11 Neo got a respectable nod. Honestly, I was expecting something with a little more pizzaz, instead I was greeted with a very balance, almost neutral sound! Random track after track, no matter what the genre, the 11 Neo remained controlled and consistent, and before I realized 2 hours had passed! “ Well, so far so good! “ I chuckled to myself. Already I started to notice the effects of burn-in, and as it was late decided to run pink noise until I got home from work the next day.
The next day I decided to switch things up and spend some time using the 11 Neo with my iFi stack and play some lossless/High-Rez audio. First up was 24/96 “ Spanish Harlem “ by Rebecca Pidgeon (the usual) and oh boy was I not expecting what I heard; Sonic greatness! “ Had the 20 hours of burn-in open the 11 Neo up? “ I thought to myself so I tried a few tracks with piss poor dynamic range (in comparison) and they sounded like poop. So I tried a few tracks with “acceptable” DR and things sounded pretty good. Finally I went back to HD audio and once again blown away with what I was hearing! I soon realized that the 11 Neo are in the same category as the Sennheiser HD 598; Garbage in garbage out! While the 11 Neo handles modern music admirably, the ‘High-Rez Sound’ logo presented on the back of the box actually means something!
I currently own IEMs ranging from $80-$200 CND as well have owned several BA and multi-BA IEMs in the recent past, and a common factor I find is that most will colour the sound too much with their “house sound”, meaning that modern music and High-rez audio all sound the same. In other words they don’t scale well. While this is great for the masses who really couldn’t care less about bits and compression as it makes all music sound good. For an audiophile, this is unacceptable. I want to hear the flaws in the recordings, and the 11 Neo allow me to do that! Needless to say, my first impressions have been nothing but positive.
Sound - The Basics
Bass - Slightly above neutral, the bass hits with authority and extends deep! There is a slight bow to the bass response, but in no way would it be considered to have a “mid-bass hump”. Sub-bass is nicely weighted with the perfect amount of rumble to be satisfying with modern music yet not offend audiophiles. Upper-bass has excellent slam and punch, and despite it’s elevation extending down into the lower-mids in no way does it bleed into nor overpower the rest of the spectrum. While being a touch loose, overall bass is tight with a fast elasticity quality to it.
Mid Range - Meze smooth! Need I say more? Ok ok, if I must! Those familiar with the Classics line will feel at home with the 11 Neo; The whole midrange is liquid! While the lower mids are elevated, it is done so to add just the right amount of body to vocals. Upper-mids are ruler flat, giving a more natural presentation to instruments and effects while maintaining clarity for vocals. Texture comes across as being organic possessing great texture and resolve. As the midrange makes up the bulk of music, the 11 Neo never fails to impress with how natural and effortless they render this section of the frequency response.
Treble - Detailed yet laid back, despite the slight boost in the lower region. Normally, to my ears, any boost in the lower treble results in harshness and peakiness, especially in regards to sibilance. Not so with the 11 Neo! Even with artists known for sibilance, the 11 Neo kept things under control while still adding some excitement to instruments and effects. Overall the lower treble is crisp and clean, with just the right amount of sparkle. Upper treble is gently rolled off. There is a good sense of air and in no way would call the upper treble recessed, but this region definitely takes a back seat to the rest of the spectrum, let alone lower treble.
Soundstage - The 11 Neo’s soundstage is pretty large especially considering their size though not entirely even. Width is definitely smaller than height and depth, though not by too much. I would consider the 11 Neo’s soundstage to be big, rather than spacious. Instrument separation is excellent for their class, though while never sounding congested there was a shortfall in overall “black space” between the sounds. In other words, there could be improvements in overall focus.
Sound - Summary
The 11 Neo offer a very balanced yet exciting sound. I really can not find any overwhelming fault with the overall sound and presentation. It matters not what genre I throw at them, the 11 Neo perform admirably across the board. I will say though that in my testing I did find because of their balanced sound, some genres performed better than others. Rap, dance, pop, and electronica were well rendered, especially in the vocals and effects regions, but some may find the 11 Neo to be somewhat lacking in bass for their taste, despite their ability to reach deep. For me it’s not an issue; Quality over quantity. Classical, jazz, and rock are definitely better suited for the 11 Neo.
Thus far one might think that Meze has released a giant killer. In a sense they have. Given their low price point they do offer a great smooth, detailed, and no-fatiguing sound experience. However, they are what they are; An entry level headphone. Don’t expect to throw away your IE80s by any means, the 11 Neo are not in the same echelon (though I will note that IMO their construction and design are on par). So what level of sound does the 11 Neo offer? In terms of overall resolve they are in the same category as my Grado SR60i and Polk Nu Voe, and at the same time blow away my Monster Lady Gaga Heat Beats, all three headphones costing nearly double that of the 11 Neo! Not too bad at all!
Amping
Being 16 Ohms with a sensitivity of 101 dB, the 11 Neo are able to be driver by most sources and achieve a defining volume. While adding an amp in the mix is always a benefit, I found the 11 Neo to be just as enjoyable using my iPod as my iFi stack. These are meant to be on-the-go IEMs so plug them in to whatever you have, push play, and enjoy!
Burn-in
40 hours is what is recommended by Meze, and I highly encourage anyone to give the 11 Neo at least that amount of time before any critical reviews. Bass becomes more controlled, less loose and bloomy, and treble detail definitely comes up a few notches. Overall, after burn-in the sound becomes less ridged and and more natural and balanced..
Value
Stylish, rugged, and great sound, at $59 US one simply can not go wrong with the 11 Neo! In my humble opinion, their timeless design and solid construction warrant a much higher price tag, let alone their competent and scalable sound. I am not sure how Meze managed to release such quality products at the price point they do! While their competitors use cheap plastic and equally cheap cables, Meze gives them the hand and used high quality natural materials with one of the sturdiest cables I have seen on an IEM in this price range, and include genuine Comply ear-tips! Even the standard silicone tips are of higher quality than many IEMs I have purchased costing upwards of 2X the 11 Neo’s price! Being an affordable $59, whether you are a headphone junkie or simply needing a new pair of IEM, the 11 Neo are a bargain!
Conclusion
The 11 Neo’s rugged yet timeless design, balanced sound, and $59 price tag easily give them the upper hand over the competition. Once again Meze has a real winner on it’s hands! Meze never intended the 11 Neo to be a giant killer and compete with flagship models from such established companies such as Sennheiser or Shure, rather offer an affordable, gorgeous IEM that is both a good starting point for those wanting to experience High-Rez audio, or simply needing a great sounding IEM solid and sturdy enough that they can take on the go anywhere. It is clear that the great folks at Meze really care about quality products, and with their recent release of well multiple received headphones is determined to carve out it’s legacy within the headphone community. Kudos to you guys, and keep up the great work!
kokakolia
Hey...I just read this review and it reminded me a lot of the Marshall Major I own. Any experience with those? They're priced about the same as the Meze 11 Neo.
Also, for someone who doesn't buy into buzzwords, you say "High-Rez audio" a lot.
With all things considered, this is a great review!
Also, for someone who doesn't buy into buzzwords, you say "High-Rez audio" a lot.
With all things considered, this is a great review!
Bansaku
@kokakolia Thanks! As for the Marshal Majors (the originals, I believe there is a Mk II), my only experience I have had with them was an in-store listen along with the B&W P5 at a BestBuy, which isn't an ideal place to demo. I actually thought they were pretty decent sounding for the price, and IIRC, the bass didn't extend as low (moderate roll-off) the mids were more U-shaped extending into the lower treble, which sounded like it had a larger than usual 3 KHz notch dug out (which to my ears the 11 Neo doesn't) that extended a little into the range that would cause accentuation of the sibilance, say 5-6 KHz. The funny thing is, again IIRC, that could describe the P5. 
And yes, touché! I did mention High-Rez audio a lot, a term I normally don't like using and instead prefer to simply call it what it is; Music with high dynamic range that hasn't been butchered by massive amounts of compression in regards to both loudness and/or file codecs. But that is quite a mouthful. Just trying to make things more digestible for the sake of the readers, considering Meze did print it on the box.
And yes, touché! I did mention High-Rez audio a lot, a term I normally don't like using and instead prefer to simply call it what it is; Music with high dynamic range that hasn't been butchered by massive amounts of compression in regards to both loudness and/or file codecs. But that is quite a mouthful. Just trying to make things more digestible for the sake of the readers, considering Meze did print it on the box.
Soundaware Esther M1Pro and Analogue: Pure Music Bliss
Introduction
Portable music devices have been cemented into our daily lives for nearly 60 years. The cutting of the cord was born with the Regency TR-1 transistor radio, solidified with the Sony TPS-L2 Walkman, and perfected with the game changing Apple iPod. Nowadays, thanks to the advent of the Smart Phone, virtually everyone has the ability to enjoy their music anywhere and at any time. Gone are the days of the stand-alone music player, the all-in-one/always online/app driven/selfie taking smart device now rein supreme. While convenient as these devices are, there is a trade off to cramming in so much technology into an ever shrinking design; Jack of all trades, master of none. While the general user is seemingly willing to trade off overall quality with a mindset of “it’s good enough”, in the world of audio enthusiasts this approach simply will no do.
The Soundaware Esther M1 line-up of portable digital audio players, or DAP, is the antithesis to todays smart-phones. With homage to the original Apple iPod, the Esther M1 embodies the philosophy of having the absolute best possible audiophile sound rivalling the quality of a stand-alone desktop solution wrapped up in a portable package no bigger than a standard deck of playing cards.
Disclaimer
Soundaware provided me with the Esther M1 analogue and M1Pro as part of the North American Review Tour. I was given 2 weeks to demo the units before I sent them off to the next member of the tour, and was in no way compensated for my words. This review is objective and honest, free of bias.
About Me
38 years old, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both electronics and sound (Electro-Acousto aka The Path to Golden Ears). While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Headphones used in testing:
PSB M4U 1 | Meze 99 Classics | Grado SR60i | Polk Nu Voe | Shure SRH440
AKG - Q701 / K240 Monitor 600Ohm
Sennheiser - HD 600 / HD 598 / Momentum
Specifications
- Size: 115mm * 59mm, the thinnest thickness of 14mm, holding thickness about 15mm
- Weight: about 175g
- CS5398 DAC
- 6 Layer gold-plating PCB
- Ultra low noise crystal oscillator
- Dual Femtosecond FPGA Clocks (M1 Pro)
- Sampling rate: 32khz-192khz, DSD (SACD)
- Format: MP3, WMA, AAC, ALAC, M4A, CUE, WAV, FLAC, APE, ISO, DSF, DFF etc.
- Storage: TF * 2 (single maximum support 128GB, future support will be greater), NTFS, FAT format
- Playback time: normal listening about 9 hours
- Line Output: 1.4V RMS
- Coaxial output: 0.5V p-p, PCM & DSD (DOP)
- Screen: 2.4 inch high resolution Sharp IPS hard screen
- Distortion + Noise (headphone output): <= 0.002% (44.1khz, 1khz DS3)
- Dynamic ratio (headphone output):> = 110db.
- Background noise (headphone output): <=-130db.
- Amp analog output: 2.8V RMS highest, 97% volume output, distortion <= 0.003%, desktop class AB amp circuits, power output, third gear gain
- 16 - 300 Ohm recommended headphone impedance
Simply by reading over the listed specifications, how can one not be utterly impressed! Of course, numbers tell only a small story, can be misleading, and may not be indicative of the units actual performance. Does the Esther M1 hold up to Soundaware’s claims? One word: Absolutely!
The Package
As someone who has been in warehousing and manufacturing all my working life, I personally subscribe to the philosophy of ‘ It is telling of a company’s commitment to quality the moment the customer opens the box. ‘ and Soundaware recognizes and understands this way of thinking. Upon gazing at the Esther’s box, Soundaware truly make one feel like they have received a premium product. A nice faux leather burgundy skin is accented by gold leaf lettering, and the main unit and accessories sit nicely in place the in their sturdy slotted velvet lined box. Although not pictured, even the box’s lid has a rather thick foam pad lining to the underside, ensuring that nothing gets jostled inside the box. This was a nice change to what I am used to when unboxing, which usually amounts to plain white cardboard, plastic blisters, and packing foam held in place by plastic ties.
Inside the box Soundaware includes all accessories needed for complete functionality and compatibility.
- Esther M1 body
- TF card
- USB charging cable
- Micro SD USB card reader
- User manual
- Rubber pad *
- Paper with fast user manual
* I did not receive with my review units
What is interesting was that I received a couple extra goodies not listed. The first was a rather nice quality 3.5mm to RCA digital coaxial cable. This was not a standard pack-in. Given the quality of the cable and my need for one this was a pleasant surprise. The second unlisted item was a sheet containing a stick-on vinyl skin! Nice! Although I did not actually stick them on, their texture and quality of the adhesive seemed like they would both protect well while being rugged enough to not wear off. In all honesty, it was very very difficult for me, as a child of the 1980’s, to not go all G.I. Joe/Transformers and put the stickers on the Esther! I almost did, for the sake of science (and the review), but instead I found images from the user @shield that show what the M1 looks like all decked out in sticker goodness!
Design
As the saying goes, “ A picture speaks a thousand words. “, so I will leave all the describing to your eyes.
Overall, I found the design of the Esther M1 to be both functional and elegant. The unit is both small enough and light enough to carry around without feeling like their is a brick in my pocket. I actually appreciate the slightly beveled screen as well as raised face buttons that give a nice tactile feel, which in turn helps finding the orientation of the device. While out and about I had no trouble reaching into my pocket and easily changing finding the buttons to change track or raise the volume.
The Sound
The Esther M1 is a true class AB DAP. Making use of hand pickled boutique components, coupled with the very capable CS5398 DAC, the M1 faithfully reproduces the music with great detail and clarity without the often criticized sharpness that a class D device would typically produce. While the analogue sound smooths over the sharp peaks it does so without any loss of detail. For those who are familiar with tube amps and buffers, the M1 offers a very similar sound, but without any discernible colouration or distortion. I would describe it as standing on a hot beach in the tropics with a cool breeze blowing across your body, or for people such as myself that hail from the North, sitting in an outdoor hot tub in January. In other words, a perfect balance of warmth with the right amount of crispness.
The sound.. what can I say about the sound… so many words in the English language to choose from! Smooth, liquid, detailed, expansive, warm yet crisp, highly resolving, emotion, engaging, musical bliss, pure uncoloured analogue perfection! I have purchased many portable digital audio players over the years ranging from expensive CD players, flash drive/ card based, CD-ROM and early HD models, cheap dollar store iPod wannabes, and every iteration of iPod/iPod touch. Last year I even spend a full day demoing FiiO and Sony DAPs and portable amps ranging from $99 to $600 CND, walking away empty handed as I felt their price and overall sound didn’t warrant an upgrade from my 6th Gen. iPod touch. Until the Esther M1, I never thought it was possible to produce such wonderful sound out of any portable device, especially one that rivals many high end desktop solutions!
In terms of frequency response, the M1 does not add nor take away. To my ears, I would describe it as as flat as flat can get. It really is no different that what I hear out of my iPod and iPod touch, which is great as iDevices are known for their uncoloured, neutral output. Despite sharing a flat response, the differences end there; The M1 utterly destroys the iPod (and most everything else in it’s class) in terms of transparency and resolve! The M1 gives an excellent sense of scale and layering. It mattered not if I was listening to my Momentums or my HD 600, the M1’s ability to render the finer details was impressive! From the subtlest whispers of a choir, to the excitement of heavy metal transients, the M1’s grip on the sound was absolute!
What really impressed me the perfectly black the background! As mentioned, I am no stranger to DAPs. It’s almost a given that a cheap throwaway player will undoubtedly produce a hiss, especially at higher volumes. What surprised me was just how noisy both my SoundBlaster E3 and iPods were! I thought both were pretty silent. I could not hear any discernible hiss at any volume level, even with my IEMs. That all changed when I played a ‘ digital pure black test track ‘ through all my devices and cranked the volume. I was shocked at what I heard, even on my iFi stack; Faint noise… Though under normal listening conditions I would not normally hear any noise, and would consider their backgrounds to be pretty black. Playing the same file with the M1 produced absolutely zero noise. It mattered not if the volume was 1 or 100, it was as if the device was powered off! Coloured me impressed! Now to be honest, I had never done this test before as I never knew such a test file existed until recently, so this was rather new to me. The revelation was a real eye opener!
I am not sure what more I can put to words. Unlike headphones, a DAP is supposed to sound only one way; Correct. There is no sense covering things like the finer details of the mids or the overall size of the soundstage as these points will change from headphone to headphone. All I can tell you is that the Esther M1 reproduces music with such authority, clarity, transparency, blackness, and emotion, it allows the listener to experience the finer details that make up each song and accomplishes what the artists set out to do; Touch the listener’s inner soul!
M1Pro vs M1 Analogue
The only difference between the Ether M1Pro and the M1 Analogue besides some higher quality capacitors is the Dual Femtosecond FPGA Clocks present in the former. This accounts for the $180 difference is price between the two, but is it really worth the added cost? Absolutely! While both devices share 95% of the internal circuitry, they don’t share 95% of the sound. Their sound is extremely close, including overall refinement, the M1Pro does possess greater overall transparency. A good analogy would be listening to the M1 Analogue would be akin to looking out through a perfectly transparent and flawless pane of glass, the type that bumbling dads and magpies crash into in a Windex commercial. The M1Pro would be like removing the glass all together, exposing the breeze and rays of sun. Listening to the M1 Analogue first, I was blown away with the sound I was hearing compared to my iPod (and to a lesser extent, my iFi stack). If that was the only unit I had I would be more than content with the sound. However, once I moved on to the M1Pro, there was simply no turning back. The layers of invisible grain were pulled away, exposing a greater sense of life and realism in the recordings.
Software/Firmware
Love it or hate it, the software of the Esther can be describes as to-the-point. It is a familiar design of basic contextual menus each containing sub-categories. If you have used an old iPod, you would feel quite at home using the M1’s interface. There is nothing fancy, no bling, no bells or whistles, just what is needed and nothing more. Personally, I absolutely love the interface. It’s simple, it doesn’t require a high learning curve nor does it overcomplicate, and most important very easy navigation.
Moving from one category to the next and from within the contextual itself is easily done so using the track forward/back buttons and the up/down arrows, with the play/pause button being the ‘action’ button; To exit out of a category and go back one section is accomplished by hitting the ‘return arrow’ (the top left button with the half looped arrow). However if the user wishes to return back to the current playing song it is as easy as hitting ‘M’ button (which I assume means Menu/Music), and vice versa to return to the last used menu. I appreciate this feature as it alleviates the need to constantly back in and out of the menus one screen at a time. Overall, the navigation was snappy with no discernible delay. Controls were responsive, and thanks to the tactile feedback of the bottoms, easy to pull off.
The pictures below show each category and sub category. They are all self explanatory, so much so that I will not be going over each individual one. If you have a basic understanding of your language, you will have absolutely no issues figuring out what each selection does. Kudos for Soundaware for making things very easy and straight forward to understand.
File compatibility was as listed. No matter what file type I threw at the Esther, it played without a hitch. However, not all files are created equal! I did have some issues playing certain Apple Lossless files (ALAC). Depending on what programs were used to encode the file (i.e. iTunes vs XLD), some ALAC simply would not play. In fact, they would not only refuse to play, they would crash the M1 causing the unit to reboot! Besides, ALAC not playing, it seems depending on the file type, ID3 tags and album artwork refused to show. This mostly affects AIFF and WAVE files, with MP3 and certain FLAC displaying their tags and art correctly. Adding to this inconvenience, gapless tracks/albums were played with gaps. Not an issue really, more of an annoyance for some. Personally, the gap between tracks did not bother me nor distract from my listening experience as my gapless albums mostly consist of 4-5 very long songs.
In terms of software stability, I found the Esther to be incredibly solid and reliable. While both the M1Pro and Analogue had a few snags along the way, it really was my own fault for pushing the device. Under normal listening sessions ranging from a few minutes to hours, not once did the Esther crash, hang, or reboot unexpectedly. It wasn’t until I was rapidly switching songs, all 24/96 or better, on random, that either of the M1’s crashed. From my experience with technology, in my enthusiast opinion, this wasn’t so much a problem with the software or hardware of the Esther, rather the quality of the supplied microSD card. It simply could not handle the data rate at which I was pushing, and as a result, the M1 couldn’t cope.
One annoying issue I came across that I personally dislike is the fact that when the screen is powered off, one must double tap the controls, with a delay between taps, if one wishes to change tracks. The first tap is to essentially wake the screen, the second tap actually does what the user is wanting in the first place. I find this very annoying as habit has taught me that only one tap is needed for virtually every other digital music player I have used over the past 20 years. If there was one issue that I personally think needs addressing before all others, it is this. Granted, the device drains so little power with the screen on, it is just as easy to have the screen at a lower brightness and keep it set to always active. However, given that this is an odd behaviour it really should be remedied.
Overall, I found the software/firmware of the Esther M1 to be quite satisfactory. Sure, there are a few snags and niggles, but what software doesn’t? Most of the issues could easily be resolved with a much needed firmware update, one that Soundaware is currently issuing to the reviewers on the tour. Unfortunately I received the update just as my time was up and needed to ship off the units too the next member on the list before I could install and test the new software. Regardless, if I were to purchase an Esther M1, I would personally be fine with the firmware if it was the same that was installed on my review units.
Power Output
Soundaware recommends using the M1 with headphones and IEMs ranging from 16 - 300 Ohms, which pretty much has everyone covered. Included in the software options is the ability to change the power output from Low, Medium, and High. After testing all three settings, I have come to the conclusion that the first two are not needed. The volume stepping is in 1% increments, so fine tuning the volume to match your headphone’s impedance is simple enough, negating the need for the lower settings all together. It mattered not if it was my Polk BA drivers, Apple EarPods, or my HD 600, high gain proved to work well providing proper amplification gain with no discernible hiss.
