Hifiman R7DX JM Edition Mod

In this labyrinth of sonic exploration, where artistry and engineering intermingle, the JM Audio modded HE-R7DX headphones emerge not just as a product, but as a profound statement of acoustic philosophy. With the ingenious hands of John Massaria, the founder and chief designer at JM Audio, at the helm, his headphones are far from mere tools for listening; they are vessels of musical revelation.

Is John Massaria a sorcerer of sound or merely a cunning artisan of audio marketing? Such was the debate that raged like a tempest with the analytical and mainly pedantic minds at ASR, where measurements reign supreme. They challenged the notion that the modest internal volume of a headphone cup could benefit from John's unique fractal porous fiberglass innovation—deeming it impractical, even absurd. a viewpoint they dismiss as sheer folly. Yet, they stand firmly by their methodology, championed by their venerable head scientist, Amir, whose ears are as much a part of their toolkit as their instruments. Yet, in the audiophile realms where the ear, not the oscilloscope, is the final arbiter of truth, John's simple retort was to ask his clientele—the true connoisseurs of sound—to lend their verdict through experience.

I count myself among these fortunate patrons, having first dipped my toes into the JM Audio waters with the Kennerton Gjallahorn, JM Edition. Upon John’s suggestion and seduced by the allure of sonic perfection, I leapt at the opportunity to upgrade to his version 2 mod. Dubbed by some as mere 'bass cannons', these transducers, to my ears, delivered a symphony of improved articulation and an expansively deeper soundstage —attributes any self-professed 'audiofool' would revel in.. Following this, I indulged in several of John’s pad upgrades, each further refining the auditory experience. Though not considered accurate it was a fun listen.

My journey continued with the acquisition of the JM Audio XTC open headphones—near flawlessly fun save for an initial harsh sibilance which, over prolonged engagement, proved too jarring and when compared to the finest, lacked some refinement. They were returned to JM for an update, post-revision, they returned transformed, the sibilance vanquished, now exuding a sublime tonal balance that could coax tears from a stone with the melodies of Sonny Rollins or Pat Metheny.

Not one to rest on his laurels, John has since introduced a plethora of new designs: the XTC2 and several iterations of closed-back models. Amid these innovations, I have also been upgrading my system, dabbling with internet connections and audio equipment, seeking the perfect symbiosis of technology to complement these auditory wonders.

Recently, I ventured again into John’s auditory realm with a Hifiman R9 for modding, only to pivot to a custom Hifiman R7 at his suggestion—purportedly superior and adorned with bespoke 32-ohm Beryllium drivers from his XTC series and, by the way, the first of its kind. Though initially underwhelming, as I embarked on this latest auditory quest with the R7, initial encounters were bewildering—tones and textures seemed amiss, a discordant symphony between my expectations and reality. Yet patience proved a virtuous ally. Over time, the R7s shed their initial shroud of mediocrity, revealing a soundscape so rich and vivid it could only be described as revelatory. The once-compressed soundstage now unfurled like a grand tapestry, not so wide but intricate, displaying each musical element with a precision and vivacity that brought to mind the opulent expanses of a grand orchestra. After a suitable break-in period, they revealed their true potential, delivering clarity and a nuanced sound signature that belied their modest price. Though I believe something was awry with the system not the headphone, I cant’t contribute the change to break in. In my ceaseless quest to perfect the harmonious marriage of technology and audio, I have methodically upgraded my system, refining internet connections and audio equipment with a craftsman’s touch. This sonic pilgrimage has been supremely graced by the alliance of the Burson Voyager Deluxe and the GoldNote DS 10 Plus augmented by an EVO power supply. This triumvirate of audio magnificence forms a bastion of electronic prowess that robustly punches above its weight class, endowing each musical note with an uncanny clarity and vigor that one might scarcely expect from in this world of the super highend such a modestly priced setup.

Today, I ventured to carry these modded JM Audio wonders into the world, visiting a local Atlanta haunt, the coffee shop known as Drip. Here, amid the casual clink of coffee cups and the low murmur of morning discourse, I connected them to a diminutive yet capable Audioquest Dragonfly, cueing up Stanley Clark’s live rendition of "School Days." While the Dragonfly managed to propel these headphones with surprising adeptness, illustrating their remarkable efficiency and versatility, it became apparent that the Dragonfly and R7, while mighty, could not excavate the full sonic depth that Stanley's performance demands. The foundational elements, those resonant echoes that vibrate through one’s core, were palpably subdued. While these phones could not subdue the shop’s noisey nature. It was highly apparent these were not John’s usual bass cannon fair.