The M1 provided enough power to drive every headphone in my inventory, including my 600 Ohm AKG 240 Monitors to satisfactory levels. However, the output impedance of the Ether is listed at 10 Ohms, far greater than what I am used to with my iPod touch (1.4 Ohms) and my iFi iCan micro SE (virtually 0 Ohms). This of course can cause issues in the form of frequency attenuation or distortion in lower impedance and sensitive headphones. While I don’t have any super sensitive headphones, my Polk Nue Voe would be the closest thing. Their sound signature is very warm, so I was concerned that the M1 would kill off some of the treble, and it did. Upon listening I could hear right away that what little sparkle and shine they did have was in fact diminished. Not to the point of gone all together, but enough to be noticeable. In regards to my full sized on-ear headphones, their performance was spot on, with no discernible changes in their overall frequency response. Essentially, they all sounded like they should. The M1 provided enough power to make them all sing, driving them to defining levels without distortion.
However, there were two headphones to note due to their unexpected behaviour; The AKG Q701 (62 Ohm) and the PSB M4U 1 (32 Ohm). The Q701, having neutral bass, seemed to have lost a a dB or two in it’s response. I wouldn’t call it thin sounding, but given the class AB design and overall warm analogue sound of the M1, I assumed that out of all my headphones, the Q701 would benefit more in the low end, but instead it softened it! In regards to my M4U 1, the exact opposite occurred! The PSBs have great bass extension that is north of neutral, and their control on the low end is masterfully done; No bloat, no strong internal resonance, as fast as greased lightening. No matter what type of bass boost I apply, I just can’t get any looseness out of the lower end what so ever! When listening to the PSB with the M1, it blew my mind how much of a lush increase in bass I was hearing! Detailed, controlled, layered, yet somehow the M1 gave them not only a harder slam, but a bit of analogue elastic-like looseness that made everything that much more enjoyable! This alone would sway my purchase towards an M1 over the competition! But like most headphones, and one’s own ears, YMMV!
Connectivity
The Esther M1 provides the user with 3 different ways to connect the device via 3.5mm jacks: Headphones out, Line out, and Digital Coaxial out, all with jack detection. Headphone out is pretty self evident, so I won’t bother covering this. Line out works as it should, and sounds fantastic playing through my iCan micro SE! I must say whether it was M1—>iCan—>headphones or iDAC—>iCan—>headphones, the stand alone M1 gave my iFi stack a run for it’s money! The only issue I have with line out is that it is still dependant on volume. Soundaware recommends setting the volume to 90% for line out for most devices to prevent distortion. I can see the logic in this method as not all amplifiers have a consistent input voltage, so having the ability to fine tune to your device is a welcome addition. Personally, I would prefer it that the software automatically sets the volume to 90%, and lets the user fine tune after the fact.
Digital Coaxial output works as expected. I had no issues by simply connecting the M1 to my Yamaha receiver, selecting the right input, and pressing play. What surprised me is that using the M1 as a transport device via coax produced a much cleaner, more transparent sound than connecting my Yamaha to my computer via TosLink. A good comparison would be a 1080P video playing through a Component Video cable vs an HDMI. The sound is much warmer, more lush, more natural texture and a nice smoothing over of the digital sharpness! In essence it became more natural to my ears, regardless of the fact that it was the AKM DAC inside the receiver doing the work and not the M1. I often have read that this is simply indicative of COAX vs TosLink, and now that I have experienced the difference first hand, call me a believer!
Battery Performance
Soundaware claims up to 9 hours of playback for normal listening. I can only conclude that “normal listening” refers to how one would go about using the M1 throughout their day at moderate volume levels with a pair of 32 Ohm headphones. My personal experience concurs with their claim. I was able to squeeze out 8-9 hours of playback playing only lossless AIFF ranging from the standard 16/44 to 24/192 with a few DSD albums thrown in the mix. What surprised me the most was the fact that whether the display was active or not the drain on the battery was virtually identical. Over the source of 4 hours I had the M1Pro and M1 Analogue playing side by side, one with the display active and the other not, and the results of the battery drain were within 5% of each other! I guess you can say OLED FTW!
While battery performance during playback was great, the M1 does have some quirks. Firstly, when in standby mode, the drain on the battery is substantial. With a full charge, the M1 in standby mode will drain the battery by 60% if left overnight! Of course one can remedy this by either plugging in the unit when not in use, a habit we all have become accustomed to thanks to our smart phones, or simply powering the device off. The second quirk is that Soundaware recommends you have the M1 attached via USB when powering on the device from a power down option, with the actual device warning you to do so when choosing the option from the menu. Honestly, I often forgot and had no issues powering on the M1 from a shutdown without the deice connected via USB.
Value
Priced at $520 for the Esther M1 Analogue and $700 for the Esther M1Pro, these DAP are not for the average consumer looking to simply “play music”, instead they are geared towards the audio enthusiast who wants an audiophile sound in a portable device. They way I tend to look at pricing vs needs can be compared to a commuter choosing to purchase a Kia rather than a Cadillac. Both vehicles will get you from point A to point B, the difference being one will get you there with total performance and comfort. Not everyone cares about lossless HighRez and DSD let alone paying out the cost of an average smartphone just to play music in which the latter does, and more. However, there are many out there who want the absolute best sound, and dropping $500+ to achieve this goal is not unreasonable; The Esther M1 are for these people.
Conclusion
I must say, two weeks to demo the Esther M1Pro and analogue went by much too quickly. As the saying goes, “ Once you hear something, one can never un-hear it! “ and compared to my iPods, the Esther’s are the epitome of that statement. Simply put, I never thought it possible to squeeze so much audio goodness into such a small and attractive package. Despite some software quirks, I can not find a negative to say about either the M1Pro nor Analogue. Small and light weight, battery performance “as advertised”, simple and easy to use UI, and an absolutely gorgeous and amazing listening experience, Soundaware set the bar for what I look for in a DAP. It is unfortunate that given my current financial situation, by the time I can afford an Esther M1Pro or Analogue both will be antiquated, but I do thank Soundaware for giving me the opportunity to experience not only what you have to offer, but redefine what I though was possible in a small and attractive device. I would whole-heartedly recommend to anyone looking to experience the absolute best sound possible in a portable device where price is not an issue to look no further than the Soundaware Esther M1Pro or Analogue.
Intro
Meze Headphones is a company with a simple philosophy; Motivation, Values, People. With a passion for art and music, achieved through patience and dedication, Meze design timeless masterpieces. Ignoring current trends that come and go with the seasons, influenced by none, they create headphones as if for themselves. Consisting of passionate specialists, with backgrounds in sound engineering, design, crafting, and music, the team has stood by their company’s values since the beginning.
My first experience with Meze Headphones was shortly after the release of their 88 Classics. A couple years back my travels took me to a “men’s den” gift shop. The first thing I noticed upon entering the store, nestled between a rare Italian marble chess board with dragon forged obsidian pieces and a diamond crusted Zippo lighter made from platinum and unobtanium, was a gorgeous and unique looking headphone hanging on a stand behind a locked glass display case. I had recently watched several glowing reviews of the 88 Classics from my tech-news sites, so I walked away disappointed to not be able to demo them. (For the record, I did ask.)
To celebrate the launch of the 99 Classics, Meze set up a North American review tour exclusive to Head-fi. Needless to say, I jumped on the opportunity and was one of the first responders. To my pleasant surprise, I was chosen for one of the spots in the Canadian leg of the tour! However, my good fortune was about to take a turn for the better. Taking second place in iFi’s iCAN micro SE Intergalactic launch competition, I won myself my very own pair of 99 Classics! This is awesome as I would have been very very sad to have to send off the review pair to the next tour member after only one week of use.
Disclaimer
This is the tricky part, and I had to think a lot on how to go about this review. While I am part of the Canadian tour and obligated to write an honest review of the 99 Classics, I do own them personally. After much thought, I decided why does it matter? The fact is, I absolutely love the 99 Classics design and their sound. Review sample or not, in the end my words will be honest and objective, nothing more.
About Me
37 years old, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both electronics and sound (Electro-Acousto aka The Path to Golden Ears). While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Specifications
Accessories
For more information and nice eye candy, head over to the 99 Classics website.
To read up on general discussion and impressions, check out the official thread here.
Design & Ergonomics
Each pair of 99 Classics takes about 45 days to perfect, and it shows. Taking 18 months to cure before being CNC carved, each walnut ear cup has it’s own unique grain with no two cups looking alike. The metal hardware is a cast zinc alloy with electroplated coating, and are fastened to the spring steel headband with screws and nuts; There is zero adhesives and plastics used in their construction! Both the memory foam ear pads and the headband are made of a soft polyurethane leather.
Despite the use of wood and metal in the 99 Classics’ design, the headphones are incredibly light, weighing in at 290 grams. Thanks to the extra wide headband and the double-wishbone style of the spring, wearing the 99 Classics feel almost weightless; The headband extends to a perfect fit every time. Clamping force is extremely tolerable, with very little discomfort coming from the ear pads. This combination of design features ensures for long term wearability. I would like to note that while personally I find the ear pads to be both wide and deep enough for my ears, some might find the fit to be on the small side. Meze has taken the initiative based off from reviewer feedback and are working on slightly larger/deeper ear pad design. Overall though, the pads do offer pretty good sound isolation from the outside world yet offer virtually 100% sound leakage at moderate to high volume.
In regards to the included cables, Meze did not overlook their appearance and design. The detachable cloth sleeved cables are of the Y-design, meaning that the left and right channels connectors are separate. I have to commend Meze for using this connection method as I am not fond of the single insert cables. With no cable running through the headband, not only is there less microphonic noise, but less potential for channel imbalance due to unequal cable lengths, all while making the 99 Classics more user serviceable. All three of the 3.5mm plugs, as well as the Y-split have gold and black metal housings featuring seamless rubber stress reliefs. There is some microphonic noise when the cable is rubbed after the Y-split, but it is not too bothersome. I do have to give mention to the control-talk module as well. It's design is quite functional with an easy to locate rubber button that gives the user tactile feedback when pressed; You will never wonder if you are depressing it enough or not. I would also like to add that clicking the button once activates play/pause/answer, twice is to skip to the next track, and three times for previous track. Unlike most single button control talk units I have used in the past, I have yet to experience an instance where the 99 Classics' control talk button failed to register my click. Bravo! However, I do have one minor gripe. If I had to make a suggestion, the unit should be lower down on the cable to avoid inaccessibility when wearing collared outerwear. Inside while at my desk or on the couch, it's not an issue.
*Pictures taken by me using my iPod Touch
First Impressions
Inside and out, Meze presented me with a product that radiated elegance! The outside of the box is stunning; Against a matte black background with the words “Meze 99 Classics Gold, Designed by Antonio Meze” in gold, the embossed glossy outline of the 99 Classics could be seen. Upon opening the magnetic latch, I was immediately greeted by the stylish moulded hard travel case with a metal Meze logo in black and gold shinning up at me! Taking the 99 Classics out of their case, all I could do is stare; They looked absolutely stunning! The combination of the black and walnut with gold accents is tastefully done. Every screw, every line, every angle, and every curve serves the purpose of both function and aesthetics; The design and craftsmanship are an awe-inspiring work of art! I will admit, I did stare at myself in the mirror wearing the 99 Classics, capturing every nuance of their design from all angles.
Once I finished admiring the 99 Classics’ design, fit, and comfort, it was time to put them to the test. To be honest, I did not know what to expect in terms of sound. Too many times I have been tricked into purchasing headphones based off from misleading advertising and over-hyped reviews so I am always expecting the worst (despite my optimistic outlook on life). It only took seconds into the first song for all reservations I had to vanish; The 99 Classics’ sound was beyond my expectations! Track after track, no matter what the genre, I was impressed!
Sound - The Basics
Meze promotes the 99 Classics as having a balanced sound that is crisp and clear. Adding in warmth, I whole heartedly concur. Across the whole frequency spectrum, the 99 Classics remain solid with no exaggerations or peaks. The overall sound is liquid and transparent with excellent extension and detail, yet remain non-fatiguing to the ears. The transition from bass to mids to treble is incredibly smooth, with no bleed or bloat.
Bass - Slightly north of neutral, bass is powerful and prominent. Sub-bass extends very deep with just the right amount of weight as to not overpower the rest of the upper frequencies. Mid-bass, while relatively flat, does have a slight hump giving the 99 Classics a touch more punch. However, much like the sub-bass, mid-bass does not bleed into the lower-mids. Overall the speed of the bass is quite fast and controlled though there is a small bit of looseness in the sub-bass, giving the resonance a touch of rumbley fun.
Mid Range - Impressively neutral, detailed, and transparent. The mids are neither recessed nor elevated, simply flat. This does not mean the 99 Classics are boring, or too analytical, quite the opposite. Possessing both body and breathe, vocals are beautifully rendered with zero peakiness or accentuation to the sibilance. Instruments are nicely detailed with excellent texture and transparency; There is no grain to be heard.
Treble - Despite having a balanced frequency response, treble does take a slight backseat to the mids. However, this does not translate to being modest, recessed, or having an early roll-off. Quite the opposite in fact. Treble is crisp and clean with fantastic extension; The sound is fairly airy and detailed with just the right amount of sparkle and shine. There is no exaggeration in the mid-treble, the classic 6 KHz spike that would add to the potential harshness of the sibilance or add piercing glare, nor is there any peakiness at 10 KHz region that adds fatigue.
Soundstage - While the 99 Classics are of a closed back design the soundstage is slightly above par, giving the listener a good sense of 3D/holographic imaging. Left/right and up/down are of equal width, with the front/back width slightly behind. Instrument separation if great, never sounding congested or cramped. Although due to the warm, wood tone of the sound signature, holographic imaging does suffer a touch in comparison to the rest of the 3D sound-space. Overall, the 99 classics soundstage can be described in one word: Intimate.
Sound - Music
With the exception of a few, I listen to virtually every genre. What impressed me about the 99 Classics is their ability to handle every genre flawlessly. From Classical to Heavy Metal, Jazz to Electronica, I was never let down by their ability to do the song justice! I would like to point out that if the track is poorly mastered, or an mp3 of a low bit-rate, you will notice the flaws. On the plus side, high bit-rate/Hi-rez music will sound absolutely flawless!
Listening to the audiophile classic Spanish Harlem - Rebecca Pidgin is a must for all music lovers. I always turn to this song as a test of a headphone’s dynamics, and the 99 Classics did not disappoint. Rebecca’s voice was well rendered, with a good sense of naturalness. The sibilance of her voice can pose problems for headphones of all quality, including ones that cost numerous times more that the 99 Classics, but not so here! Every note was pitch perfect with an airy naturalness. The bass had excellent definition and weight yet played perfectly, un-obscuring towards the rest of the sound. Each draw of the bow across the violins had texture and resolve. Every shake of the rattle sounded unique, and could be easily discerned. The piano was well rendered without glare or congestion.
Stravinsky’s The Royal March - Soloist New York is an excellent track to demonstrate a headphones ability to handle transients. Between the brass, strings, and percussion, this song features powerful transients. To fully appreciate the 99 Classics ability, I turned up the volume to above average listening levels. What I was presented with was an awesome sense of excitement! The drums were tight and taut, never sounding dull, sluggish, or lacking definition. The horns sounded crisp and clean, well defined with excellent ear-tickling bite! Cymbals splashed with very fast and accurate attack, sustain, decay, and release. The bass-strings resonated deep with both speed and definition.
While the 99 Classics have the ability to render music of the more ‘natural’ variety admirably, their ability to handle the modern sounds of Pop and Electronica is equally fantastic. A mix between techno, jazz, and classical, Mona Lisa - Juno Reactor is a good example of fast and pumping modern sound. Bass is very fast and tight, with the sub-bass blooms rendered with the right amount of weight. The tribal drums are relentless in their assault, with each palm strike of the skin being easily discernible over the rest of the beat. Background vocals were upfront and mesmerizing, the strings had great dynamics, and the horns bite hard! This song can get very busy, yet the 99 Classics hold their own, never missing a beat nor subtle effect!
Binaural tracks really excelled through the 99 Classics. I was happy to hear that despite the warm wood tone impending the sense of holographic imaging, binaural tracks did not suffer. Compared to a lot of closed back headphones I have owned/heard, the 99 Classics were able to render the imaging with greater accuracy. David Chesky sounded like he was in a large cathedral 30’ away as he walked up to the microphone and whispered into my ear; His breathe could be felt on my ear! Likewise, Edgar the Barber’s virtual haircut sounded equally impressive, giving me a good sense of moving his scissors around the sides, top, and back of my head. And yes, it did make my ears flinch a little.
I know it’s kind of an odd area to touch on, but what really impresses me about the 99 Classics is their ability to handle electric guitar distortion. Whether it’s the raw sound of Heartbreaker - Led Zeppelin, the masterfully recorded classic 2112 - Rush, or the newly release Dystopia - Megadeth, I was not let down! Their ability to handle fuzz, squeals, wails, crunch, distortion and noise without butchering the sound or bleeding my ears is nothing short of impressive; The 99 Classics distort like a champ!
Lastly, I present to you what I call the ‘Captain Tractor Test’. Captain Tractor hails from my home city of Edmonton. Well traveled and decently know, they have been around for more than 20 years. Their sound can be described as Indie, with a mix of maritime folk and prairie rock. I have seen them play live in numerous venues, big and small, acoustic and amped, probably close to 30 times. Simply put, the 99 Classics pass the test with flying colours! Absolutely perfect! Closing my eyes, I am placed in the sweet spot in front of the band! Every singer, every instrument sound flawless!
Sound - Movies, Games, and General Use
Movies & games are perhaps the most overlooked uses of headphones in many reviews for many headphones. In fact, for the 99 Classics I have yet to find a single mention here, or various other tech and review sites in regards to movies, video games, and every day use such as YouTube and Podcasts. Rest assured good folk, I got this covered!
As a child of the 1980’s, I love giant robots and monsters hell bent on destroying man-kind. For this reason, Pacific Rim has been my go-to movie to demo equipment; The first 15 minutes of the movie is simply awesome! The movie starts off with a short narrative of the back-story, segueing into the plot’s present day scenario. Two Jaeger pilots, brothers, are awoken out of bed and changed with defending the city of Anchorage from a giant killer monster; The Kaiju. This movie’s sound engineering is phenomenal, with so many subtle and mundane sounds mixed with an epic, heart pounding soundtrack, Pacific Rim puts A/V equipment to the test. Normally I am listening for things such as the crackle of a fluorescent desk lamp warming up, the beating of the rain upon metal, how centred and clear the dialogue is, or how well I can hear the action over the soundtrack. However, while watching Pacific Rim with the 99 Classics I found myself so drawn in the next thing I realized is that I had watched 75% of the movie; I had to go back and re-watch the prologue again! Simple put, the 99 Classics offer a detailed and engaging sound. Every subtle and nuanced sound was easily heard, the dialogue remained completely centred and concise, and the music pounded my ears yet never treaded upon nor overpowered the other sounds in the mix.
Because of their tweaked-neutral sound signature, gaming with the 99 Classics was also a treat. I find that while clean and clear, the majority of competitive gaming headsets offer nothing in terms of excitement, mostly due to their too flat sound signature and lacking in bass weight. The 99 Classics once again performs admirably with modern games of all genres. Spells, attacks, and the screams of hell-spawns in Diablo III were wonderfully rendered with excellent separation and clarity. I had absolutely no trouble hearing and pinpointing the sound of a Treasure Goblin amongst the horde of dozens of demons and undead trying their best to thwart my efforts of sending them back to the underworld! The beautiful Classical-Gregorian score sounded as dynamic as it was haunting, with each instrument possessing wonderful texture and resolve adding to the dark atmosphere of the game’s locations. Dialogue came across as centred and clear, with 3D positioning of on screen characters well represented. With games like Fallout 4 and Dying Light, 3D positioning and accurate location of sounds is critical to surviving. You must know where the dangers lay or else one can easily be caught off guard by an unruly group of individuals who want nothing more than to put and end to your life. I again had no issue being able to locate my enemies in the 3D soundscape; I never had to listen too hard to hear every nuanced environmental noise and sound. As both games are heavily story driven there is quite a bit of dialogue. Much like movies, voices were well rendered, sounding clean and natural.
Given their excellent performance in regards to dialogue in movies and games, it’s not surprising that the 99 Classics sound great listening to online media. Commentary in Podcasts and YouTube vloggers sounded clear, centred, and natural. No one’s voice sounded muffled, boomy, or overly sibilant. Because of the 99 Classics’ design, I had no issues listening to hours of YouTube with no discomfort on my inner-ears nor my head. The ear-pads did get a little warm, but never did I find them getting sticky or sweaty.
Sound - Summary
The 99 Classics do so much right offering a detailed, liquid smooth, engaging, and fatigue free listening experience. I simply could not find a fault with their overall transparency and resolve. While not in the same echelon as the Sennheiser HD800, they are easily in the same league as the Momentum offering a very similar sound in terms of both detail and sound signature, which to be honest is the type of sound I prefer in headphones. Unlike the latter, the 99 Classics offer the same balanced sound but with a sprinkle of pizzaz added in. Some audiophile purists may consider Meze’s tweaking to be more consumer friendly. I myself prefer to think that the 99 Classics are geared towards audiophiles who want to step away from analytical for a while and just relax with a smooth yet detailed and fun sounding headphone.
Amping
With an impedance of 32Ohms and a sensitivity of 103dB, the 99 Classics are efficient enough to be powered by virtually anything with a 3.5mm jack. Whether it be a Gameboy Advanced, HDTV, iPod Classic or iPod Touch 6 Gen, I never had to go above 50% volume to reach a moderate listening level. For both my Creative E3 and my iCAN micro SE (0 dB gain) I never had to go above 25%. As efficient as the 99 Classics are, I highly recommend giving them the love they deserve and pair it with an amp worthy of $300 headphones. For example, with both the E3 and iPod Touch, the bass sounds loose and less controlled than it does with the iCAN micro. In fact, pairing with the latter, the 99 Classics’ bass is more in line with what audiophile purists prefer.
Burn-in
40 hours is what is recommended by Meze, and I highly encourage anyone to give the 99 Classics at least that amount of time before any critical reviews. Bass becomes more controlled, less loose and bloomy, and treble detail definitely comes up a few notches. Overall, after burn-in the sound becomes less ridged and and more liquid.
Value
The question begs, at a MSRP of $309 US, are the 99 Classics a good value? Absolutely! If I had not won my pair of 99 Classics, after spending a week with my tour pair would I have any reservation about purchasing my own pair? None! As mention earlier on in this review, I would have been very very sad to send the headphones off to the next reviewer. Their detailed and smooth sound coupled with gorgeous, timeless beauty through suburb craftsmanship are truly a welcome addition to anyone’s collection, including my own. Adding in the moulded hard travel case, 2 well crafted cables, and accessibility of the components definitely adds to their long term value. Eventually I am going to purchase a stylish mannequin head and proudly display the 99 Classics in my living room amongst my other cool items I like to show off.
Conclusion
If you are a headphone junky who wants to add to their growing collection, rest assured that the 99 Classics will be a proud addition. If you are simply someone in the market looking to find a headphone that offers a detailed fatigue free yet dynamic sound, you can’t go wrong choosing these over the other more well established brands. With a price of $309 US, Meze Headphones has a real winner with the 99 Classics. Combining a smooth and natural listening experience that promotes a timeless design in a visually stunning package all while maintaining superb fit and comfort, there are few reasons not to fall in love with these headphones. My hat’s off to you, Antonio Meze, and your team of professionals; You have made a fantastic headphone!
Meze Headphones is a company with a simple philosophy; Motivation, Values, People. With a passion for art and music, achieved through patience and dedication, Meze design timeless masterpieces. Ignoring current trends that come and go with the seasons, influenced by none, they create headphones as if for themselves. Consisting of passionate specialists, with backgrounds in sound engineering, design, crafting, and music, the team has stood by their company’s values since the beginning.
My first experience with Meze Headphones was shortly after the release of their 88 Classics. A couple years back my travels took me to a “men’s den” gift shop. The first thing I noticed upon entering the store, nestled between a rare Italian marble chess board with dragon forged obsidian pieces and a diamond crusted Zippo lighter made from platinum and unobtanium, was a gorgeous and unique looking headphone hanging on a stand behind a locked glass display case. I had recently watched several glowing reviews of the 88 Classics from my tech-news sites, so I walked away disappointed to not be able to demo them. (For the record, I did ask.)
To celebrate the launch of the 99 Classics, Meze set up a North American review tour exclusive to Head-fi. Needless to say, I jumped on the opportunity and was one of the first responders. To my pleasant surprise, I was chosen for one of the spots in the Canadian leg of the tour! However, my good fortune was about to take a turn for the better. Taking second place in iFi’s iCAN micro SE Intergalactic launch competition, I won myself my very own pair of 99 Classics! This is awesome as I would have been very very sad to have to send off the review pair to the next tour member after only one week of use.
Disclaimer
This is the tricky part, and I had to think a lot on how to go about this review. While I am part of the Canadian tour and obligated to write an honest review of the 99 Classics, I do own them personally. After much thought, I decided why does it matter? The fact is, I absolutely love the 99 Classics design and their sound. Review sample or not, in the end my words will be honest and objective, nothing more.
About Me
37 years old, I grew up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. I was further educated in this self interest after taking courses in both electronics and sound (Electro-Acousto aka The Path to Golden Ears). While I believe a listener’s preference in sound is subjective, the science behind it is not. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere.
Specifications
- Transducer size: 40mm
- Transducer Type: Dynamic Neodymium / Mylar
- 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
- Ear-cups: walnut wood
Accessories
- 1.2m OFC cable with 1-button control talk module
- 3m OFC cable
- Airplane adapter
- 6.35mm adapter
- Cable pouch
- Headphone travel case
- Manual/Stickers
For more information and nice eye candy, head over to the 99 Classics website.
To read up on general discussion and impressions, check out the official thread here.
Design & Ergonomics
Each pair of 99 Classics takes about 45 days to perfect, and it shows. Taking 18 months to cure before being CNC carved, each walnut ear cup has it’s own unique grain with no two cups looking alike. The metal hardware is a cast zinc alloy with electroplated coating, and are fastened to the spring steel headband with screws and nuts; There is zero adhesives and plastics used in their construction! Both the memory foam ear pads and the headband are made of a soft polyurethane leather.
Despite the use of wood and metal in the 99 Classics’ design, the headphones are incredibly light, weighing in at 290 grams. Thanks to the extra wide headband and the double-wishbone style of the spring, wearing the 99 Classics feel almost weightless; The headband extends to a perfect fit every time. Clamping force is extremely tolerable, with very little discomfort coming from the ear pads. This combination of design features ensures for long term wearability. I would like to note that while personally I find the ear pads to be both wide and deep enough for my ears, some might find the fit to be on the small side. Meze has taken the initiative based off from reviewer feedback and are working on slightly larger/deeper ear pad design. Overall though, the pads do offer pretty good sound isolation from the outside world yet offer virtually 100% sound leakage at moderate to high volume.
In regards to the included cables, Meze did not overlook their appearance and design. The detachable cloth sleeved cables are of the Y-design, meaning that the left and right channels connectors are separate. I have to commend Meze for using this connection method as I am not fond of the single insert cables. With no cable running through the headband, not only is there less microphonic noise, but less potential for channel imbalance due to unequal cable lengths, all while making the 99 Classics more user serviceable. All three of the 3.5mm plugs, as well as the Y-split have gold and black metal housings featuring seamless rubber stress reliefs. There is some microphonic noise when the cable is rubbed after the Y-split, but it is not too bothersome. I do have to give mention to the control-talk module as well. It's design is quite functional with an easy to locate rubber button that gives the user tactile feedback when pressed; You will never wonder if you are depressing it enough or not. I would also like to add that clicking the button once activates play/pause/answer, twice is to skip to the next track, and three times for previous track. Unlike most single button control talk units I have used in the past, I have yet to experience an instance where the 99 Classics' control talk button failed to register my click. Bravo! However, I do have one minor gripe. If I had to make a suggestion, the unit should be lower down on the cable to avoid inaccessibility when wearing collared outerwear. Inside while at my desk or on the couch, it's not an issue.
*Pictures taken by me using my iPod Touch
First Impressions
Inside and out, Meze presented me with a product that radiated elegance! The outside of the box is stunning; Against a matte black background with the words “Meze 99 Classics Gold, Designed by Antonio Meze” in gold, the embossed glossy outline of the 99 Classics could be seen. Upon opening the magnetic latch, I was immediately greeted by the stylish moulded hard travel case with a metal Meze logo in black and gold shinning up at me! Taking the 99 Classics out of their case, all I could do is stare; They looked absolutely stunning! The combination of the black and walnut with gold accents is tastefully done. Every screw, every line, every angle, and every curve serves the purpose of both function and aesthetics; The design and craftsmanship are an awe-inspiring work of art! I will admit, I did stare at myself in the mirror wearing the 99 Classics, capturing every nuance of their design from all angles.
Once I finished admiring the 99 Classics’ design, fit, and comfort, it was time to put them to the test. To be honest, I did not know what to expect in terms of sound. Too many times I have been tricked into purchasing headphones based off from misleading advertising and over-hyped reviews so I am always expecting the worst (despite my optimistic outlook on life). It only took seconds into the first song for all reservations I had to vanish; The 99 Classics’ sound was beyond my expectations! Track after track, no matter what the genre, I was impressed!
Sound - The Basics
Meze promotes the 99 Classics as having a balanced sound that is crisp and clear. Adding in warmth, I whole heartedly concur. Across the whole frequency spectrum, the 99 Classics remain solid with no exaggerations or peaks. The overall sound is liquid and transparent with excellent extension and detail, yet remain non-fatiguing to the ears. The transition from bass to mids to treble is incredibly smooth, with no bleed or bloat.
Bass - Slightly north of neutral, bass is powerful and prominent. Sub-bass extends very deep with just the right amount of weight as to not overpower the rest of the upper frequencies. Mid-bass, while relatively flat, does have a slight hump giving the 99 Classics a touch more punch. However, much like the sub-bass, mid-bass does not bleed into the lower-mids. Overall the speed of the bass is quite fast and controlled though there is a small bit of looseness in the sub-bass, giving the resonance a touch of rumbley fun.
Mid Range - Impressively neutral, detailed, and transparent. The mids are neither recessed nor elevated, simply flat. This does not mean the 99 Classics are boring, or too analytical, quite the opposite. Possessing both body and breathe, vocals are beautifully rendered with zero peakiness or accentuation to the sibilance. Instruments are nicely detailed with excellent texture and transparency; There is no grain to be heard.
Treble - Despite having a balanced frequency response, treble does take a slight backseat to the mids. However, this does not translate to being modest, recessed, or having an early roll-off. Quite the opposite in fact. Treble is crisp and clean with fantastic extension; The sound is fairly airy and detailed with just the right amount of sparkle and shine. There is no exaggeration in the mid-treble, the classic 6 KHz spike that would add to the potential harshness of the sibilance or add piercing glare, nor is there any peakiness at 10 KHz region that adds fatigue.
Soundstage - While the 99 Classics are of a closed back design the soundstage is slightly above par, giving the listener a good sense of 3D/holographic imaging. Left/right and up/down are of equal width, with the front/back width slightly behind. Instrument separation if great, never sounding congested or cramped. Although due to the warm, wood tone of the sound signature, holographic imaging does suffer a touch in comparison to the rest of the 3D sound-space. Overall, the 99 classics soundstage can be described in one word: Intimate.
Sound - Music
With the exception of a few, I listen to virtually every genre. What impressed me about the 99 Classics is their ability to handle every genre flawlessly. From Classical to Heavy Metal, Jazz to Electronica, I was never let down by their ability to do the song justice! I would like to point out that if the track is poorly mastered, or an mp3 of a low bit-rate, you will notice the flaws. On the plus side, high bit-rate/Hi-rez music will sound absolutely flawless!
Listening to the audiophile classic Spanish Harlem - Rebecca Pidgin is a must for all music lovers. I always turn to this song as a test of a headphone’s dynamics, and the 99 Classics did not disappoint. Rebecca’s voice was well rendered, with a good sense of naturalness. The sibilance of her voice can pose problems for headphones of all quality, including ones that cost numerous times more that the 99 Classics, but not so here! Every note was pitch perfect with an airy naturalness. The bass had excellent definition and weight yet played perfectly, un-obscuring towards the rest of the sound. Each draw of the bow across the violins had texture and resolve. Every shake of the rattle sounded unique, and could be easily discerned. The piano was well rendered without glare or congestion.
Stravinsky’s The Royal March - Soloist New York is an excellent track to demonstrate a headphones ability to handle transients. Between the brass, strings, and percussion, this song features powerful transients. To fully appreciate the 99 Classics ability, I turned up the volume to above average listening levels. What I was presented with was an awesome sense of excitement! The drums were tight and taut, never sounding dull, sluggish, or lacking definition. The horns sounded crisp and clean, well defined with excellent ear-tickling bite! Cymbals splashed with very fast and accurate attack, sustain, decay, and release. The bass-strings resonated deep with both speed and definition.
While the 99 Classics have the ability to render music of the more ‘natural’ variety admirably, their ability to handle the modern sounds of Pop and Electronica is equally fantastic. A mix between techno, jazz, and classical, Mona Lisa - Juno Reactor is a good example of fast and pumping modern sound. Bass is very fast and tight, with the sub-bass blooms rendered with the right amount of weight. The tribal drums are relentless in their assault, with each palm strike of the skin being easily discernible over the rest of the beat. Background vocals were upfront and mesmerizing, the strings had great dynamics, and the horns bite hard! This song can get very busy, yet the 99 Classics hold their own, never missing a beat nor subtle effect!
Binaural tracks really excelled through the 99 Classics. I was happy to hear that despite the warm wood tone impending the sense of holographic imaging, binaural tracks did not suffer. Compared to a lot of closed back headphones I have owned/heard, the 99 Classics were able to render the imaging with greater accuracy. David Chesky sounded like he was in a large cathedral 30’ away as he walked up to the microphone and whispered into my ear; His breathe could be felt on my ear! Likewise, Edgar the Barber’s virtual haircut sounded equally impressive, giving me a good sense of moving his scissors around the sides, top, and back of my head. And yes, it did make my ears flinch a little.
I know it’s kind of an odd area to touch on, but what really impresses me about the 99 Classics is their ability to handle electric guitar distortion. Whether it’s the raw sound of Heartbreaker - Led Zeppelin, the masterfully recorded classic 2112 - Rush, or the newly release Dystopia - Megadeth, I was not let down! Their ability to handle fuzz, squeals, wails, crunch, distortion and noise without butchering the sound or bleeding my ears is nothing short of impressive; The 99 Classics distort like a champ!
Lastly, I present to you what I call the ‘Captain Tractor Test’. Captain Tractor hails from my home city of Edmonton. Well traveled and decently know, they have been around for more than 20 years. Their sound can be described as Indie, with a mix of maritime folk and prairie rock. I have seen them play live in numerous venues, big and small, acoustic and amped, probably close to 30 times. Simply put, the 99 Classics pass the test with flying colours! Absolutely perfect! Closing my eyes, I am placed in the sweet spot in front of the band! Every singer, every instrument sound flawless!
Sound - Movies, Games, and General Use
Movies & games are perhaps the most overlooked uses of headphones in many reviews for many headphones. In fact, for the 99 Classics I have yet to find a single mention here, or various other tech and review sites in regards to movies, video games, and every day use such as YouTube and Podcasts. Rest assured good folk, I got this covered!
As a child of the 1980’s, I love giant robots and monsters hell bent on destroying man-kind. For this reason, Pacific Rim has been my go-to movie to demo equipment; The first 15 minutes of the movie is simply awesome! The movie starts off with a short narrative of the back-story, segueing into the plot’s present day scenario. Two Jaeger pilots, brothers, are awoken out of bed and changed with defending the city of Anchorage from a giant killer monster; The Kaiju. This movie’s sound engineering is phenomenal, with so many subtle and mundane sounds mixed with an epic, heart pounding soundtrack, Pacific Rim puts A/V equipment to the test. Normally I am listening for things such as the crackle of a fluorescent desk lamp warming up, the beating of the rain upon metal, how centred and clear the dialogue is, or how well I can hear the action over the soundtrack. However, while watching Pacific Rim with the 99 Classics I found myself so drawn in the next thing I realized is that I had watched 75% of the movie; I had to go back and re-watch the prologue again! Simple put, the 99 Classics offer a detailed and engaging sound. Every subtle and nuanced sound was easily heard, the dialogue remained completely centred and concise, and the music pounded my ears yet never treaded upon nor overpowered the other sounds in the mix.
Because of their tweaked-neutral sound signature, gaming with the 99 Classics was also a treat. I find that while clean and clear, the majority of competitive gaming headsets offer nothing in terms of excitement, mostly due to their too flat sound signature and lacking in bass weight. The 99 Classics once again performs admirably with modern games of all genres. Spells, attacks, and the screams of hell-spawns in Diablo III were wonderfully rendered with excellent separation and clarity. I had absolutely no trouble hearing and pinpointing the sound of a Treasure Goblin amongst the horde of dozens of demons and undead trying their best to thwart my efforts of sending them back to the underworld! The beautiful Classical-Gregorian score sounded as dynamic as it was haunting, with each instrument possessing wonderful texture and resolve adding to the dark atmosphere of the game’s locations. Dialogue came across as centred and clear, with 3D positioning of on screen characters well represented. With games like Fallout 4 and Dying Light, 3D positioning and accurate location of sounds is critical to surviving. You must know where the dangers lay or else one can easily be caught off guard by an unruly group of individuals who want nothing more than to put and end to your life. I again had no issue being able to locate my enemies in the 3D soundscape; I never had to listen too hard to hear every nuanced environmental noise and sound. As both games are heavily story driven there is quite a bit of dialogue. Much like movies, voices were well rendered, sounding clean and natural.
Given their excellent performance in regards to dialogue in movies and games, it’s not surprising that the 99 Classics sound great listening to online media. Commentary in Podcasts and YouTube vloggers sounded clear, centred, and natural. No one’s voice sounded muffled, boomy, or overly sibilant. Because of the 99 Classics’ design, I had no issues listening to hours of YouTube with no discomfort on my inner-ears nor my head. The ear-pads did get a little warm, but never did I find them getting sticky or sweaty.
Sound - Summary
The 99 Classics do so much right offering a detailed, liquid smooth, engaging, and fatigue free listening experience. I simply could not find a fault with their overall transparency and resolve. While not in the same echelon as the Sennheiser HD800, they are easily in the same league as the Momentum offering a very similar sound in terms of both detail and sound signature, which to be honest is the type of sound I prefer in headphones. Unlike the latter, the 99 Classics offer the same balanced sound but with a sprinkle of pizzaz added in. Some audiophile purists may consider Meze’s tweaking to be more consumer friendly. I myself prefer to think that the 99 Classics are geared towards audiophiles who want to step away from analytical for a while and just relax with a smooth yet detailed and fun sounding headphone.
Amping
With an impedance of 32Ohms and a sensitivity of 103dB, the 99 Classics are efficient enough to be powered by virtually anything with a 3.5mm jack. Whether it be a Gameboy Advanced, HDTV, iPod Classic or iPod Touch 6 Gen, I never had to go above 50% volume to reach a moderate listening level. For both my Creative E3 and my iCAN micro SE (0 dB gain) I never had to go above 25%. As efficient as the 99 Classics are, I highly recommend giving them the love they deserve and pair it with an amp worthy of $300 headphones. For example, with both the E3 and iPod Touch, the bass sounds loose and less controlled than it does with the iCAN micro. In fact, pairing with the latter, the 99 Classics’ bass is more in line with what audiophile purists prefer.
Burn-in
40 hours is what is recommended by Meze, and I highly encourage anyone to give the 99 Classics at least that amount of time before any critical reviews. Bass becomes more controlled, less loose and bloomy, and treble detail definitely comes up a few notches. Overall, after burn-in the sound becomes less ridged and and more liquid.
Value
The question begs, at a MSRP of $309 US, are the 99 Classics a good value? Absolutely! If I had not won my pair of 99 Classics, after spending a week with my tour pair would I have any reservation about purchasing my own pair? None! As mention earlier on in this review, I would have been very very sad to send the headphones off to the next reviewer. Their detailed and smooth sound coupled with gorgeous, timeless beauty through suburb craftsmanship are truly a welcome addition to anyone’s collection, including my own. Adding in the moulded hard travel case, 2 well crafted cables, and accessibility of the components definitely adds to their long term value. Eventually I am going to purchase a stylish mannequin head and proudly display the 99 Classics in my living room amongst my other cool items I like to show off.
Conclusion
If you are a headphone junky who wants to add to their growing collection, rest assured that the 99 Classics will be a proud addition. If you are simply someone in the market looking to find a headphone that offers a detailed fatigue free yet dynamic sound, you can’t go wrong choosing these over the other more well established brands. With a price of $309 US, Meze Headphones has a real winner with the 99 Classics. Combining a smooth and natural listening experience that promotes a timeless design in a visually stunning package all while maintaining superb fit and comfort, there are few reasons not to fall in love with these headphones. My hat’s off to you, Antonio Meze, and your team of professionals; You have made a fantastic headphone!
jinxy245
A great review, thanks!! I just received my pair for review, and I'm enjoying them thoroughly. So far a winner to my ears. Some have called the mids a bit pushed, but that doesn't seem severe to my ears, and can be track dependent. I'd love to hear your thoughts between these & the PSBs...I'm slowly narrowing my choices down....
Thanks again!
Thanks again!
jinxy245
Very cool and rest up!! I'll look forward to the comparison.
Intro
When it comes to the world of PC audio, Creative Labs is a brand well known. For nearly 35 years Creative has been an industry leader in digital multimedia technology and innovation. With a user base of over 400 million, one would be hard pressed to find a PC with upgraded audio that did not bare the name Creative.
In 1989 Creative Labs released the popular and hugely successful SoundBlaster PC digital audio card. In the following years Creative expanded the Sound Blaster line to include multi-media speakers and headphones, and eventually WiFi and Bluetooth audio streaming devices. Over the past few years top end manufacturers of computer motherboards such as MSI and Gigabyte have even replaced their standard onboard Realtek audio solution with that of Creative SoundBlaster. It would seem like Creative had covered the bases in regards to upgraded audio solutions, except one; The on-the-go mobile headphone amplifier and DAC. Enter the E-Series of SoundBlaster!
In 2014 Creative announced three new portable SoundBlaster devices; The E1, E3, and E5. The entry level E1 is a stand alone headphone amp, the mid tiered E3 is a combination headphone amp and 24-bit/96KHz DAC with Bluetooth, and the flagship model E5 expands upon the E3 with full 192KHz playback, higher SNR, better Bluetooth, and the ability to make use of the SBX Pro studio for iOS and Android. This review will be focusing on the middle model E3.
Specifications
General
Main features
*Not listed is the Total Harmonic Distortion (THD). Given the specifications of the components used, I would safely guesstimate THD to be at around 0.005%.
Software compatibility
Size and Weight
Accessories
• 3.5mm AUX cable
• Micro USB - USB cable
• MicroUSB OTG (On-The-Go) connector
• Instruction and warranty booklet
When it comes to the world of PC audio, Creative Labs is a brand well known. For nearly 35 years Creative has been an industry leader in digital multimedia technology and innovation. With a user base of over 400 million, one would be hard pressed to find a PC with upgraded audio that did not bare the name Creative.
In 1989 Creative Labs released the popular and hugely successful SoundBlaster PC digital audio card. In the following years Creative expanded the Sound Blaster line to include multi-media speakers and headphones, and eventually WiFi and Bluetooth audio streaming devices. Over the past few years top end manufacturers of computer motherboards such as MSI and Gigabyte have even replaced their standard onboard Realtek audio solution with that of Creative SoundBlaster. It would seem like Creative had covered the bases in regards to upgraded audio solutions, except one; The on-the-go mobile headphone amplifier and DAC. Enter the E-Series of SoundBlaster!
In 2014 Creative announced three new portable SoundBlaster devices; The E1, E3, and E5. The entry level E1 is a stand alone headphone amp, the mid tiered E3 is a combination headphone amp and 24-bit/96KHz DAC with Bluetooth, and the flagship model E5 expands upon the E3 with full 192KHz playback, higher SNR, better Bluetooth, and the ability to make use of the SBX Pro studio for iOS and Android. This review will be focusing on the middle model E3.