This experiment underscores the dual nature of these JM Audio creations—they are amiable companions to virtually any source, from the humble outputs of an iPhone to more ascendant audio devices. Yet, they truly ascend to their full potential when paired with stalwarts like the Burson Voyager and GoldNote DS 10 Plus, supported by the EVO power supply. In such company, these headphones transcend their physical limitations, offering a clarity and scale that rival far more opulent systems.

The R7, despite the limitations imposed by their plastic cups and pads, deliver an acoustic performance that soars beyond their price point, offering a clarity and speed reminiscent of far pricier models. From Eric Bibb to Diana Krall, their ability to traverse the musical spectrum with finesse is nothing short of remarkable. The soundstage, while not the widest, is meticulously defined, allowing each note to resonate with pristine clarity. Bass while textured and wet seemed to miss the utmost in authority.

However, there exists a singular caveat in this otherwise stellar setup: the propensity of the included cables to tangle itself with serpentine determination. This minor foible can occasionally mar the user experience, reminiscent of a snake coiling in a relentless quest to confound. For those seeking a more manageable alternative, John offers a selection of exemplary cables. Should you find yourself in need of a cable with 3.5mm connectors, do not hesitate to seek John’s recommendation. His guidance in selecting a cable can ensure that your auditory journey is as seamless as it is profound.

Thus, the journey continues, as these headphones reveal themselves to be as versatile as they are remarkable, capable of delivering audiophile-grade performance across a spectrum of sources. Whether tethered to the simplicity of a smartphone or the elaborate circuitry of high-end amplifiers, they adapt and thrive, proving that true auditory excellence is not merely about the equipment but the symphony of components that together create the music.

In the denouement of this grand auditory adventure, the modded Hifiman R7s ascend to their rightful place among the pantheon of high-fidelity champions. At a modest $450, these headphones defy economic gravity, offering a sonic purity and excitement that challenge even their more illustrious brethren in the 1500.00 price point. Though, if this was the only set I am ordering I would spend a few more bucks for the wooden cupped XTC 1.5 or XTC open at 799.00. Again, a more personal and economic choice, this is a remarkable value at 450.00.

In the hallowed halls of audiophile greatness, where the quest for perfection is eternal, John Massaria’s latest creation stands as a beacon of innovation and value, a testament to the magic that still dwells in the heart of music reproduction. Indeed, in this latest chapter of sonic exploration, the modded R7s are not merely heard but experienced, leaving a lasting imprint on the soul of the listener. They are not merely devices for listening but vessels that transport one to the very essence of music. As I eagerly await the opportunity to craft my XTC 2.5 iteration, it is clear: in the world of high-fidelity audio, JM Audio continues to carve its legacy with each ingenious stroke.

I've been using these headphones for about a week now alongside my HD 560S. I'm no audiophile but I'll do my best to describe my experience. I'll be honest, I wasn't blown away my first time listening to it, and the more I did, the worse it got. I eventually realized it was due to my head size/shape in relation to the stock headband. With that said, John did an excellent job bending the headband into a position of both sufficient force clamp, and ceiling height. I spent about an hour fiddling with it myself, but ultimately made it worse. John offered to repair/replace it, or sell me a R9/10 headband, to which I agreed. My god... was the difference shocking. I could hear details I hadn't before, and feel the bass. I wish I could compare to stock R7's, but they literally would not stay on my head, unlike the modified pair, prior to my attempt!

It's quite impressive how airy and wide the soundstage is given the closed back nature of this headphone. At the same time, I still feel swaddled intimately. I find it easier to listen to for long periods of time as compared to my HD 560S. I certainly don't feel like I'm missing any detail the 560S have, but I don't feel forced to listen to them either. The imaging is phenomenal in "Take On Me", almost like a chill going down my spine resulting in goosebumps. Contrarily, I don't enjoy their sound profile in competitive shooters for positional tracking. I believe it is due to the closed back noise isolation (albeit slight) and increased bass presence. Ambient story driven games do feel more immersive with this pair of headphones though.