Specifications
General
- SBX Pro Studio: PC / MAC
- Max playback quality USB 2.0 (PC / Mac): up to 24-bit / 96KHz
- Streaming Audio via USB (mobile): up to 24-bit / 48KHz
- Max recording quality: 24-bit / 48KHz
- Bluetooth Battery life: up to 8 hours
- Analog Audio playback: up to 17 hours
Main features
- DAC: PCM5122 from Texas Instruments (S/N ratio: 112dB)
- Audio quality: up to 24-bit / 96KHz
- Headphone Amp: 600 ohms MAX97220 from Maxim Integrated (S/N ratio: 112dB)
- Codec audio: AAC, SBC, aptX
- Bluetooth 2.1 EDR (Enhanced Data Rate)
- Bluetooth profiles: A2DP (Wireless stereo Bluetooth), AVRCP (Bluetooth remote control), HFP (hands-free profile)
- Operating Range: Up to 10 m
- Near Field Communication (NFC)
- Connector: microUSB (PIC32MX)
- Headphone Output: 1x 3.5mm jack
- Headphone Output / Microphone Input: 1 x 3.5mm jack
- Line Input: 1 x 3.5mm jack (4-pin)
- Built-in microphone
*Not listed is the Total Harmonic Distortion (THD). Given the specifications of the components used, I would safely guesstimate THD to be at around 0.005%.
Software compatibility
- Supported operating systems: Mac OS X v10.6.8 or later, Windows Vista or later
- Compatible connections: USB 1.1, USB 2.0, USB 3.0, Bluetooth
Size and Weight
- Dimensions: 60.5 x 45 x 23 mm
- Weight: 44 grams
Accessories
• 3.5mm AUX cable
• Micro USB - USB cable
• MicroUSB OTG (On-The-Go) connector
• Instruction and warranty booklet
Overview/Build
Ergonomically speaking, the E3 does everything right. Made of a very durable plastic, the body is seamless and screw-less and feels very solid in my hand. Measuring just over 2.5” long and less than 1” thick the E3 is small enough for it to not be cumbersome, yet large enough that the controls don’t feel cramped. The buttons are easy to press yet stiff enough that one can’t accidentally press which may be an issue for users with larger fingers. On the plus side, only one button can operate at a time as well. At 44 grams, the E3 is so light that regardless if you have the device in your hand, or clipped on to your person, it feels virtually weightless.
Software
It wouldn’t be a SoundBlaster without the inclusion of a (downloadable) software suite. The E3 includes SBX Pro Studio for both Windows and OS X! This is literally the first time a full system-sound software suite has been available for OS X that mirrors it’s Windows counterpart; A super big awesome fantastic kudos to Creative for making the E3’s capabilities and functionality, both hardware and software, identical on both platforms.
Connectivity/Versatility
The E3 has all the bases covered when it comes to how you want to connect the device. Line in, microUSB, USB OTG, Dual headphone out, and Bluetooth. Here is the breakdown:
3.5mm line-in - For devices with only a 3.5mm headphone or line out jack. The E3 acts as an amplifier. For optimum results, the sound of the source device should be set to 80-90% to avoid potential clipping. Alternatively, if the player supports the feature, decreasing the pre-amp by -3dB will suffice.
USB OTG - For use with (most) Android and iOS devices (iOS 7 or better). The E3 acts as both an amplifier and DAC, delivering full uncompressed 112dB SNR audio at 24-bit/48KHz. Volume (exclusive) and controls are handled through the E3. Because this method bypasses the source device’s amp/DAC, there is no need to adjust the output volume (or gain). In fact, changing the volume on the source does nothing.
Micro USB - For use with a PC via USB. The E3 acts as both an amplifier and DAC supporting up to 96KHz at 24-bit. The volume is controlled by the system or application. As well, the E3’s built in microphone can be used by the system capable of delivering 24-bit/48KHz quality.
Bluetooth - For use with any Bluetooth 2.1 EDR capable device such as a laptop, game console, or smart device. Pairing is very simple and can be handled one of two ways; Discovery or Near Field Communication (NFC). For Discovery mode, go into the device’s Bluetooth options and click on SoundBlaster E3. Once the device is paired it will be forever remembered which makes it easy to simply turn on the E3 and press play for instant music. For devices with NFC it could not be made more simple; Place the device next to the E3 and presto, you are good to go! When using the E3 via Bluetooth, the sound is truncated to 16-bit/44KHz CD quality.
Dual Headphones - Perhaps one of the most underrated features, and incredibly handy. Want to share your music with a friend, no problem! Sync the E3 via Bluetooth and have the kids share a Tablet with headphones. How about easily being able to A/B two pairs of headphones!? Unlike other devices with dual headphone outputs, there is no reduced quality or power when two headphones are plugged in.
Bluetooth Receiver - This feature is not specifically listed, but I thought I would include it because it is so very useful. Hook the E3 up to a Home Theatre receiver, car stereo AUX in, or self-powered speakers and you instantly have a Bluetooth streaming system controlled through your smart device or PC!
Performance
First Impressions - When I initially connected my 6th Gen iPod Touch via the OTG cable paired with my Sennheiser HD598, I was blown away with the enhanced sound quality. No iDevice can properly power anything higher than 32Ohms, but paired with the E3 the 50Ohm HD598 came alive! Bass was tight, mids were smooth, and treble was detailed. Whether it was pounding electronica or a classic Telarc recording, nothing was lacking. Compared to my iPod, or onboard Realtek 898 (110dB SNR, 600Ohm), the E3 has not only loads of power, but a significant gain in sound quality. Having owned virtually every top-mid tiered sound card by Creative and ASUS, I must say the USB E3 easily is on par with it’s PCI counterpart. While the E3 can’t touch my Teac UD-H01 in terms of overall resolve, it certainly powered my beyerdynamic T 70 250Ohm quite a bit better.
Bass - Tight, fast, powerful, robust, the bass is almost a show stealer. For such a small IC driven cap-less device the bass, both quality and quantity, simply put is impressive. The bass is not boosted, however the sound is so clean and bloat free that one can easily make the mistake. Extension is perfectly flat with no premature roll-off, although I do suspect there is a low-pass filter at around 20Hz.
Midrange - Smooth and full bodied like a perfectly brewed java. Male and female vocals have great body and extension, never sounding peaky or distant. Instruments have wonderful timbre, sounding energetic and life-like. Overall, the midrange is perfectly flat, being neither forward nor recessed.
Treble - Sweet with fantastic extension yet never fatiguing! The micro-details are easily discernible, yet there is absolutely zero accentuation of the sibilance. Vocals are given subtle breath, brass has vigorous bite, bells ring with sparkle and shine while cymbals crash and splash in an explosion of crisp sound. While I do detect a slight high-shelf boost at around 11KHz, it is small (maybe +0.5dB) and does not add any harshness.
Sound Stage - Decent and slightly above average. Instrument separation is great with nothing sounding congested; Individual notes and vocals came across with great clarity and detail. 3D space is pretty even; left/right (X), top/bottom (Y), and front/behind (Z) are all equal distance from the centre focal point. Overall, the soundstage is more focused rather than expansive. It’s as if the E3’s sound favours more of a (slight) cross-feed effect rather a surround effect.
One thing to note: When using the E3 in Bluetooth mode vs USB or line-in, the soundstage does diminish slightly making the music sound a touch warm. Depending on your headphones, you may not even notice.
Transients - One word; Impressive! The MAX97220 amplifier does not use capacitor filters, yet the chip is able to handle the most dynamic of passages with ease, free of any distortion. Whether a percussion heavy track, an action scene from a Hollywood Blockbuster, or an intense match in Call of Duty, the sound is fast, powerful, and dynamic, never struggling or sounding dull!
Transparency - As clear and clean as a freshly washed pane of glass. Vocals and instruments alike are rendered with great precision and well textured with no hint of grain. 112dB SNR is quite accurate and apparent as the E3’s transparency is on part with higher end DAC/amps I have heard.
EMI/RFI/Jitter - None, zip, zilch, zero, just a perfect black background. While the E3 is only a USB 1.1 device with no async, the PIC32MX USB controller is 32-bit RISC based and can handle anything that is thrown at it. When connected to a PC’s USB port, any port, I detected no internal interference; No hum, no clicks or pops, no jitter or stuttering, just a silent black background. As someone who has owned many USB audio dongles/sticks that are bus powered, I can say from experience that virtually all of them (despite some that feature USB EMI shielding) had some sort of issue; Not so with the E3!
Bluetooth - Performance is perfect! I had no trouble walking around my house and regardless of how many walls or levels separated the E3 from my iPod, the connection was constant and the sound quality was crystal clear. No matter how close I got to the power outlets, the microwave, the WiFi router, or cordless phone I detected absolutely no interference or hick-ups.
Power Output - The E3 is rated to a max 600 Ohm, far beyond the 250 Ohm I can test up to. I can tell you that the E3 had no problems in regards to volume for my beyerdynamic T 70 250 Ohm, enabling the headphones to reach deafening levels. The lowest impedance headphones in my inventory are the Sennheiser Momentums at 16 Ohms. Needless to say the E3 had more than enough power with a perfect black background. The stock Apple EarPods definitely sounded great when paired with the E3, again with a perfect black background and no audible hiss.
Microphone - Very good sound quality regardless of USB or Bluetooth. Calls made via WiFi came across very clear and natural. I will note though, the mic is very sensitive so if you are using it in a noisy environment, it may pick up distant sounds.
Battery Life - Very close to what is listed. Approximately 7-8 hours Bluetooth, 15-17 hours amp.
Closing Comments
The term ‘Jack of all trades, master of none’ perfectly describes the functionality of the SoundBlaster E3. For a first attempt into the fast growing portable headphone DAC/amp market, Creative managed to out-do the competition with a powerful, great sounding, feature rich on-the-go device at a price of $130. Performance wise based on sound alone, the E3 hold it’s own in the sub $200 category. With the inclusion of Bluetooth 2.1 EDR, dual headphone output, built in microphone, Windows/OS X compatibility, OTG USB connectivity, small size and light weight, and an impressive 112dB SNR, the SoundBlaster E3 is a large cut above the competition. While there are portable DAC/amps that offer greater resolve and performance (i.e. SoundBlaster E5,Teac HA-P50), it is not by much and nowhere near the price point of the E3. My only complaint is that Creative forgot to add an active noise cancellation (ANC), which would have made the E3 perfect!
Overall I am quite happy with my purchase of the SoundBlaster E3. Those who know me here at Head-fi know that I am the type who always voices my open and honest opinion, yet out of all the gear I own I only have done two other reviews. The reason for this is simple; Two criteria need to be met. The first being the product has to be an absolute incredible value for the performance. The second is that the product needs far greater attention. The SoundBlaster E3 fits both criteria to the letter. Simply put, you will not find such a high quality sounding and performing device as feature rich and low price as you will with the E3. If the current E-series is an indication of the direction Creative is heading in the future, their next offerings will be a sight (sound?) to behold!
Ergonomically speaking, the E3 does everything right. Made of a very durable plastic, the body is seamless and screw-less and feels very solid in my hand. Measuring just over 2.5” long and less than 1” thick the E3 is small enough for it to not be cumbersome, yet large enough that the controls don’t feel cramped. The buttons are easy to press yet stiff enough that one can’t accidentally press which may be an issue for users with larger fingers. On the plus side, only one button can operate at a time as well. At 44 grams, the E3 is so light that regardless if you have the device in your hand, or clipped on to your person, it feels virtually weightless.
 Packaging and accessories; E3, MicroUSB cable, OTG cable, 3.5mm interconnect |
 Power Button: Hold 1 sec power, 3 sec Bluetooth, 4 sec offLED: White = power, Blue = Bluetooth / flashing = Bluetooth find, Red = charge Play/Pause/Call |
 Top view with mic |
 Volume +/-, Previous track/Next Track |
 Line-in 3.5mm jack, MicroUSB jack |
 Headphone/Mic-in Jack, Headphone jack |
 Clip |
Software
It wouldn’t be a SoundBlaster without the inclusion of a (downloadable) software suite. The E3 includes SBX Pro Studio for both Windows and OS X! This is literally the first time a full system-sound software suite has been available for OS X that mirrors it’s Windows counterpart; A super big awesome fantastic kudos to Creative for making the E3’s capabilities and functionality, both hardware and software, identical on both platforms.
 SBX Pro Studio main tab |
 Crystal Voice tab |
 Scout Mode tab |
 Speakers/Headphones tab |
 Mixer tab |
 Equalizer tab |
 Advanced tab |
 Profile tab |
Connectivity/Versatility
The E3 has all the bases covered when it comes to how you want to connect the device. Line in, microUSB, USB OTG, Dual headphone out, and Bluetooth. Here is the breakdown:
3.5mm line-in - For devices with only a 3.5mm headphone or line out jack. The E3 acts as an amplifier. For optimum results, the sound of the source device should be set to 80-90% to avoid potential clipping. Alternatively, if the player supports the feature, decreasing the pre-amp by -3dB will suffice.
USB OTG - For use with (most) Android and iOS devices (iOS 7 or better). The E3 acts as both an amplifier and DAC, delivering full uncompressed 112dB SNR audio at 24-bit/48KHz. Volume (exclusive) and controls are handled through the E3. Because this method bypasses the source device’s amp/DAC, there is no need to adjust the output volume (or gain). In fact, changing the volume on the source does nothing.
Micro USB - For use with a PC via USB. The E3 acts as both an amplifier and DAC supporting up to 96KHz at 24-bit. The volume is controlled by the system or application. As well, the E3’s built in microphone can be used by the system capable of delivering 24-bit/48KHz quality.
Bluetooth - For use with any Bluetooth 2.1 EDR capable device such as a laptop, game console, or smart device. Pairing is very simple and can be handled one of two ways; Discovery or Near Field Communication (NFC). For Discovery mode, go into the device’s Bluetooth options and click on SoundBlaster E3. Once the device is paired it will be forever remembered which makes it easy to simply turn on the E3 and press play for instant music. For devices with NFC it could not be made more simple; Place the device next to the E3 and presto, you are good to go! When using the E3 via Bluetooth, the sound is truncated to 16-bit/44KHz CD quality.
Dual Headphones - Perhaps one of the most underrated features, and incredibly handy. Want to share your music with a friend, no problem! Sync the E3 via Bluetooth and have the kids share a Tablet with headphones. How about easily being able to A/B two pairs of headphones!? Unlike other devices with dual headphone outputs, there is no reduced quality or power when two headphones are plugged in.
Bluetooth Receiver - This feature is not specifically listed, but I thought I would include it because it is so very useful. Hook the E3 up to a Home Theatre receiver, car stereo AUX in, or self-powered speakers and you instantly have a Bluetooth streaming system controlled through your smart device or PC!
Performance
First Impressions - When I initially connected my 6th Gen iPod Touch via the OTG cable paired with my Sennheiser HD598, I was blown away with the enhanced sound quality. No iDevice can properly power anything higher than 32Ohms, but paired with the E3 the 50Ohm HD598 came alive! Bass was tight, mids were smooth, and treble was detailed. Whether it was pounding electronica or a classic Telarc recording, nothing was lacking. Compared to my iPod, or onboard Realtek 898 (110dB SNR, 600Ohm), the E3 has not only loads of power, but a significant gain in sound quality. Having owned virtually every top-mid tiered sound card by Creative and ASUS, I must say the USB E3 easily is on par with it’s PCI counterpart. While the E3 can’t touch my Teac UD-H01 in terms of overall resolve, it certainly powered my beyerdynamic T 70 250Ohm quite a bit better.
Bass - Tight, fast, powerful, robust, the bass is almost a show stealer. For such a small IC driven cap-less device the bass, both quality and quantity, simply put is impressive. The bass is not boosted, however the sound is so clean and bloat free that one can easily make the mistake. Extension is perfectly flat with no premature roll-off, although I do suspect there is a low-pass filter at around 20Hz.
Midrange - Smooth and full bodied like a perfectly brewed java. Male and female vocals have great body and extension, never sounding peaky or distant. Instruments have wonderful timbre, sounding energetic and life-like. Overall, the midrange is perfectly flat, being neither forward nor recessed.
Treble - Sweet with fantastic extension yet never fatiguing! The micro-details are easily discernible, yet there is absolutely zero accentuation of the sibilance. Vocals are given subtle breath, brass has vigorous bite, bells ring with sparkle and shine while cymbals crash and splash in an explosion of crisp sound. While I do detect a slight high-shelf boost at around 11KHz, it is small (maybe +0.5dB) and does not add any harshness.
Sound Stage - Decent and slightly above average. Instrument separation is great with nothing sounding congested; Individual notes and vocals came across with great clarity and detail. 3D space is pretty even; left/right (X), top/bottom (Y), and front/behind (Z) are all equal distance from the centre focal point. Overall, the soundstage is more focused rather than expansive. It’s as if the E3’s sound favours more of a (slight) cross-feed effect rather a surround effect.
One thing to note: When using the E3 in Bluetooth mode vs USB or line-in, the soundstage does diminish slightly making the music sound a touch warm. Depending on your headphones, you may not even notice.
Transients - One word; Impressive! The MAX97220 amplifier does not use capacitor filters, yet the chip is able to handle the most dynamic of passages with ease, free of any distortion. Whether a percussion heavy track, an action scene from a Hollywood Blockbuster, or an intense match in Call of Duty, the sound is fast, powerful, and dynamic, never struggling or sounding dull!
Transparency - As clear and clean as a freshly washed pane of glass. Vocals and instruments alike are rendered with great precision and well textured with no hint of grain. 112dB SNR is quite accurate and apparent as the E3’s transparency is on part with higher end DAC/amps I have heard.
EMI/RFI/Jitter - None, zip, zilch, zero, just a perfect black background. While the E3 is only a USB 1.1 device with no async, the PIC32MX USB controller is 32-bit RISC based and can handle anything that is thrown at it. When connected to a PC’s USB port, any port, I detected no internal interference; No hum, no clicks or pops, no jitter or stuttering, just a silent black background. As someone who has owned many USB audio dongles/sticks that are bus powered, I can say from experience that virtually all of them (despite some that feature USB EMI shielding) had some sort of issue; Not so with the E3!
Bluetooth - Performance is perfect! I had no trouble walking around my house and regardless of how many walls or levels separated the E3 from my iPod, the connection was constant and the sound quality was crystal clear. No matter how close I got to the power outlets, the microwave, the WiFi router, or cordless phone I detected absolutely no interference or hick-ups.
Power Output - The E3 is rated to a max 600 Ohm, far beyond the 250 Ohm I can test up to. I can tell you that the E3 had no problems in regards to volume for my beyerdynamic T 70 250 Ohm, enabling the headphones to reach deafening levels. The lowest impedance headphones in my inventory are the Sennheiser Momentums at 16 Ohms. Needless to say the E3 had more than enough power with a perfect black background. The stock Apple EarPods definitely sounded great when paired with the E3, again with a perfect black background and no audible hiss.
Microphone - Very good sound quality regardless of USB or Bluetooth. Calls made via WiFi came across very clear and natural. I will note though, the mic is very sensitive so if you are using it in a noisy environment, it may pick up distant sounds.
Battery Life - Very close to what is listed. Approximately 7-8 hours Bluetooth, 15-17 hours amp.
Closing Comments
The term ‘Jack of all trades, master of none’ perfectly describes the functionality of the SoundBlaster E3. For a first attempt into the fast growing portable headphone DAC/amp market, Creative managed to out-do the competition with a powerful, great sounding, feature rich on-the-go device at a price of $130. Performance wise based on sound alone, the E3 hold it’s own in the sub $200 category. With the inclusion of Bluetooth 2.1 EDR, dual headphone output, built in microphone, Windows/OS X compatibility, OTG USB connectivity, small size and light weight, and an impressive 112dB SNR, the SoundBlaster E3 is a large cut above the competition. While there are portable DAC/amps that offer greater resolve and performance (i.e. SoundBlaster E5,Teac HA-P50), it is not by much and nowhere near the price point of the E3. My only complaint is that Creative forgot to add an active noise cancellation (ANC), which would have made the E3 perfect!
Overall I am quite happy with my purchase of the SoundBlaster E3. Those who know me here at Head-fi know that I am the type who always voices my open and honest opinion, yet out of all the gear I own I only have done two other reviews. The reason for this is simple; Two criteria need to be met. The first being the product has to be an absolute incredible value for the performance. The second is that the product needs far greater attention. The SoundBlaster E3 fits both criteria to the letter. Simply put, you will not find such a high quality sounding and performing device as feature rich and low price as you will with the E3. If the current E-series is an indication of the direction Creative is heading in the future, their next offerings will be a sight (sound?) to behold!
kumaiti
One important detail that nobody bothered to mention (or I missed some obvious driver installation step):
The E3 DOES NOT SUPPORT 44.1/16 on Windows 10.
The smallest sample rate it does is 48.
The E3 DOES NOT SUPPORT 44.1/16 on Windows 10.
The smallest sample rate it does is 48.
TheBigJim
Hi Bansaku, thanks for the great review. I have a question about the Bluetooth you mention, being able to use is with a bluetooth receiver / vehicle. Do you mean that the E3 can pair with both the received and my phone simultaneously, meaning the phone can stream to the E3 and the E3 then passes it on to the amp / receiver. This would be most useful. Thanks for the help, Jim.
Bansaku
1000+ Head-Fier
Pros: Accurate, natural sound filled with great energy and resolve.
Cons: Nothing that comes to mind, but nothing is perfect either; There is always room for improvements.
PSB M4U 1: A New Standard is Born
Intro
I am quite sure that many of you, myself included, have started on the seemingly never ending path to finding the perfect set of headphones. Terms such as too bright or too dark, mid-bass hump and recessed midrange, peaky treble and accentuated sibilance, are enough to drive a sane consumer mad. Or at the very least an unnecessary waste of one’s hard earned money. There has simply been no frequency response standard in headphones, until now. In conjunction with their sister company NAD, PSB Speakers has set the new reference standard on how headphones should sound that not only faithfully reproduce the music, but is universally pleasing to all including the most demanding of listener. For a first attempt they sure got it right.
History
Highly acclaimed for both performance and price, PSB Speakers has been an industry leader in the world of high-end loudspeakers for nearly 40 years. Realizing at an early age that loudspeakers did not sound too great, company founder and chief designer Paul Barton set out to design and build his very own loudspeaker in his family’s woodshop. It wasn’t long before Paul was selling his speaker kits to university students and in 1972 he and his wife Sue formed PSB Speakers. Two years later, with the help of the Canadian NRC (National Research Council), Paul’s psychoacoustic research literally changed the world of loudspeakers forever. His research determined how a loudspeaker’s frequency response curve should sound to faithfully and accurately reproduce the music as intended by the engineers of the recording.
Paul Barton’s on-going research and methods of determination are regularly used by not only PSB, but most high-end loudspeaker manufacturers to this day. Unfortunately, in the world of headphones there is no industry standard. Despite knowing how music is produced and how music is supposed to sound, no manufacturer has developed a transducer headphone with the same acoustic sound signature as the loudspeaker.
“ Nowadays speakers are much more consistent; They aren’t ‘black and white’, ‘day or night’ different, and if they are then they are rejected. So, I think headphones (in 2013) are in about the same state right now that loudspeakers were in back in the 1970’s. Because there is no agreement on what the ideal target response profile for a headphone should be. “
Paul Barton, Hi-Fi+ (Aug. 2013 excerpt)
About me
Growing up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. Beyond Elementary School ukulele, my interest was always been in appreciation rather than creation. I was further educated in this self interest after taking courses in both electronics and sound (electro-acousto); There are not many instruments I have have not stuck a mic in or around and sampled it’s waveform. While I believe a listener’s preference in sound is subjective, the science behind it is not. I am someone who, when a guest at someone’s home, takes it upon myself to perfectly calibrate their Home Theatre and HDTV by the time they return with drinks. I am someone who enters a noisy room and hears all the annoying noises that no one else hears. People I know call me first when needing knowledgable advice and opinion when it comes to computers and consumer electronics. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere. All equipment in this review was decided upon and purchased by me. No company has sent me any of their products (though I wouldn’t turn them down), and nobody is endorsing me to write this review.
In all honesty, I never had an interest in headphones up until the past two years. To me, headphones were always more of a utilitarian device, used out of necessity. Beyond monitoring and the occasional gaming session, my use of headphones was limited to blocking out the noise of my daily travels. To me, listening to headphones while engaged in either music or movies was less than satisfactory; They simply could not compare to my hi-fi loudspeakers. The problem is not so much that I found headphones to be inadequate, rather I knew that if I wanted sound comparable to a good hi-fi system I would be needing to spend a lot more money than I was willing to. That is, until my work hours shifted to a later start time and I could no longer listen to my hi-fi system; Both my wife and townhouse neighbours would be fast asleep and unappreciative of me blasting my music throughout the dead of night. My work hours eventually went back to normal however I had fallen hard for headphones and was now in search of that perfect sound signature to compare to my WF-34 Icons.
Over the past two years I have gone through the gauntlet of headphone research; Buying, trying, selling, returning, auditioning, inconveniencing, and frustration are but a few words to describe my journey. I had been eying the M4U 1 since I first read about them back in 2013, however I had neither found a retailer with a pair on demo, nor did I actually find one that had them in stock. As a hi-fi guy, Paul Barton is my loudspeaker idol. I have been an admirer of not only his work but PSB Speakers for years, and the technology behind Room Feel looked incredibly promising. It certainly did not help my envy that popular review sites such as Innerfidelity and TheWireCutter raved about both the NAD Visio HP50 and the PSB M4U 1/2. In the end I settled for a few pairs of popular hi-end headphones. The deciding factor was not so much based off from one definitive reason, rather overall sound quality vs the low price I was able purchase them for. By a stroke of luck or impeccable timing, in late November of 2014 a popular nation wide electronics chain put the M4U 1 on sale for 50% off, and by chance my local retailer, one the first day of the sale, had one left. In fact, it was the last one available chain wide in all of Western Canada. My ride on public transit seemed like an eternity but in the end I came, I saw, I conquered! Fantastic!
PSB ‘Music For You’ : M4U 1
Headphone Specifications
Designed and Engineered in Canada, Made in China
Packaging and Accessories
Upon pulling off the sleeve to the box, I really felt like PSB was providing me with a premium product. The box is made of 100% recycled materials and flips open like a book. Inside neatly sat the hard travel case which stored the headphones, with 3 bundled accessories bags located under the flap of the left tray. Included in first bag is a quality 3.5 mm to 6.3 mm gold plated adaptor, a universal airline adaptor which will greatly appeal to frequent flyers, a carabiner for easy attachment to bags or luggage, and a micro-fibre cleaning cloth. Unlike what most manufacturers provide, the cleaning cloth is actually of useful size and thickness; So often you get a small 45mm x 25mm piece of cheap polyester that is smaller than what PSB provides, folded up. The next bag included two headphone cables; One standard straight cable, the other with a one-button control-talk module that is guaranteed to work with at least iDevices and Blackberry phones. The last bag contained the extra set of leatherette ear-pads and replacement instructions. I can’t tell you how much this is appreciated as tracking down and ordering a replacement set of ear-pads can be a real hassle, not to mention unnecessary listening downtime. I also applaud PSB for including shaped inserts to prevent loss of form when stuffed in the case.
All of the accessories fit neatly into the high quality, light weight, hard travel case and are held firmly in place by the mesh. Having traveled with the case attached to my bag via the carabiner, I can assure you that everything was held secure in place. Although not pictured, it is both possible and safe to keep the headphone cable attached when the M4U 1 is folded in the case. Simply put, all aspects of packing and travel have been smartly addressed.
Build, Aesthetics, and Comfort
As expected of a company such as PSB, the M4U 1 are of high quality build and construction. Holding these in my hand, they do not feel cheap or flimsy, yet reasonably light. Multi layered thermoformed polycarbonate reinforced with ABS make up the bulk of materials used, ensuring both strength and light weight. Stainless steel extensions run down into the arms and are reinforced at the fold point with a metal plate, which is screwed on to the headband. The ear-cups are attached to the yoke via a brushed-stainless backplate which acts as an up/down pivot. In the centre of the backplate sits a chromed nickel PSB Speakers logo which also acts as the left/right swivel. Located on the bottom of each ear-cup is the 3.5 mm entry plug. The dual left or right entry plugs is a handy feature allowing you to not only daisy-chain another set of headphones, but alleviates the annoyance of either the phono jack or source equipment being on the opposite side of the cable. The stitched ear-pads as well as the head-pad are made of a very high quality leatherette. The material is very soft yet strong and if one did not know better, would swear it was real leather. The provided cables are decent enough. They are of good length, have no bad microphonics, and neither tangle nor have a bad tendency to keep their shape. Although I would have preferred that they would have made the cables a little thicker, it is not an issue as any 3.5 mm cable can be used.
Available in Baltic Grey, Monza Red, and Black Diamond (pictured), the M4U 1 sports a modern design. Despite the Monza Red sharing a similar shade as a certain unmentioned ‘fashion’ headphone brand, the M4U 1’s profile is quite elegant and unique. The finish is made up of multiple layers of clear polycarbonate which helps achieve a deep, glossy appearance. Unfortunately the camera does no justice in portraying just how sexy the M4U 1’s finish is; They really need to be seen in person to fully appreciate their look. A narrow grey strip running along the middle of the body helps break up the solid gloss finish. The brushed steel back plate and chrome insert adds additional contrast and is a nice throwback to old hi-fi equipment design, adding that last bit of prestige to overall look. Essentially, the M4U 1 will have no problem fitting in when placed next to a modern HDTV or hi-fi stereo system.
Coupled with buttery soft memory foam ear-pads and the complete 360 degree axis of the ear-cups, obtaining a perfect fit should not be an issue. Having an average sized head and ears, the clamping force was sufficient to assure both a good seal and good grip, yet not overly tight with no unwanted and annoying pressure points; Once broken in, the ear-pads meld into the side of your head while still maintaining the proper buffer and cushion. Thanks to the wide arc of the headband the weight of the M4U1 is evenly distributed and never do I feel the full weight of 340 g bearing down on my neck. In terms of long listening sessions, I had no trouble wearing the M4U 1 for 4+ hours before I needed to take a quick break; Like with most closed headphones it was to alleviate and vent some of the heat build up, rather than discomfort due to fit. Overall the M4U 1 remained relatively cool and after a while start to become invisible on your head. Be warned though, people with larger heads and ears may have comfort issues in the beginning, but much like a pair of new shoes the M4U 1 will loosen up after some breaking in.
Despite being the passive variant of the highly acclaimed M4U 2 with ANC, the M4U 1 does an excellent job of blocking out unwanted background noise. Taking a walk down to the local convenient store, which is located along a busy street and multiple bus routes, it was impressed with how much noise the M4U 1 actually block; They are easily on par with custom fit ear-plugs. Although the included hard travel case and fold-up design means the M4U 1 is meant for portable use, in my opinion those features are meant literally for just that; Moving the unit from point A to point B with minimal hassle and packing as opposed to using them on-the-go in the urban environment. Nothing is going to stop you, besides the threat of looking like a Hipster, but due to their overall design they are mean for a more low-impact use. Fortunately PSB also makes the M4U 4 IEM which would be a better match for the urban warrior.
Value vs Quality
PSB has been renowned and praised for their premium quality loudspeakers without the premium price, and the M4U 1 proudly carries that torch. If I were blind folded and had the M4U 1 placed upon my head with several tracks played, and then asked if the sound quality I just experienced warranted a $699 MRSP, I would have no reservations in saying yes. If instead I was asked if $499 was fair for the sound I just heard, I would agree that the M4U 1 are deserving of that price. At a MSRP of $299 PSB not only offers almost unreal quality and value for the price, but puts the M4U 1 in reach of the average consumer who want a premium sound, solid build, and plethora of useful accessories. By choosing to go with polycarbonate and ABS and outsourcing construction to China the savings were passed along to the consumer. Sure, PSB could have gone with more premium materials and had the units hand-assembled in Canada, but this would undoubtedly raise the total cost, potentially making the M4U 1 less attractive for those of us who may not be able to afford them otherwise. All of this is backed up by a 2 year manufacturer’s warranty.
The Sound - Basics
Click here for Head-fi’s interview with Paul Barton.
Room Feel Technology
What is Room Feel Technology? Ever heard DSP or software based headphone sound space enhancers such as Dolby Headphones, SRS, or Razor Surround? Room Feel Technology is nothing like them. Music is recorded, mixed, and mastered in a room with two forward firing monitors. The key word here is ‘room’. Essentially the music you and I enjoy is meant to sound it’s best coming out of two flanking loudspeakers, in a ‘room’. So what is so important about the ‘room’? When loudspeakers pump out sound, only a certain percentage of the sound that reaches your ears comes directly from the cones. The rest of the sound is being reflected off the walls, floor, and ceiling. Without getting too technical, the room actually gives the sound energy, and while that energy predominantly affects the lower frequencies, it actually gives body to the whole frequency response. Without this added energy the sound loses it’s potential resulting in a rendering that is not true to the recording. Up until now, not a single headphone manufacturer has taken the ‘room’ into account, despite having very similar frequency curves to the M4U 1. Thanks to Paul Barton’s genius, the M4U 1 sound not like conventional headphones, rather sound like a really good pair of loudspeakers properly positioned in a room with you the listener sitting in the sweet spot.
First Impressions
It is a lazy Sunday afternoon, nothing better to do you go down to your local hi-fi store with the intent of picking up some speaker wire and perhaps a CD or two. Being a slow day, the salesperson ushers you into a sound room and proceeds to give you the full demonstration of the store’s most expensive amplifier and loudspeakers. Having a decent hi-fi setup at home, you initially agree simply to indulge him only to emerge from the room having listened to quality of sound that you did not think was before possible. This scenario perfectly describes the M4U 1.
From the moment I placed the M4U 1 on my head and pushed play, I was absolutely blown away at how bloody good they sounded, from a loudspeaker perspective. Though not for one second did I ever doubt the claims of Paul Barton and the Room Feel Technology developed by NAD/PSB, truthfully I was not knowing what to expect; A small part of me kept saying ‘Buzzword’ and ‘Overhyped’ every time I read ‘Room Feel’. All reservations went out the windows once I heard how clean, resolving, and BIG the M4U 1’s sound was. Initially the M4U 1seemed like it had a slightly warm tilt, but after further listening I soon realized this was not warmth I was hearing, it was full body across the whole frequency spectrum; Nothing sounded weak, distorted, coloured, or out of place. After playing the Headphone Dating Game over the years, this truly was love at first sight…or hear.
The Experiment
On Christmas Eve I had decided to bring my iPod and the M4U 1 over to my parent’s. It had been a little over one month since the initial purchase and while I had been impressed with their overall performance, I saw this as an opportunity to get a pooled opinion from both music lovers and professionals. Having all festivities take place downstairs in the rumpus room, I strategically placed the iPod and headphones on the kitchen table that everyone would need to pass on their way to the only bathrooms on the main level; New technology in my family is as enticing as a flame is to a moth. It wasn’t long into the night’s festivities before I heard someone say “ By the way, who’s headphones are those upstairs? “ and the talk turned to the M4U 1. Although it could have been “ PSB makes headphones? ”, out of a group of around 25 family members the top remarks were how ‘clean’ and ’natural’ the sound was, followed by “ These are how much? “. Most agreed that the vocals were some of the most natural and forward sounding they had heard in a pair of headphones; All agreed that overall, the M4U 1 put their beloved (and more expensive) headphones to shame.
Normally I would blather off any and all information on the tech I am showing off before I hand it off. It was both refreshing and rewarding to get unprompted opinions from people who are well informed. I would like to conclude by saying that this time I had said absolutely nothing about the M4U 1 to my family either before or after their listen. Not Room Feel Technology, not their frequency response or impedance rating, not even my own personally feelings. Besides stating that the M4U 1 were made by PSB Speakers and that I had got them for a half-off, the only thing asked by me was in regards to their opinion on the overall fit and comfort level, which received no complaints. My sneakiness and curiosity not only validated my own thoughts on the M4U 1, but every other review giving them high praise; Impressive for a first go!
Frequency Responce Curve
First thing that I would like to disclose is that the above FR graph is a compilation, averaged from many sources found on the internet. I have no means of measuring headphone sound output, and did want to cut and paste an FR graph taken from another site. Instead I thought it would be better served if I compile and average the data pulled from both professionals and enthusiasts measurements. Although most of the FR curves for the midrange were consistent, there were two common variances I encountered in the bass and treble regions. The bass curve on some graphs displayed a steep shelf starting at 30Hz extending down to 20Hz, while other showed consistent curves yet the amplitude of the whole treble zone was about 5dB higher. Oddly enough, both variances were more common amongst enthusiast blogs rather than websites of a more professional nature (such as Innerfidelity). Regardless, I can assure you that the FR response graph is both honest and accurate. Not to mention looks nice and is easy to read.
The frequency response curve of the M4U 1 is actually common in premium top-tiered headphones from manufacturers such as Sennheiser, HiFiMAN, and Denon. Slightly enhanced bass, linear mids, and treble with a gentle roll-off is what many audiophiles consider to be the proper FR curve; It is not surprising that manufacturers would choose to tune their drivers this way. While I personally have not heard any top-tiered planar magnet headphones, I have heard some of the the best of the best when it comes to the dynamic transducer variety; The quality of the M4U 1’s driver holds their own against it’s more established competitors. However as good as numbers and charts are in determining a baseline reference, real world performance is where it counts. This holds especially true for the M4U 1 as the Room Feel Technology adds noticeable effect that helps distinguish itself from the competition.
Tonal Qualities
Music is quantified by more than just the bass, midrange, and treble and therefore I am not going to spend too much time going over the tonal qualities in great detail. My reasoning behind this decision is that overall, the M4U 1 handles the whole frequency spectrum exceptionally well with no perceived negatives or shortcomings, and I would rather put forth the time and effort into covering the many other aspects of the sound.
Bass: The M4U 1 has some of the most accurate, detailed, and fast bass I have head in a dynamic transducer. There is absolutely zero sub-bass bloat nor bloom, and absolutely zero bleed into the lower midrange. When called upon the M4U 1 delivers mid-bass punch as well as sub-bass rumble that is accurate in quantity yet gives gives a good sense of power and energy without being over-bearing. Room Feel Technology not just works, it works very well; It is as if the bass is a separate entity that cleanly and seamlessly compliments the rest of the frequency spectrum. Whether it is the low registers of a double bass, or the fast electronic beats of todays modern music, the M4U 1 has no problems accurately handling the low frequencies in any genre.
Midrange: One word; Smooth! Despite being relatively linear, the midrange has an engaging sound. Instruments are rendered with great precision. A slight bump at the lower end adds body to male and female vocals, which are accurate with no hint of grain or veil. Dialogue is clean, clear, and precise. Considering the midrange makes up the bulk of the sound, the M4U 1 handles the diversity uncoloured and with ease.
Treble: Like a perfectly fermented champagne with just the right amount of sweetness, the M4U 1’s treble is crisp and clean with a touch of sparkle and shine. Fast and detailed with accurate decay, the treble is non-fatiguing. Sibilance sounds natural with no accentuation or harshness. There is no perception of artificially boosted or unnatural detail. With a gentle roll-off, he treble is what it is, sweet; Great extension, non-peaky, zero distortion.
Headstage
Perhaps one of the more prominent aspects of the M4U 1 is it’s soundstage. Simply put it’s huge, and not just for a closed design either. The overall soundstage is not as airy as an open back design, none the less the M4U 1 either rivals or surpass headphones of that nature. A good analogy would be that the M4U 1 sounds like the music is being rendered in a large room, whereas a good open back headphone sound like the same large room but with the windows open. Another interesting quality of the sound stage is that despite having drivers that are aligned flush with the head, the overall directionality of the sound is more indicative of two angled loudspeakers rather that of a general left/right circular radius commonly found in a closed circumaural design. This provides exceptional forward depth that is both wide and tall. Overall the stereo transition is not only natural but seamless; The M4U 1 do not have a left/right/centre ‘3-blob’ soundstage, nor do they have an obvious centre break exposing the left/right divide. Instrument and vocal placement is precise, accurate, and natural.
Amping and Scaling
The M4U 1 are rated at a standard 32 Ohm with a sensitivity of 102 dB, meaning one should have no problem achieving good sound out of virtually any device that has a 3.5 mm phono jack. While the M4U 1 certainly could benefit from a more powerful amplifier, I was surprised how universally good they sounded coming out of devices such as an iPod, HDTV headphone jack, Micro Gameboy Advanced, or a PC’s onboard audio. Equally surprising was how easily the M4U 1 took to both EQ tweaking and bass-boosting circuitry, showing little distortion and scaling nicely to the adjustment. Overall, it was difficult for me to find a source where the M4U 1 sounded weak, underpowered, or unrevealing; A true testament to their engineering.
Versatility
How many times have you read that ‘ X ‘ headphones are great with Rock and Country music but fall flat when it comes to Hip-hop or Dance. Or perhaps that ‘ X ‘ headphone sounds marvellous with uncompressed Classical or Jazz yet don’t do modern music justice? Sometimes ’ X ‘ headphones sound very musical but may not be ideal for a competitive gaming session. When it comes to overall versatility, the M4U 1 may as well be nicknamed “The Jack of all Trades” as it handles all forms of sound reproduction with absolute precision, speed, and clarity; There is not one single specific type or genre that these headphones cannot handle, period. This can be attributed to the actual science behind Room Feel Technology, and helps reinforce Paul Barton’s claim that headphone manufacturers need to realize it’s importance and incorporate the ‘room’ into their sonic design.
Whether it be a highly compressed lossy track or a lossless hi-res DTS soundtrack the M4U 1 simply refused to ultra-highlight any ugliness of the sound. Unlike other headphones where the more detailed and resolving they are the worse poorly mastered tracks sound, the M4U 1 holds it’s composure. Although I am not going to deny the fact that you will hear flaws and imperfections in certain recordings, I will say that the M4U 1 handles these issues with grace. Loud / low DR scale lossy tracks commonly found in virtually all modern music are very tolerable, while 24-bit / 96 KHz+ lossless tracks sound simply stunning. It is as if the M4U 1 shows compassion for the poorly mastered while allowing fine detail to shine with recordings of higher quality, all while being 100% passive. My hat goes off to the great engineers who helped design the M4U 1 as I can now revisit my music library and not worry about what is coming up next on the playlist.
The Sound - Review
Mac OS X 10.10.2
Audirvana 2.0.6
AIFF lossless source files
TosLink (optical)—> Teac UD-H01—> Ultralink 3.5mm interconnect—> M4U 1
Midrange Purity
Angel of Harlem - The Persuasions
Three For All - The Bucky Pizzarelli Trio
Bring it On Home - C.C. Colletti
Midrange purity is perhaps one of the most important qualities necessary for sound reproduction. The body of the sound (voices or instruments) comes solely from this frequency range. So often voices, despite sounding clean and accurate, sound detached from the ‘physical body’. While this can be contributed to the recording itself, the hardware plays an equal role in the presentation. ‘Angel of Harlem’ by the a cappella group The Persuasions is a good example of vocal midrange purity, and the M4U 1 beautifully creates an excellent awareness of body. Each voice of the five members had a good sense of chest, sounding like it was resonating from within the diaphragm rather than that of five floating heads. Detailed and full of life, from the deep baritone lows to the silky smooth highs, the tonal qualities of each members voice were as uniquely distinct as they were visceral. It truly sounded like there were five men singing in front of three microphones.
Instruments can too suffer from a lack of body, especially with today’s preference of over-processing and the quashing of the dynamic range in recordings. Thankfully ‘Three For All’ as performed by The Bucky Pizzarelli Trio does not suffer from the latter. This jazz trio, consisting of three guitars, is a good selection to best illustrate the sense of a physical body in an instrument’s sound. With unadulterated transparency, every pick, every strum resonated within the shell giving way to a full bodied experience of sound accuracy. It was as if each note was it’s own entity occupying it’s own space within the guitar, being both well defined and tactile in nature while maintaining cohesion to the sound. While this piece was purely instrumental, the performer’s energy was apparent through both their playing and their humming along to the rhythm.
Recorded at Chesky Labs with the latest in Binaural+ Technology, the Led Zeppelin cover ’Bring it On Home’ as performed by C.C. Colletti is a good test of midrange purity in a natural environment. I decided on this song because it was the sole track on the album that has a male voice accompanying Caroline’s, and because he is occupying the same space as his guitar the vocals can get garbled in to the strumming and sound grainy. Providing excellent body with perfectly rendered timbre, the M4U 1 handled this trouble with ease, cleanly separating the two sounds giving both the singer and instrument their own space while still maintaining their relative position to one another. Of course, the songs highlight is that of C.C.’s sweet Southern voice. Full of energy, her vocals sang out with complete transparency; The textured raspiness of her voice was smooth with not even a hint of grain, reaching the top octaves with perfect clarity. Every strum of the guitar yielded the individual reverberation of each string, while the harmonica belt out it’s notes with an echoing sense of soul. Modestly sitting off to the far right, a weighted feel of power emanated with every pluck of the upright bass, filling the studio with a deep lucid sound.
Bass Resonance
Bass Resonance- Best of Chesky Jazz and More Audiophile Tests, Vol. 2
Ain’t No Sunshine - Christy Baron
Up On You - Coming Soon
When pushed, a headphone’s driver can produce unwanted and nonmusical sounds. This what is commonly referred to as distortion and the sound produced can not only lose it’s overall detail and resolve, it can cause bloat and bleed into the the lower midrange. It is far too common for headphone manufacturers to artificially boost the lower frequencies to compensate for their tendency to distort. This may be appealing for both modern recorded music as well as the younger generation’s preference for BIG-BASS, it is hardly ideal for listeners who want quality over quantity. The M4U 1 not only have the speed, the power, and the accuracy, they have the energy with the ability to reach DEEP when called for; Response is solid down to 26Hz with a gentle roll off down past 20Hz.
The tracks I chose for this section are a good test of both natural as well as artificial (or synthesized) bass resonance. First, ‘Bass Resonance- Best of Chesky Jazz and More Audiophile Tests, Vol. 2’ features a solo stand-up bass approximately 3’ from the mic located in a large studio. Every note featured a sharp transient pluck followed by the deep resonance of the body. There was a human quality to every pluck with real sense of flesh pulling on the strings which twanged and reverberated along the frets. Never was the response boomy or bloated, just a pure, clean sound with power and energy felt with every note.
Moving along to ‘Ain’t No Sunshine’, again featuring a solo upright bass but this time accompanied by Christy Baron. This is a good test at showing the power and control of the bass when challenged with maintaining transparency to the midrange. Once again the M4U 1 masterfully handled the bass with precision and control with absolutely no bloat nor bleed. Every note resonated with each pluck showing both energy and grace. Christy’s sweetly seductive vocals were rendered with such subtlety and clarity, giving a good sense of breath yet the M4U 1 refused to lose control of the lower bass, never overpowering or shadowing her voice.
This section would not be complete without a true test of extreme bass. For this I chose the trance/electronica track ‘Up On You’ from the Audiophile compilation by Audiomatic. As one would expect from this genre, this track features impressive amounts of elevated mid-bass and sub-bass. The M4U 1 was able to deliver mid-bass punch with authority, yet still revealing the nuanced low frequency textures of the electronica sounds. Sub-bass possessed impressive amount of weight and energy and was rendered with such speed there was simply no time to bleed into the higher frequencies. Simply put, the M4U 1 is more than capable of supplying ample but appropriate bass when needed, but nothing more. Bass-heads will be more than satisfied with the output quantity while audiophiles will pleased with the quality; Both will impressed with the absolute control.
High Resolution
Spanish Harlem - Rebecca Pidgeon
Allan Taylor - Colour to the Moon
Hajji Baba - Monty Alexander
The audiophile classics I chose are a good test of the M4U 1’s ability to render fine detail and it’s overall resolve. Featured on several female vocal reference compilations, masterfully recorded in Binaural stereo, ‘Spanish Harlem’ by Rebecca Pidgeon contains high resolution detail that can be easily lost if the driver is unable to adequately perform; Not so here. Rebecca’s voice sounds very natural and just breathes with a good sense of space all around her. Every subtle in-between breath she takes can be easily discerned, and never did the sweetness of her vocals sound peaky nor possess any grain. The bass sounds full, robust, and detailed, never getting in the way or sounding overpowering. The strings are airy and sweet yet don’t sound detached from the rest of the band. The shakers are located in the back of the soundstage but don’t sound distant, with each shake being unique and distinct. Nothing sounded congested or out of place, all while maintaining excellent transparency.
‘Colour to the Moon’ by Allan Taylor is one of B&W Audiophile Recording’s favourite reference tracks, as is mine. Alan’s voice is beautifully rendered with detail and emotion; Trenched with warmth it’s deep sound saturates the sound-space. Filled with both joy and sorrow, the delicate picking of the acoustic guitars render great resolve; Every strum glistened with texture, almost visceral, with detail so precise that I could feel the edge catching the coil of the strings as the pick glided across the surface. Possessing an almost holographic quality, the bass cleanly resonated from the back with deep, enveloping, and powerful detail, yet never sounding overwhelming to the contingent of sounds. Distant but never shadowed, the seductive sound of the saxophone gently echoed it’s tune from a far.
Equally impressive is how the M4U 1 render the finer details in Monty Alexander’s ‘Hajji Baba’. The percussive strikes of Monty’s piano were as dynamic as they were subtle; Every note, every chord was distinct, full of energy while maintaining transparency and clarity. Besides Monty’s dynamic piano work, this track features percussion with a dazzling array of cymbals, and is why I chose this piece in particular. Each explosive strike of brass resonated with excellent attack and release resulting a a multi-layer of textured and shimmering sound with a touch of sparkle. Never did the cymbals sound thin, brittle, or weak yet possessed an almost ethereal delicacy. The beat of the drum, though not as forward as the rest of the kit, had both body and impact. The upright bass sat politely behind the rest of the music, each pluck robust, weighted, and detailed yet remained modest.
Transparency and Focus
SlÂttar p tunga - Springar Etter Gudmund Eide - Berit Opheim Versto
Haydn: String Quartet in D major, Op. 76, No. 5 - Finale - Presto - EngegÂrdkvartetten
Wa Wa Wa - Candido Camero
Transparency can be defined as sound that is clear and uninhibited, while focus refers to the definition or ‘clarity of outline’ of that sound. Without these qualities, instruments and vocals can sound cluttered with the notes sounding fuzed together thus taking away the natural detail and convincing resolve. ‘SlÂttar p tunga - Springar Etter Gudmund Eide’ is a trio of female yodellers and best illustrates the transparency and focus of the human voice. The rapidly fluctuations of the falsetto were rendered with absolute clarity, speed, and precision. The characteristics of each singer’s voice were trenchant in their execution; Vocals were full bodied and had a feel of naturalness, each breath having a sweet innocence. Well defined and coherent, there was no muddled notes, no grain, no harshness, just an open window to the sound.
‘Haydn: String Quartet in D major, Op. 76, No. 5 - Finale - Presto’ as performed by popular string quartet EngegÂrdkvartetten. While four stringed instruments may sound simplistic by definition, the complexity of their sound is not; This piece boasts very fast and dynamic bow and finger work by the performers. Each performer’s instrument exists in their own transparent space with their relative positions apparent to the listener. The sharp transients are perfectly complimented with the airy, dry yet sweet sound of the reasoned bow; Fast and detailed, well textured and defined, every note exhibited both energy and life. Both transparent and focused, the characteristics of each instrument was easily discernible, highlighting the M4U 1’s overall precision and resolve.
Finishing off this section, Candido Camero’s ‘Wa Wa Wa’ is a fun Binaural recording. Set in a large soundstage, mixed with dynamic sound of brass horns, this track features a plethora of funky percussion and voice work. With a good sense of impact, each strike of the hand against the skin resonated from within the drum’s chamber, sounding detailed and discrete with a focused outline of it’s shape; I got a good sense of not only the position of each drum within the sound-space, but the position of the performers hand or mallet upon the instrument. Cymbals explode with a textured shimmering sparkle. Distant yet easily discernible and well rendered, the vocals relayed the performer’s vigour giving way to a sense of natural energy. The crisp, bright sound of the brass are focused, possessing good bite that excites the senses while maintaining excellent transparency. Though subtle, the guitar sits gently behind the percussion but is not overshadowed with each pic presented with great detail and resolve. Nothing sounded cultured, just pure musical glue.
Depth
Dr. Chesky's Sensational, Fantastic, and Simply Amazing Binaural Sound Show
Dr. Chesky’s The Ultimate Headphone Demonstration Disc
There is no better studio that better understands natural depth than Chesky Labs, and I can think of no better compilation of test tracks that would be more fitting. In all honesty, I did have my reservations at first by choosing to go with Binaural recordings. As good as they are at creating a more realistic sense of space and natural depth, more times than not I found Binaural recordings to be lacking in absolute precision. This is not the fault of Binaural technology, rather the inability of the headphones. Manufacturers unfortunately try every trick in the book to artificially create depth with the end result being a more expansive soundstage but one that sounds distorted or unnatural. For example the Height Centre Bell : Test track would indeed give an excellent sense of a rising sound, however that same height test on either the left or right channel were not straight; The sound would be skewed and follow the shape of the headphones cup as opposed to a straight rise. With open backed headphones, left/right height can be presented with more of a recessive step-out (or what I like to call sound floating away) rather than a convex curve.
The M4U 1 are a good example of Binaural technology sounding right. Whether it be the height tests, the walk-arounds, or the surround voices, each position of the sound was not only precise but natural. There were no skewed lines, each voice seemed to emanate from where they were announced, and never did elliptical walk-arounds sound flat instead perfectly followed the instrument’s path. There was an realistic sense of natural depth with each announcement of distance from the microphone. Whether it was 3’ or 30’, I believed the instrument or voice I heard were in fact recorded at that distance. It was surreal, almost haunting when Dr. Chesky announced he was about 30’ from the mic on the right side and started walking closer and closer, announcing his movements until he stops right before my and whispers into my ear “ Only Binaural technology can do this… “ ; Not only was it convincing that he was walking towards me in a large cathedral, I could literally feel his breath upon my ear. Perhaps one of the most impressive examples of natural depth was when Dr. Chesky gave me a virtual shave. The movements and precision of the sound were so believable it made my ears twitch in reflex thinking a razor was about to clip them.
Rhythm and Pace (PRaT)
This Song is For You - Johnny Frigo
Sweet Georgia Brown - Montey Alexandar
Para Los Rumberos - Santana
Rhythm and pace, otherwise know as PRaT, by definition is quite ambiguous and is often overlooked. This term gets thrown around a lot, and often incorrectly used. Essentially, rhythm and pace relates to the overall energy of the track. It demands a physical response to the music and should make the listener want to bob their head, tap along with their foot, or get up and dance. Since PRaT can only be quantified as a whole, I won’t be breaking down each song individually as they are only listed for reference; The tracks I chose offer up the potential to make the listener get up and move. Thanks to Room Feel Technology the M4U 1 dominates in it’s ability to relay the energy of the music. Whether it’s the fast latin rock of Santana’s ‘Para Los Rumberos’, Johnny Frigo’s dynamic jazz trio playing ‘This Song is For You’, or the visceral sound of two bands facing off in Montey Alexander’s ‘Sweet Georgia Brown’, the M4U 1 makes short work of all of these tracks. Lively and natural, tactile and detailed, resolved with speed and accuracy, I got an excellent feel of the performers energy being relayed through the transducers that was as palpable as it was visceral. Before long I found myself tapping along to the rhythm with my fingers upon the keyboard. Of course there is a common tendency of the listener to turn the volume dial to 11 when rocking out to rhythm and pace, and the M4U 1 says to this an enthusiastic ‘Yes please!’. At higher volume the sound remained undistorted, allowing me to feel the full impact of the energy while the frequency response remained true to it’s form.
Last Thoughts
In all honesty, I could have transplanted any song from one category to another. The M4U 1 made short work of any track I chose. Detailed, textured, clean, transparent, natural and pure, it is difficult for me to find anything negative to say about their overall sound. Do the M4U 1 sound perfect? To my ears they do. Is there any aspects of the sound that could use refinement? Absolutely. Not because I feel there is anything lacking, rather I believe that nothing is ever technically perfect, especially technology; There is always room for improvement to be had with anything and everything. In fact a little birdie told me that PSB is working on a new flagship headphone. Ok, it was Paul Barton himself hinting at Head-fi’s Jude when asked what he is working on next. Needless to say I look forward to seeing what PSB does next.
“ Hey Paul, if you are reading this I just want you to know that it would be awesome if I can get a sample pair for review purposes when that day arrives eh! “
Closing Comments
First and foremost I would like to thank you good folk for taking the time to read my review of the PSB M4U 1. If you didn’t think it was a good read, I hope at the very least you found it to be informative. In writing this review I gained a new found respect for people who have written many themselves; It was quite daunting trying to decide what to write, let alone the format. My initial intent was to write a quick praise for my new favourite headphone, but the more I wrote the more I felt the need to write more and before long I found myself angling lights and setting up my tripod. It is quite obvious that I love the PSB M4U 1, and I felt it was difficult for me to stay objective. In all honesty, all I wanted to type in giant bold text under each section was ‘ Wow these are good! ’ over and over again. Considering that I live in a Capitol city with one of the highest ratios of retailopulation, it speaks volumes (pun intended) that it was difficult for me to find a store that had the M4U 1 in stock. In my opinion, the M4U 1 are a true sleeper hit.
I tried to think of a good closing cliché that would best describe the M4U 1, but in the end all I could think of is that PSB and Room Feel Technology really hit a home run first time up to bat. They hit the ball so far out of the park it crashed through Zeus’s patio window and disrupted the game of back yard croquette he was enjoying with Jesus. You don’t have to go looking too far to find the many accolades the M4U 1 has received since their release in 2013. From making the list in Head-fi’s Buyers Guide, to The Wire Cutter having the M4U 1 as their top pick for two consecutive years, PSB’s first foray into headphones has accomplished what it’s competition has yet to even attempt; A sonic signature that takes into consideration the listening environment in which the music was intended to be heard. The end result of this forward thinking is one of faithful and accurate sound reproduction that holds true to the original recording. While there may be headphones who’s sound may be more refined or resolving, it’s not by much and nowhere near the price point of the M4U 1. Room Feel Technology is very real and is as much of a game changer as Paul Barton’s 1974 loudspeaker research was 40 years ago. It is time for the old guard to wake up and embrace a new standard in headphones. Le Roi est mort, vive le Roi!
 |
Intro
I am quite sure that many of you, myself included, have started on the seemingly never ending path to finding the perfect set of headphones. Terms such as too bright or too dark, mid-bass hump and recessed midrange, peaky treble and accentuated sibilance, are enough to drive a sane consumer mad. Or at the very least an unnecessary waste of one’s hard earned money. There has simply been no frequency response standard in headphones, until now. In conjunction with their sister company NAD, PSB Speakers has set the new reference standard on how headphones should sound that not only faithfully reproduce the music, but is universally pleasing to all including the most demanding of listener. For a first attempt they sure got it right.
History
Highly acclaimed for both performance and price, PSB Speakers has been an industry leader in the world of high-end loudspeakers for nearly 40 years. Realizing at an early age that loudspeakers did not sound too great, company founder and chief designer Paul Barton set out to design and build his very own loudspeaker in his family’s woodshop. It wasn’t long before Paul was selling his speaker kits to university students and in 1972 he and his wife Sue formed PSB Speakers. Two years later, with the help of the Canadian NRC (National Research Council), Paul’s psychoacoustic research literally changed the world of loudspeakers forever. His research determined how a loudspeaker’s frequency response curve should sound to faithfully and accurately reproduce the music as intended by the engineers of the recording.
Paul Barton’s on-going research and methods of determination are regularly used by not only PSB, but most high-end loudspeaker manufacturers to this day. Unfortunately, in the world of headphones there is no industry standard. Despite knowing how music is produced and how music is supposed to sound, no manufacturer has developed a transducer headphone with the same acoustic sound signature as the loudspeaker.
“ Nowadays speakers are much more consistent; They aren’t ‘black and white’, ‘day or night’ different, and if they are then they are rejected. So, I think headphones (in 2013) are in about the same state right now that loudspeakers were in back in the 1970’s. Because there is no agreement on what the ideal target response profile for a headphone should be. “
Paul Barton, Hi-Fi+ (Aug. 2013 excerpt)
About me
Growing up in a family consisting of musicians, broadcaster/sound engineers, and amateur DJs, I always had a deep appreciation and understanding of both music and sound. Beyond Elementary School ukulele, my interest was always been in appreciation rather than creation. I was further educated in this self interest after taking courses in both electronics and sound (electro-acousto); There are not many instruments I have have not stuck a mic in or around and sampled it’s waveform. While I believe a listener’s preference in sound is subjective, the science behind it is not. I am someone who, when a guest at someone’s home, takes it upon myself to perfectly calibrate their Home Theatre and HDTV by the time they return with drinks. I am someone who enters a noisy room and hears all the annoying noises that no one else hears. People I know call me first when needing knowledgable advice and opinion when it comes to computers and consumer electronics. I am not swayed by buzzwords, hype, trends, brand recognition, or big numbers on charts; I am the nemesis of the commissioned salesperson. Opinionated as I am, my words are not only objective but honest. I view all criticism as constructive, as long as it is sincere. All equipment in this review was decided upon and purchased by me. No company has sent me any of their products (though I wouldn’t turn them down), and nobody is endorsing me to write this review.
In all honesty, I never had an interest in headphones up until the past two years. To me, headphones were always more of a utilitarian device, used out of necessity. Beyond monitoring and the occasional gaming session, my use of headphones was limited to blocking out the noise of my daily travels. To me, listening to headphones while engaged in either music or movies was less than satisfactory; They simply could not compare to my hi-fi loudspeakers. The problem is not so much that I found headphones to be inadequate, rather I knew that if I wanted sound comparable to a good hi-fi system I would be needing to spend a lot more money than I was willing to. That is, until my work hours shifted to a later start time and I could no longer listen to my hi-fi system; Both my wife and townhouse neighbours would be fast asleep and unappreciative of me blasting my music throughout the dead of night. My work hours eventually went back to normal however I had fallen hard for headphones and was now in search of that perfect sound signature to compare to my WF-34 Icons.
Over the past two years I have gone through the gauntlet of headphone research; Buying, trying, selling, returning, auditioning, inconveniencing, and frustration are but a few words to describe my journey. I had been eying the M4U 1 since I first read about them back in 2013, however I had neither found a retailer with a pair on demo, nor did I actually find one that had them in stock. As a hi-fi guy, Paul Barton is my loudspeaker idol. I have been an admirer of not only his work but PSB Speakers for years, and the technology behind Room Feel looked incredibly promising. It certainly did not help my envy that popular review sites such as Innerfidelity and TheWireCutter raved about both the NAD Visio HP50 and the PSB M4U 1/2. In the end I settled for a few pairs of popular hi-end headphones. The deciding factor was not so much based off from one definitive reason, rather overall sound quality vs the low price I was able purchase them for. By a stroke of luck or impeccable timing, in late November of 2014 a popular nation wide electronics chain put the M4U 1 on sale for 50% off, and by chance my local retailer, one the first day of the sale, had one left. In fact, it was the last one available chain wide in all of Western Canada. My ride on public transit seemed like an eternity but in the end I came, I saw, I conquered! Fantastic!
PSB ‘Music For You’ : M4U 1
Headphone Specifications
| Frequency Response (within +/- 1.5dB) | 20 Hz - 20,000 Hz |
| Sensitivity (1kHz/1mW) | 102 dB |
| Total Harmonic Distortion (1kHz/1mW) | 0.25% |
| Power Handling | 30 mW |
| Impedance | 32 Ohms |
| Ear Coupling | Circumaural |
| Transducer Type Operating Principle Size | Dynamic Closed 40 mm |
| Construction Headband Driver Enclosure Ear-pads/Head-pad | Polycarbonate ABS+ Polycarbonate Leatherette |
| Size (W x H x D) Overall Ear Cushion Outside / Inside (aprox.) | 200 x 200 x 70 mm 68 x 98 x 17 mm / 45 x 64 x 15 mm (aprox.) |
| Weight | 340 g |
Packaging and Accessories
| Accessories Included | Protective Hard Travel Case Extra Ear Pads 2 x 1.5 m (59”) Cables (straight TRRS and L plugs) 3.5 mm to 6.3 mm (1/8” to 1/4”) Stereo Plug Adaptor Airline Connection Adaptor Cleaning Cloth |
Upon pulling off the sleeve to the box, I really felt like PSB was providing me with a premium product. The box is made of 100% recycled materials and flips open like a book. Inside neatly sat the hard travel case which stored the headphones, with 3 bundled accessories bags located under the flap of the left tray. Included in first bag is a quality 3.5 mm to 6.3 mm gold plated adaptor, a universal airline adaptor which will greatly appeal to frequent flyers, a carabiner for easy attachment to bags or luggage, and a micro-fibre cleaning cloth. Unlike what most manufacturers provide, the cleaning cloth is actually of useful size and thickness; So often you get a small 45mm x 25mm piece of cheap polyester that is smaller than what PSB provides, folded up. The next bag included two headphone cables; One standard straight cable, the other with a one-button control-talk module that is guaranteed to work with at least iDevices and Blackberry phones. The last bag contained the extra set of leatherette ear-pads and replacement instructions. I can’t tell you how much this is appreciated as tracking down and ordering a replacement set of ear-pads can be a real hassle, not to mention unnecessary listening downtime. I also applaud PSB for including shaped inserts to prevent loss of form when stuffed in the case.
 |
All of the accessories fit neatly into the high quality, light weight, hard travel case and are held firmly in place by the mesh. Having traveled with the case attached to my bag via the carabiner, I can assure you that everything was held secure in place. Although not pictured, it is both possible and safe to keep the headphone cable attached when the M4U 1 is folded in the case. Simply put, all aspects of packing and travel have been smartly addressed.
 |
Build, Aesthetics, and Comfort
As expected of a company such as PSB, the M4U 1 are of high quality build and construction. Holding these in my hand, they do not feel cheap or flimsy, yet reasonably light. Multi layered thermoformed polycarbonate reinforced with ABS make up the bulk of materials used, ensuring both strength and light weight. Stainless steel extensions run down into the arms and are reinforced at the fold point with a metal plate, which is screwed on to the headband. The ear-cups are attached to the yoke via a brushed-stainless backplate which acts as an up/down pivot. In the centre of the backplate sits a chromed nickel PSB Speakers logo which also acts as the left/right swivel. Located on the bottom of each ear-cup is the 3.5 mm entry plug. The dual left or right entry plugs is a handy feature allowing you to not only daisy-chain another set of headphones, but alleviates the annoyance of either the phono jack or source equipment being on the opposite side of the cable. The stitched ear-pads as well as the head-pad are made of a very high quality leatherette. The material is very soft yet strong and if one did not know better, would swear it was real leather. The provided cables are decent enough. They are of good length, have no bad microphonics, and neither tangle nor have a bad tendency to keep their shape. Although I would have preferred that they would have made the cables a little thicker, it is not an issue as any 3.5 mm cable can be used.
 |  |
| Buttery soft and breathable head-pad. | The high quality drivers are protected by a perforated hard outer shell. |
 |  |
| Inside view of the arm at full extension. | Outside view of the arm at full extension. |
Available in Baltic Grey, Monza Red, and Black Diamond (pictured), the M4U 1 sports a modern design. Despite the Monza Red sharing a similar shade as a certain unmentioned ‘fashion’ headphone brand, the M4U 1’s profile is quite elegant and unique. The finish is made up of multiple layers of clear polycarbonate which helps achieve a deep, glossy appearance. Unfortunately the camera does no justice in portraying just how sexy the M4U 1’s finish is; They really need to be seen in person to fully appreciate their look. A narrow grey strip running along the middle of the body helps break up the solid gloss finish. The brushed steel back plate and chrome insert adds additional contrast and is a nice throwback to old hi-fi equipment design, adding that last bit of prestige to overall look. Essentially, the M4U 1 will have no problem fitting in when placed next to a modern HDTV or hi-fi stereo system.
 |  |
| Despite the high gloss, the M4U 1 is quite scratch and finger-oil resistant. | Ingenious 360 degree outer tilt / inner swivel design. |
 |  |
| Check out that shiny, deep gloss coat! | The ear pads are very soft and comfortable. |
Coupled with buttery soft memory foam ear-pads and the complete 360 degree axis of the ear-cups, obtaining a perfect fit should not be an issue. Having an average sized head and ears, the clamping force was sufficient to assure both a good seal and good grip, yet not overly tight with no unwanted and annoying pressure points; Once broken in, the ear-pads meld into the side of your head while still maintaining the proper buffer and cushion. Thanks to the wide arc of the headband the weight of the M4U1 is evenly distributed and never do I feel the full weight of 340 g bearing down on my neck. In terms of long listening sessions, I had no trouble wearing the M4U 1 for 4+ hours before I needed to take a quick break; Like with most closed headphones it was to alleviate and vent some of the heat build up, rather than discomfort due to fit. Overall the M4U 1 remained relatively cool and after a while start to become invisible on your head. Be warned though, people with larger heads and ears may have comfort issues in the beginning, but much like a pair of new shoes the M4U 1 will loosen up after some breaking in.
Despite being the passive variant of the highly acclaimed M4U 2 with ANC, the M4U 1 does an excellent job of blocking out unwanted background noise. Taking a walk down to the local convenient store, which is located along a busy street and multiple bus routes, it was impressed with how much noise the M4U 1 actually block; They are easily on par with custom fit ear-plugs. Although the included hard travel case and fold-up design means the M4U 1 is meant for portable use, in my opinion those features are meant literally for just that; Moving the unit from point A to point B with minimal hassle and packing as opposed to using them on-the-go in the urban environment. Nothing is going to stop you, besides the threat of looking like a Hipster, but due to their overall design they are mean for a more low-impact use. Fortunately PSB also makes the M4U 4 IEM which would be a better match for the urban warrior.
 Pictured above are the three available colours, Paul Barton himself and a nice looking model from sporting the M4U 1. |
 In terms of overall size, the M4U 1 are pretty average in comparison to other popular circumaural headphones. |
Value vs Quality
PSB has been renowned and praised for their premium quality loudspeakers without the premium price, and the M4U 1 proudly carries that torch. If I were blind folded and had the M4U 1 placed upon my head with several tracks played, and then asked if the sound quality I just experienced warranted a $699 MRSP, I would have no reservations in saying yes. If instead I was asked if $499 was fair for the sound I just heard, I would agree that the M4U 1 are deserving of that price. At a MSRP of $299 PSB not only offers almost unreal quality and value for the price, but puts the M4U 1 in reach of the average consumer who want a premium sound, solid build, and plethora of useful accessories. By choosing to go with polycarbonate and ABS and outsourcing construction to China the savings were passed along to the consumer. Sure, PSB could have gone with more premium materials and had the units hand-assembled in Canada, but this would undoubtedly raise the total cost, potentially making the M4U 1 less attractive for those of us who may not be able to afford them otherwise. All of this is backed up by a 2 year manufacturer’s warranty.
The Sound - Basics
Click here for Head-fi’s interview with Paul Barton.
Room Feel Technology
What is Room Feel Technology? Ever heard DSP or software based headphone sound space enhancers such as Dolby Headphones, SRS, or Razor Surround? Room Feel Technology is nothing like them. Music is recorded, mixed, and mastered in a room with two forward firing monitors. The key word here is ‘room’. Essentially the music you and I enjoy is meant to sound it’s best coming out of two flanking loudspeakers, in a ‘room’. So what is so important about the ‘room’? When loudspeakers pump out sound, only a certain percentage of the sound that reaches your ears comes directly from the cones. The rest of the sound is being reflected off the walls, floor, and ceiling. Without getting too technical, the room actually gives the sound energy, and while that energy predominantly affects the lower frequencies, it actually gives body to the whole frequency response. Without this added energy the sound loses it’s potential resulting in a rendering that is not true to the recording. Up until now, not a single headphone manufacturer has taken the ‘room’ into account, despite having very similar frequency curves to the M4U 1. Thanks to Paul Barton’s genius, the M4U 1 sound not like conventional headphones, rather sound like a really good pair of loudspeakers properly positioned in a room with you the listener sitting in the sweet spot.
First Impressions
It is a lazy Sunday afternoon, nothing better to do you go down to your local hi-fi store with the intent of picking up some speaker wire and perhaps a CD or two. Being a slow day, the salesperson ushers you into a sound room and proceeds to give you the full demonstration of the store’s most expensive amplifier and loudspeakers. Having a decent hi-fi setup at home, you initially agree simply to indulge him only to emerge from the room having listened to quality of sound that you did not think was before possible. This scenario perfectly describes the M4U 1.
From the moment I placed the M4U 1 on my head and pushed play, I was absolutely blown away at how bloody good they sounded, from a loudspeaker perspective. Though not for one second did I ever doubt the claims of Paul Barton and the Room Feel Technology developed by NAD/PSB, truthfully I was not knowing what to expect; A small part of me kept saying ‘Buzzword’ and ‘Overhyped’ every time I read ‘Room Feel’. All reservations went out the windows once I heard how clean, resolving, and BIG the M4U 1’s sound was. Initially the M4U 1seemed like it had a slightly warm tilt, but after further listening I soon realized this was not warmth I was hearing, it was full body across the whole frequency spectrum; Nothing sounded weak, distorted, coloured, or out of place. After playing the Headphone Dating Game over the years, this truly was love at first sight…or hear.
The Experiment
On Christmas Eve I had decided to bring my iPod and the M4U 1 over to my parent’s. It had been a little over one month since the initial purchase and while I had been impressed with their overall performance, I saw this as an opportunity to get a pooled opinion from both music lovers and professionals. Having all festivities take place downstairs in the rumpus room, I strategically placed the iPod and headphones on the kitchen table that everyone would need to pass on their way to the only bathrooms on the main level; New technology in my family is as enticing as a flame is to a moth. It wasn’t long into the night’s festivities before I heard someone say “ By the way, who’s headphones are those upstairs? “ and the talk turned to the M4U 1. Although it could have been “ PSB makes headphones? ”, out of a group of around 25 family members the top remarks were how ‘clean’ and ’natural’ the sound was, followed by “ These are how much? “. Most agreed that the vocals were some of the most natural and forward sounding they had heard in a pair of headphones; All agreed that overall, the M4U 1 put their beloved (and more expensive) headphones to shame.
Normally I would blather off any and all information on the tech I am showing off before I hand it off. It was both refreshing and rewarding to get unprompted opinions from people who are well informed. I would like to conclude by saying that this time I had said absolutely nothing about the M4U 1 to my family either before or after their listen. Not Room Feel Technology, not their frequency response or impedance rating, not even my own personally feelings. Besides stating that the M4U 1 were made by PSB Speakers and that I had got them for a half-off, the only thing asked by me was in regards to their opinion on the overall fit and comfort level, which received no complaints. My sneakiness and curiosity not only validated my own thoughts on the M4U 1, but every other review giving them high praise; Impressive for a first go!
Frequency Responce Curve
 |
First thing that I would like to disclose is that the above FR graph is a compilation, averaged from many sources found on the internet. I have no means of measuring headphone sound output, and did want to cut and paste an FR graph taken from another site. Instead I thought it would be better served if I compile and average the data pulled from both professionals and enthusiasts measurements. Although most of the FR curves for the midrange were consistent, there were two common variances I encountered in the bass and treble regions. The bass curve on some graphs displayed a steep shelf starting at 30Hz extending down to 20Hz, while other showed consistent curves yet the amplitude of the whole treble zone was about 5dB higher. Oddly enough, both variances were more common amongst enthusiast blogs rather than websites of a more professional nature (such as Innerfidelity). Regardless, I can assure you that the FR response graph is both honest and accurate. Not to mention looks nice and is easy to read.
The frequency response curve of the M4U 1 is actually common in premium top-tiered headphones from manufacturers such as Sennheiser, HiFiMAN, and Denon. Slightly enhanced bass, linear mids, and treble with a gentle roll-off is what many audiophiles consider to be the proper FR curve; It is not surprising that manufacturers would choose to tune their drivers this way. While I personally have not heard any top-tiered planar magnet headphones, I have heard some of the the best of the best when it comes to the dynamic transducer variety; The quality of the M4U 1’s driver holds their own against it’s more established competitors. However as good as numbers and charts are in determining a baseline reference, real world performance is where it counts. This holds especially true for the M4U 1 as the Room Feel Technology adds noticeable effect that helps distinguish itself from the competition.
Tonal Qualities
Music is quantified by more than just the bass, midrange, and treble and therefore I am not going to spend too much time going over the tonal qualities in great detail. My reasoning behind this decision is that overall, the M4U 1 handles the whole frequency spectrum exceptionally well with no perceived negatives or shortcomings, and I would rather put forth the time and effort into covering the many other aspects of the sound.
Bass: The M4U 1 has some of the most accurate, detailed, and fast bass I have head in a dynamic transducer. There is absolutely zero sub-bass bloat nor bloom, and absolutely zero bleed into the lower midrange. When called upon the M4U 1 delivers mid-bass punch as well as sub-bass rumble that is accurate in quantity yet gives gives a good sense of power and energy without being over-bearing. Room Feel Technology not just works, it works very well; It is as if the bass is a separate entity that cleanly and seamlessly compliments the rest of the frequency spectrum. Whether it is the low registers of a double bass, or the fast electronic beats of todays modern music, the M4U 1 has no problems accurately handling the low frequencies in any genre.
Midrange: One word; Smooth! Despite being relatively linear, the midrange has an engaging sound. Instruments are rendered with great precision. A slight bump at the lower end adds body to male and female vocals, which are accurate with no hint of grain or veil. Dialogue is clean, clear, and precise. Considering the midrange makes up the bulk of the sound, the M4U 1 handles the diversity uncoloured and with ease.
Treble: Like a perfectly fermented champagne with just the right amount of sweetness, the M4U 1’s treble is crisp and clean with a touch of sparkle and shine. Fast and detailed with accurate decay, the treble is non-fatiguing. Sibilance sounds natural with no accentuation or harshness. There is no perception of artificially boosted or unnatural detail. With a gentle roll-off, he treble is what it is, sweet; Great extension, non-peaky, zero distortion.
Headstage
Perhaps one of the more prominent aspects of the M4U 1 is it’s soundstage. Simply put it’s huge, and not just for a closed design either. The overall soundstage is not as airy as an open back design, none the less the M4U 1 either rivals or surpass headphones of that nature. A good analogy would be that the M4U 1 sounds like the music is being rendered in a large room, whereas a good open back headphone sound like the same large room but with the windows open. Another interesting quality of the sound stage is that despite having drivers that are aligned flush with the head, the overall directionality of the sound is more indicative of two angled loudspeakers rather that of a general left/right circular radius commonly found in a closed circumaural design. This provides exceptional forward depth that is both wide and tall. Overall the stereo transition is not only natural but seamless; The M4U 1 do not have a left/right/centre ‘3-blob’ soundstage, nor do they have an obvious centre break exposing the left/right divide. Instrument and vocal placement is precise, accurate, and natural.
Amping and Scaling
The M4U 1 are rated at a standard 32 Ohm with a sensitivity of 102 dB, meaning one should have no problem achieving good sound out of virtually any device that has a 3.5 mm phono jack. While the M4U 1 certainly could benefit from a more powerful amplifier, I was surprised how universally good they sounded coming out of devices such as an iPod, HDTV headphone jack, Micro Gameboy Advanced, or a PC’s onboard audio. Equally surprising was how easily the M4U 1 took to both EQ tweaking and bass-boosting circuitry, showing little distortion and scaling nicely to the adjustment. Overall, it was difficult for me to find a source where the M4U 1 sounded weak, underpowered, or unrevealing; A true testament to their engineering.
Versatility
How many times have you read that ‘ X ‘ headphones are great with Rock and Country music but fall flat when it comes to Hip-hop or Dance. Or perhaps that ‘ X ‘ headphone sounds marvellous with uncompressed Classical or Jazz yet don’t do modern music justice? Sometimes ’ X ‘ headphones sound very musical but may not be ideal for a competitive gaming session. When it comes to overall versatility, the M4U 1 may as well be nicknamed “The Jack of all Trades” as it handles all forms of sound reproduction with absolute precision, speed, and clarity; There is not one single specific type or genre that these headphones cannot handle, period. This can be attributed to the actual science behind Room Feel Technology, and helps reinforce Paul Barton’s claim that headphone manufacturers need to realize it’s importance and incorporate the ‘room’ into their sonic design.
Whether it be a highly compressed lossy track or a lossless hi-res DTS soundtrack the M4U 1 simply refused to ultra-highlight any ugliness of the sound. Unlike other headphones where the more detailed and resolving they are the worse poorly mastered tracks sound, the M4U 1 holds it’s composure. Although I am not going to deny the fact that you will hear flaws and imperfections in certain recordings, I will say that the M4U 1 handles these issues with grace. Loud / low DR scale lossy tracks commonly found in virtually all modern music are very tolerable, while 24-bit / 96 KHz+ lossless tracks sound simply stunning. It is as if the M4U 1 shows compassion for the poorly mastered while allowing fine detail to shine with recordings of higher quality, all while being 100% passive. My hat goes off to the great engineers who helped design the M4U 1 as I can now revisit my music library and not worry about what is coming up next on the playlist.
The Sound - Review
Mac OS X 10.10.2
Audirvana 2.0.6
AIFF lossless source files
TosLink (optical)—> Teac UD-H01—> Ultralink 3.5mm interconnect—> M4U 1
Midrange Purity
Angel of Harlem - The Persuasions
Three For All - The Bucky Pizzarelli Trio
Bring it On Home - C.C. Colletti
Midrange purity is perhaps one of the most important qualities necessary for sound reproduction. The body of the sound (voices or instruments) comes solely from this frequency range. So often voices, despite sounding clean and accurate, sound detached from the ‘physical body’. While this can be contributed to the recording itself, the hardware plays an equal role in the presentation. ‘Angel of Harlem’ by the a cappella group The Persuasions is a good example of vocal midrange purity, and the M4U 1 beautifully creates an excellent awareness of body. Each voice of the five members had a good sense of chest, sounding like it was resonating from within the diaphragm rather than that of five floating heads. Detailed and full of life, from the deep baritone lows to the silky smooth highs, the tonal qualities of each members voice were as uniquely distinct as they were visceral. It truly sounded like there were five men singing in front of three microphones.
Instruments can too suffer from a lack of body, especially with today’s preference of over-processing and the quashing of the dynamic range in recordings. Thankfully ‘Three For All’ as performed by The Bucky Pizzarelli Trio does not suffer from the latter. This jazz trio, consisting of three guitars, is a good selection to best illustrate the sense of a physical body in an instrument’s sound. With unadulterated transparency, every pick, every strum resonated within the shell giving way to a full bodied experience of sound accuracy. It was as if each note was it’s own entity occupying it’s own space within the guitar, being both well defined and tactile in nature while maintaining cohesion to the sound. While this piece was purely instrumental, the performer’s energy was apparent through both their playing and their humming along to the rhythm.
Recorded at Chesky Labs with the latest in Binaural+ Technology, the Led Zeppelin cover ’Bring it On Home’ as performed by C.C. Colletti is a good test of midrange purity in a natural environment. I decided on this song because it was the sole track on the album that has a male voice accompanying Caroline’s, and because he is occupying the same space as his guitar the vocals can get garbled in to the strumming and sound grainy. Providing excellent body with perfectly rendered timbre, the M4U 1 handled this trouble with ease, cleanly separating the two sounds giving both the singer and instrument their own space while still maintaining their relative position to one another. Of course, the songs highlight is that of C.C.’s sweet Southern voice. Full of energy, her vocals sang out with complete transparency; The textured raspiness of her voice was smooth with not even a hint of grain, reaching the top octaves with perfect clarity. Every strum of the guitar yielded the individual reverberation of each string, while the harmonica belt out it’s notes with an echoing sense of soul. Modestly sitting off to the far right, a weighted feel of power emanated with every pluck of the upright bass, filling the studio with a deep lucid sound.
Bass Resonance
Bass Resonance- Best of Chesky Jazz and More Audiophile Tests, Vol. 2
Ain’t No Sunshine - Christy Baron
Up On You - Coming Soon
When pushed, a headphone’s driver can produce unwanted and nonmusical sounds. This what is commonly referred to as distortion and the sound produced can not only lose it’s overall detail and resolve, it can cause bloat and bleed into the the lower midrange. It is far too common for headphone manufacturers to artificially boost the lower frequencies to compensate for their tendency to distort. This may be appealing for both modern recorded music as well as the younger generation’s preference for BIG-BASS, it is hardly ideal for listeners who want quality over quantity. The M4U 1 not only have the speed, the power, and the accuracy, they have the energy with the ability to reach DEEP when called for; Response is solid down to 26Hz with a gentle roll off down past 20Hz.
The tracks I chose for this section are a good test of both natural as well as artificial (or synthesized) bass resonance. First, ‘Bass Resonance- Best of Chesky Jazz and More Audiophile Tests, Vol. 2’ features a solo stand-up bass approximately 3’ from the mic located in a large studio. Every note featured a sharp transient pluck followed by the deep resonance of the body. There was a human quality to every pluck with real sense of flesh pulling on the strings which twanged and reverberated along the frets. Never was the response boomy or bloated, just a pure, clean sound with power and energy felt with every note.
Moving along to ‘Ain’t No Sunshine’, again featuring a solo upright bass but this time accompanied by Christy Baron. This is a good test at showing the power and control of the bass when challenged with maintaining transparency to the midrange. Once again the M4U 1 masterfully handled the bass with precision and control with absolutely no bloat nor bleed. Every note resonated with each pluck showing both energy and grace. Christy’s sweetly seductive vocals were rendered with such subtlety and clarity, giving a good sense of breath yet the M4U 1 refused to lose control of the lower bass, never overpowering or shadowing her voice.
This section would not be complete without a true test of extreme bass. For this I chose the trance/electronica track ‘Up On You’ from the Audiophile compilation by Audiomatic. As one would expect from this genre, this track features impressive amounts of elevated mid-bass and sub-bass. The M4U 1 was able to deliver mid-bass punch with authority, yet still revealing the nuanced low frequency textures of the electronica sounds. Sub-bass possessed impressive amount of weight and energy and was rendered with such speed there was simply no time to bleed into the higher frequencies. Simply put, the M4U 1 is more than capable of supplying ample but appropriate bass when needed, but nothing more. Bass-heads will be more than satisfied with the output quantity while audiophiles will pleased with the quality; Both will impressed with the absolute control.
High Resolution
Spanish Harlem - Rebecca Pidgeon
Allan Taylor - Colour to the Moon
Hajji Baba - Monty Alexander
The audiophile classics I chose are a good test of the M4U 1’s ability to render fine detail and it’s overall resolve. Featured on several female vocal reference compilations, masterfully recorded in Binaural stereo, ‘Spanish Harlem’ by Rebecca Pidgeon contains high resolution detail that can be easily lost if the driver is unable to adequately perform; Not so here. Rebecca’s voice sounds very natural and just breathes with a good sense of space all around her. Every subtle in-between breath she takes can be easily discerned, and never did the sweetness of her vocals sound peaky nor possess any grain. The bass sounds full, robust, and detailed, never getting in the way or sounding overpowering. The strings are airy and sweet yet don’t sound detached from the rest of the band. The shakers are located in the back of the soundstage but don’t sound distant, with each shake being unique and distinct. Nothing sounded congested or out of place, all while maintaining excellent transparency.
‘Colour to the Moon’ by Allan Taylor is one of B&W Audiophile Recording’s favourite reference tracks, as is mine. Alan’s voice is beautifully rendered with detail and emotion; Trenched with warmth it’s deep sound saturates the sound-space. Filled with both joy and sorrow, the delicate picking of the acoustic guitars render great resolve; Every strum glistened with texture, almost visceral, with detail so precise that I could feel the edge catching the coil of the strings as the pick glided across the surface. Possessing an almost holographic quality, the bass cleanly resonated from the back with deep, enveloping, and powerful detail, yet never sounding overwhelming to the contingent of sounds. Distant but never shadowed, the seductive sound of the saxophone gently echoed it’s tune from a far.
Equally impressive is how the M4U 1 render the finer details in Monty Alexander’s ‘Hajji Baba’. The percussive strikes of Monty’s piano were as dynamic as they were subtle; Every note, every chord was distinct, full of energy while maintaining transparency and clarity. Besides Monty’s dynamic piano work, this track features percussion with a dazzling array of cymbals, and is why I chose this piece in particular. Each explosive strike of brass resonated with excellent attack and release resulting a a multi-layer of textured and shimmering sound with a touch of sparkle. Never did the cymbals sound thin, brittle, or weak yet possessed an almost ethereal delicacy. The beat of the drum, though not as forward as the rest of the kit, had both body and impact. The upright bass sat politely behind the rest of the music, each pluck robust, weighted, and detailed yet remained modest.
Transparency and Focus
SlÂttar p tunga - Springar Etter Gudmund Eide - Berit Opheim Versto
Haydn: String Quartet in D major, Op. 76, No. 5 - Finale - Presto - EngegÂrdkvartetten
Wa Wa Wa - Candido Camero
Transparency can be defined as sound that is clear and uninhibited, while focus refers to the definition or ‘clarity of outline’ of that sound. Without these qualities, instruments and vocals can sound cluttered with the notes sounding fuzed together thus taking away the natural detail and convincing resolve. ‘SlÂttar p tunga - Springar Etter Gudmund Eide’ is a trio of female yodellers and best illustrates the transparency and focus of the human voice. The rapidly fluctuations of the falsetto were rendered with absolute clarity, speed, and precision. The characteristics of each singer’s voice were trenchant in their execution; Vocals were full bodied and had a feel of naturalness, each breath having a sweet innocence. Well defined and coherent, there was no muddled notes, no grain, no harshness, just an open window to the sound.
‘Haydn: String Quartet in D major, Op. 76, No. 5 - Finale - Presto’ as performed by popular string quartet EngegÂrdkvartetten. While four stringed instruments may sound simplistic by definition, the complexity of their sound is not; This piece boasts very fast and dynamic bow and finger work by the performers. Each performer’s instrument exists in their own transparent space with their relative positions apparent to the listener. The sharp transients are perfectly complimented with the airy, dry yet sweet sound of the reasoned bow; Fast and detailed, well textured and defined, every note exhibited both energy and life. Both transparent and focused, the characteristics of each instrument was easily discernible, highlighting the M4U 1’s overall precision and resolve.
Finishing off this section, Candido Camero’s ‘Wa Wa Wa’ is a fun Binaural recording. Set in a large soundstage, mixed with dynamic sound of brass horns, this track features a plethora of funky percussion and voice work. With a good sense of impact, each strike of the hand against the skin resonated from within the drum’s chamber, sounding detailed and discrete with a focused outline of it’s shape; I got a good sense of not only the position of each drum within the sound-space, but the position of the performers hand or mallet upon the instrument. Cymbals explode with a textured shimmering sparkle. Distant yet easily discernible and well rendered, the vocals relayed the performer’s vigour giving way to a sense of natural energy. The crisp, bright sound of the brass are focused, possessing good bite that excites the senses while maintaining excellent transparency. Though subtle, the guitar sits gently behind the percussion but is not overshadowed with each pic presented with great detail and resolve. Nothing sounded cultured, just pure musical glue.
Depth
Dr. Chesky's Sensational, Fantastic, and Simply Amazing Binaural Sound Show
Dr. Chesky’s The Ultimate Headphone Demonstration Disc
There is no better studio that better understands natural depth than Chesky Labs, and I can think of no better compilation of test tracks that would be more fitting. In all honesty, I did have my reservations at first by choosing to go with Binaural recordings. As good as they are at creating a more realistic sense of space and natural depth, more times than not I found Binaural recordings to be lacking in absolute precision. This is not the fault of Binaural technology, rather the inability of the headphones. Manufacturers unfortunately try every trick in the book to artificially create depth with the end result being a more expansive soundstage but one that sounds distorted or unnatural. For example the Height Centre Bell : Test track would indeed give an excellent sense of a rising sound, however that same height test on either the left or right channel were not straight; The sound would be skewed and follow the shape of the headphones cup as opposed to a straight rise. With open backed headphones, left/right height can be presented with more of a recessive step-out (or what I like to call sound floating away) rather than a convex curve.
The M4U 1 are a good example of Binaural technology sounding right. Whether it be the height tests, the walk-arounds, or the surround voices, each position of the sound was not only precise but natural. There were no skewed lines, each voice seemed to emanate from where they were announced, and never did elliptical walk-arounds sound flat instead perfectly followed the instrument’s path. There was an realistic sense of natural depth with each announcement of distance from the microphone. Whether it was 3’ or 30’, I believed the instrument or voice I heard were in fact recorded at that distance. It was surreal, almost haunting when Dr. Chesky announced he was about 30’ from the mic on the right side and started walking closer and closer, announcing his movements until he stops right before my and whispers into my ear “ Only Binaural technology can do this… “ ; Not only was it convincing that he was walking towards me in a large cathedral, I could literally feel his breath upon my ear. Perhaps one of the most impressive examples of natural depth was when Dr. Chesky gave me a virtual shave. The movements and precision of the sound were so believable it made my ears twitch in reflex thinking a razor was about to clip them.
Rhythm and Pace (PRaT)
This Song is For You - Johnny Frigo
Sweet Georgia Brown - Montey Alexandar
Para Los Rumberos - Santana
Rhythm and pace, otherwise know as PRaT, by definition is quite ambiguous and is often overlooked. This term gets thrown around a lot, and often incorrectly used. Essentially, rhythm and pace relates to the overall energy of the track. It demands a physical response to the music and should make the listener want to bob their head, tap along with their foot, or get up and dance. Since PRaT can only be quantified as a whole, I won’t be breaking down each song individually as they are only listed for reference; The tracks I chose offer up the potential to make the listener get up and move. Thanks to Room Feel Technology the M4U 1 dominates in it’s ability to relay the energy of the music. Whether it’s the fast latin rock of Santana’s ‘Para Los Rumberos’, Johnny Frigo’s dynamic jazz trio playing ‘This Song is For You’, or the visceral sound of two bands facing off in Montey Alexander’s ‘Sweet Georgia Brown’, the M4U 1 makes short work of all of these tracks. Lively and natural, tactile and detailed, resolved with speed and accuracy, I got an excellent feel of the performers energy being relayed through the transducers that was as palpable as it was visceral. Before long I found myself tapping along to the rhythm with my fingers upon the keyboard. Of course there is a common tendency of the listener to turn the volume dial to 11 when rocking out to rhythm and pace, and the M4U 1 says to this an enthusiastic ‘Yes please!’. At higher volume the sound remained undistorted, allowing me to feel the full impact of the energy while the frequency response remained true to it’s form.
Last Thoughts
In all honesty, I could have transplanted any song from one category to another. The M4U 1 made short work of any track I chose. Detailed, textured, clean, transparent, natural and pure, it is difficult for me to find anything negative to say about their overall sound. Do the M4U 1 sound perfect? To my ears they do. Is there any aspects of the sound that could use refinement? Absolutely. Not because I feel there is anything lacking, rather I believe that nothing is ever technically perfect, especially technology; There is always room for improvement to be had with anything and everything. In fact a little birdie told me that PSB is working on a new flagship headphone. Ok, it was Paul Barton himself hinting at Head-fi’s Jude when asked what he is working on next. Needless to say I look forward to seeing what PSB does next.
“ Hey Paul, if you are reading this I just want you to know that it would be awesome if I can get a sample pair for review purposes when that day arrives eh! “
Closing Comments
First and foremost I would like to thank you good folk for taking the time to read my review of the PSB M4U 1. If you didn’t think it was a good read, I hope at the very least you found it to be informative. In writing this review I gained a new found respect for people who have written many themselves; It was quite daunting trying to decide what to write, let alone the format. My initial intent was to write a quick praise for my new favourite headphone, but the more I wrote the more I felt the need to write more and before long I found myself angling lights and setting up my tripod. It is quite obvious that I love the PSB M4U 1, and I felt it was difficult for me to stay objective. In all honesty, all I wanted to type in giant bold text under each section was ‘ Wow these are good! ’ over and over again. Considering that I live in a Capitol city with one of the highest ratios of retail
opulation, it speaks volumes (pun intended) that it was difficult for me to find a store that had the M4U 1 in stock. In my opinion, the M4U 1 are a true sleeper hit. I tried to think of a good closing cliché that would best describe the M4U 1, but in the end all I could think of is that PSB and Room Feel Technology really hit a home run first time up to bat. They hit the ball so far out of the park it crashed through Zeus’s patio window and disrupted the game of back yard croquette he was enjoying with Jesus. You don’t have to go looking too far to find the many accolades the M4U 1 has received since their release in 2013. From making the list in Head-fi’s Buyers Guide, to The Wire Cutter having the M4U 1 as their top pick for two consecutive years, PSB’s first foray into headphones has accomplished what it’s competition has yet to even attempt; A sonic signature that takes into consideration the listening environment in which the music was intended to be heard. The end result of this forward thinking is one of faithful and accurate sound reproduction that holds true to the original recording. While there may be headphones who’s sound may be more refined or resolving, it’s not by much and nowhere near the price point of the M4U 1. Room Feel Technology is very real and is as much of a game changer as Paul Barton’s 1974 loudspeaker research was 40 years ago. It is time for the old guard to wake up and embrace a new standard in headphones. Le Roi est mort, vive le Roi!
HungryPanda
Great review, I own the M4U 1 and it is a great headphone for the price. My wife liked it a lot so bought the NAD HP50's. They sound great too but even at their smallest fitting I cannot wear them as I have a small head, no problem with the PSB's. The PSB's have more treble than the NAD's but both sound really good.
TTGuy
Outstanding review Bansaku. One of the best I've ever read. And I concur that the M4U 1s are fantastic headphones.
Bansaku
1000+ Head-Fier
Pros: -Fantastic sound -Great style -Comfortable fit -Price!
Cons: -Cold winter weather causes the cable to go stiff
“The Atlas ushers in the future of headphones, utilizing cutting edge technology and advanced materials to deliver both substance and style in a way never before realized. The latest advancements in driver design create power, dynamics, and clarity for an exhilarating high-resolution audio experience that embodies our true passion for audio. Innovative in-mould labelling technology delivers vivid multilayer graphics for stunning visual appeal while the flawless, high definition finish and clean lines round out the forward-thinking design that will make the Atlas a timeless classic.”
Since the advent of portable music, mankind has strived to create the best possible listening experience for on-the-go, everyday life. For years manufacturers have innovated their technologies to bring us new and exciting products, many which have gone the way of the 8-track cassette. Dolby reduced hiss on cassettes, CDs brought us crystal clear digital sound, and digital music files allowed us to carry our entire music libraries in small compact devices. Only one factor has always been a constant; They all need headphones.
For years, many of us have been ‘Chasing the Dragon’ when it comes to finding the perfect set of headphones that sound amazing without ‘breaking the bank’. Having a drawer or box full of a giant mess of wires and plastic is common for a lot of people with myself being no different. Poor fit, uncomfortable to wear, bass too overpowering or lack there of, sibilance. The reasons are vast and in the end we just settle for something until the (seemingly) next best pair comes along. Today I am going to review a set of on-ear headphones that may just be ‘The Dragon Slayer’, Atlas: The NEXT headphones, from MEElectronics!
About MEElectronics
“If it were me, what would I want to buy and listen to?”
Born out of a passion for music, MEElectronics has a goal of delivering Musical Enjoyment to Everyone. We started out in 2005, making MP3 players with a desire to bring our customers exceptional sound quality at affordable prices. However, the sound quality of any player is dependent on the earphones used, so we developed our own. In 2010, we shifted our focus to earphones that provide durability, style, and exceptional sound quality. Our current lineup of headphones and earphones has won acclaim from audio enthusiasts and reviewers worldwide, but that hasn't stopped us from continually refining our lineup and developing new products; we won't bring anything to market if it doesn't meet our high standards!
First Look: IML
“The Atlas makes use of a unique IML printing process that has never before been used on headphones. This enables us to place multi-layer graphics on the headphones right as they are being made and creates uniquely striking, intricate, and high-contrast visuals that are resistant to scratches and won’t fade over time.”
The moment you first gaze upon the Atlas Carbon, you are treated with the stunning design of the IML (in-mould label) print on the headphones. The images on the screen do no truly capture the beauty of the multi layered IML finish on the Atlas Carbon; These have to be seen first hand. Without a doubt these are some of the most beautiful and stunning headphone graphics I have seen to date. Combined with a crystal clear, deep, smooth finish the carbon-fibre weave set against a brilliant blue background is striking to say the least. Be sure to carry a cleaning cloth with you if you intend to show off he Atlas Carbon as people will immediately start poking and rubbing the finish in disbelief, trying to comprehend the IML.
Design/Construction/Comfort
“The new ComfortZone™ ear cushions are ergonomically designed in order to remain comfortable and vented to keep your ears cooler during long listening sessions. When not in use, the Atlas folds into the included carrying pouch for convenient storage.”
The Atlas Signature Series headphones have one mission: To combine style and comfort with amazing sound. Being on-ear headphones the design is basic and straight forward. The drivers are mounted on a swivel attached to the main body, which attaches into the padded head band and can be folded for easy carry and storage. However the similarities end there.
After the striking finish, the first thing you will notice about the Atlas is their weight. At only 136 grams these headphones are incredibly light, yet very well constructed. Holding the Atlas in your hands you get the sense of a very solid design. I have full confidence in the construction quality and durability. The ear cups are lined with a metal ring, and both the size sliders and the folding hinges are re-enforced with an aluminium backing plate. Needless to say this is great forward thinking, ensuring the longevity of the parts prone to breaking. Another great feature to ensure a long life is the fact that the cable is detachable, meaning that it is replaceable as well. Most of us have experienced at one point the dreaded cable failure or accident, resulting in a worthless set of headphones; Never again! Kudos to the engineers who designed the Atlas!!
Comfort of the Atlas are on a whole new level. Most on-ear headphones have one inherent problem; Fit. Certain elements of the design such as the padding on the head band or the cups, the clamping force, or the materials used in the construction, play important roles in overall fit and wearability. What good is the overall sound quality if you can not stand to wear the headphones for any given length of time? I must admit I have stayed away from on-ear headphones regardless of their sound simply due to the fact that they hurt my head and ears to wear them. The Atlas has changed my opinion.
Starting with the ear pads, the Atlas features a unique and ergonomically designed shape. Most on-ear headphones uses a round or rectangular shape. As we all know ears are neither. The ear pads on the Atlas are actually shaped like the average human ear! This greatly alleviates uneven and unwanted stress. The clamping force of the Atlas hits the perfect sweet spot, never feeling overly tight yet stays firmly in place. The pads, both the ear cups and head band, are made of an unbelievably comfortable material that not only promotes greater air flow but cooler temperature as well. This allows for a much longer listening session. Believe me when I say this, there will be many long listening sessions with the Atlas. Once again, kudos to the engineers!
Accessories
“The tangle-resistant flat cable attaches to the Atlas on one side for maximum convenience and provides seamless headset functionality. Take calls and control media with compatible phones and tablets using the remote button and adjust the volume of any device conveniently with the universal volume control.”
When it comes to accessories there really is not that much to talk about. Basically you get a nicely logo’d carry pouch, user manual, and of course the headphone cable. Nothing too fancy but then again, what more is needed? Although in my opinion, a cleaning cloth would have been a great addition.
Normally I would end my review of the accessories here, however the detachable headphone cable does warrant a closer look. If the cable gets damaged or lost one can easily replace it. This feature is also great if you want to upgrade the cable to any of your choosing, including other Control-talk cables, noise cancelling modules, or a fancy high-end 3.5mm connector. The cable’s controller contains a basic 1-button Control-talk, analogue volume slider, and mic. I had no issues at all controlling my iPod touch (5th gen.) whether it was iTunes or Siri. The volume slider is very smooth and easy to use. I do not normally use headphones that have volume sliders as they are not very precise. I usually find myself fighting to obtain the right balance between built-in volume and the slider. Not so with the Atlas. Crank the device volume to max and use the slider to adjust or max the slider and use the device to adjust; Both work equally well.
All said, I do however need to bring up a negative point about the material of the cable including the control/volume module and how it reacts to cold temperatures. From my experience, at temperatures -10’C and lower the cable becomes stiff. As well the button on the Control-talk becomes very unresponsive; Double-press to skip often results in play/pause making it almost impossible to change tracks by this method. In my opinion, the great engineers at MEElec really dropped the ball on this one and is disappointing considering the M-Duo’s I own hold up extremely well with full cable flex and fully working Control-talk at temperatures -25’C plus windchill. In all honesty, I picked up a $4, 3.5mm audio cable from 7-11 that has no flex at -25’C, let alone at -10’C. Perhaps a future revision will include a cable more suited to cold Canadian weather.
Disclaimer/Testing methodology
Before my final decision to purchase the Atlas I read up on user reviews, as any smart consumer would do before dishing out their hard earned cash. Being a huge fan of the M-Duo, my first headphones from MEElectronics, I was expecting nothing short of glorious reviews for the Atlas. I was not disappointed. In fact reading the dozens of real world accounts got me so excited before the day of my purchase it was hard to sleep. My local MEElectronics reseller had just got 2 more of the Atlas Carbon in the night before and I was determined to finally get my hands on a pair, after months of them being out of stock. I have been let down in the past from many of the higher priced consumer headphones from the ‘big guys’ that got glowing reviews. My expectations were high, and excitement was building!
Perhaps the hardest part of any headphone review is the actual sound quality. The reasoning behind this is simple; An end user’s listening experience is completely subjective. Everyone’s ears are different and one person’s preference may be completely different from the next. In reviewing the Atlas I am going to try and be completely honest and objective. For this review, the testing methodology is simple; I will be using my iPod touch (5th gen.) with all tracks converted from AIFF to AAC 256kb/s. The reasoning behind the choice is to replicate real world use. No up converting, no DAC, no external amp! I will not be making any direct comparisons to any other brand or model. If applicable, I will try and answer to the best of my knowledge any questions in the comments. That said, let the review begin!
Sound
“The 40mm drivers of the Atlas are tuned to produce deep, powerful bass while maintaining clarity across the rest of the spectrum. This creates a dynamic, high-resolution sound that brings out the energy and impact of any music track and provides an exhilarating audio experience that embodies our true passion for audio.”
Sound Quality
The moment I put the Atlas on my head and pushed play I knew right away that these were a huge cut above the rest. For a pair of headphones at the Atlas’s price point, I was expecting merely good. Instead I was pleasantly shocked at the overall sound quality, rating them not great, but rather FANTASTIC! The Atlas possess a very fun yet detailed listening experience. The overall signature has a slight U-shape, meaning the bass and treble are slightly boosted while the mids a remain relatively flat. One would expect (assume) the bass would be overpowering while the treble sounding artificial, washing out the mids in the process. Not so with the Atlas.
The overall sound signature of the Atlas is very detailed. The right balance between transparency and dynamics have been masterfully met. Instruments and vocals are layered with great separation while none of the frequencies overpower each other. Bass is tight and accurate, mids are smooth and not recessed (too much), and treble has excellent sparkle to it. Nothing sounds out of place or artificial. While not the most accurate headset in terms of a ’neutral’ sound, the Atlas is very fun and greatly enjoyable to listen to.
Soundstage is above average in regards to width and height. While instruments and vocals are nicely layered and transparent, the placement is not as accurate as one would find in a larger set of over-ear headphones. Sound isolation and leakage are average as well. While not as loud (and annoying) as the standard white earbuds included in virtually all portable devices, people upwards of 10’ away will be able to hear what you are playing. You will also be able to hear sounds around you such as traffic, doorbells, or a phone ringing. In no ways is this a negative towards the Atlas, rather indicative on-ear design in general. I actually don’t mind being “aware” of what is around me and in no way inhibits the listening experience.
Bass
While the Atlas does not have the most detailed bass, it is by far some of the most powerful, yet accurate heard in any headphone style. The bass is fast and tight with the sub bass having excellent rumble. Kick drums hit hard, bass guitars resonate with precision, and electronica comes through like a beast. Where there is bass in a song, there will be bass; The Atlas does not artificially add bass where there should be none. There is no bloat or muddiness to be heard at all, nor is there any overpowering of the rest of the frequency spectrum. Bass-heads will be more than satisfied while purists will appreciate the accuracy. I believe this is accomplished due do the fact that the Atlas use cobalt magnets vs the standard, more mainstream neodymium.
Midrange
Midrange is where the Atlas really out performs the competition. Although the midrange is slightly recessed, it isn’t so by much. Vocals come out very clear and clean, not overly warm or veiled; Voices in a choir can be easily distinguished from one another, female singers high notes come through with power while not showing any (unnatural) sibilance, and raspy male voices sound, raspy! No matter the style or range of the vocals, the Atlas performs very well. I will note, at higher volume levels (max level on my iPod) there does seem to be a bit of a spike in the upper midrange. It is not annoying unless you like to have your music dangerously loud.
Treble
In my opinion the hardest frequency spectrum to get right is the treble. Too much can hurt the ears, too little lowers the perceived detail. The Atlas manages to do everything right. While the treble is emphasized, it is never over bearing or harsh. Detail extends well and sparkle hits the sweet spot for me. A true test of treble in headphones would be the chimes test. Each chime should come through clearly defined with it’s own ring and sparkle, and the Atlas handles this with ease. Cymbals crash with excellent sustain and decay, overlapping each other in a transparent yet dynamic way, electronica slices through with laser like precision, and flutes resonate down to your soul.
Conclusion
If you are looking for a neutral, accurate sounding pair of headphones then look elsewhere. If you want a fun, detailed sounding pair of on-the-go headphones, the Atlas is a prime example of what a company can do when they mix a passion for music while keeping the end user in mind. Not only has MEElectronics released a product that has style, comfort, and superb sound quality, they managed to do so at $100 MSRP. The Atlas easily out performs other headphones I have personally listened to which are double or nearly triple the price. I purchased the Atlas Carbon going off from nothing more than company reputation and user reviews, and was not disappointed. The Atlas not only meets my personal preferences in headphones, but exceeds them. If you are in the market for great on-the-go headphones and are considering Bose, Monster/Beats, or some other hyped up over priced headphones I would highly recommend you seriously consider the Atlas.
ahking
which one is better in sound quality between atlas and ath m50?"
Bansaku
"which one is better in sound quality between atlas and ath m50?"
To be honest was wondering the same myself ever since my local retailer got the M50 in (the only Audio-Technica headphones they sell). I have not had a chance to try the M50s yet. I have heard positives and negatives about the M50, and they have sparked my interest for a while.
To be honest was wondering the same myself ever since my local retailer got the M50 in (the only Audio-Technica headphones they sell). I have not had a chance to try the M50s yet. I have heard positives and negatives about the M50, and they have sparked my interest for a while.