Unlike the HD560S that can become fatiguing at times, the R7DX was very calming and I don't worry about sound leakage as compared to the open-backed 560S. Personally, I feel the R7DX's vocals compete with that of my HD 560S and Moondrop Chu's. I don't know that I'll ever be a bass head, but these cans certainly do help me empathize with that demographic. It does not sound overbearing, or congested, but rather up to the task. I just listened to New Order - Blue Monday and was giddy with excitement from the liveliness of that track and more importantly, these headphones.

Although these cans are nowhere near as comfortable as my SHP9500's, I would gladly accept the added modification weight (and more) given it's performance. Surprisingly, the stock cable is both appreciated and underwhelming at the same time. I like that it is balanced, but it could be a bit longer. Regardless of the original sound quality improvements, it feels as though HiFiMan let John down. Though that might sound negative, it signifies an incredible feat to me. It showcases John's ability to overcome plenty of obstacles (including things out of his control), and elevate cheaper headphones into possible end-game territory.

Intro:

Where to begin? What we have here is the work of the esteemed John Massaria who first rose to popularity with Kennerton mods which bewitched so many that they named a model after him with his modifications. I personally never heard these but that discussion lead me to take on these.

This time, he has done his same magic on the humbler Hifiman R7DX, a Drop(ex Massdrop) collaboration using not one of their planar drivers but a 50mm driver with something they called "topology diaphragm"

From their own description:
"The “Topology Diaphragm” or “Topology Driver” refers to the diaphragm with a special Nano particle coating applied to its surface. The distribution of the coating has distinct geometric patterns. By varying the surface pattern, compound used, the thickness or geometric pattern sound wave formation can be manipulated to achieve the desired audio effect and control."

How this works without JM's mods I personally don't know but the headphone itself debuted at $99 on sale and $149 normally so it definately fits in the budget or mid-fi categories.

So onto the review.

Build Quality:

Build quality wise, there is no difference from stock except some more weight in the cups due to the extensive mods. The cups are a matte plastic of good feeling quality. The headband design is the one we've seen many times with the Drop/Hifiman collaborations including the HE-4XX, HE-5XX, and HE-X4: a pleather non-replaceable headband with spring steel inside and light cushioning. The gimbals are metal with a round plastic cover with metal sliders. They feel well built although some have had issues so take that as you will and Google away.

The Setup:
I have no idea what the stock R7DX sounds like having never owned them. I have plenty of other headphones both open and closed though.

Source chain is Lossless FLAC/Spotify high quality mode -> Schiit Modi 3 -> Drop THX One (unless specified to be another)
The Drop THX AAA One is a single ended version of the lauded and highly transparent THX 789 amp. I love all sorts of music, some of it very disparate.

The 2 cans I chose to compare to are the AKG K371, for its Harman curve hugging tuning, and the Fostex TH-X00 Ebony for its bass performance.

Now the important stuff...

Sound:
First impressions were excellent. Bass was deep and impactful but tight while highs were nice and sparkly. Mids were very clear and clean as well.

For scoring 0/10 is free airplane headphones and 10/10 is the best I’ve heard in a category.

Highs: clean, sparkly, but not too rough. This is definitely not HD650 highs but also not Beyer peaky as well, just right IMHO. For those who are treble sensitive, it may be an issue, but it’s just right for me. High hats come in sparkly, vocals have just the right amount of extension. My own opinion is that “resolution” in highs many times comes from more treble extension in the mid to upper highs so at first listen they sound less resolving than brighter cans but like the HD650, the technicalities are there. They are not summit level but they are definitely above most mid-fi cans I’ve heard. I would give them 7/10 thanks to the combination of good tuning and very good technicality.

Mids: The heart of music is right here. With the highs sparkly but not too much and the bass extended but not too bloated, the mids shine through. Acoustic music and slow-medium speed music is where you can really hear mids very well with not too much going on. Combine the highs with the mids here and you have a pretty good combo in terms of resolution and technicalities. If I EQ down the highs of my HD800s, they do seem better still but of course, we are talking about the better performing (and pricier) ring radiator. I’ve heard endgame and higher end cans in passing but don’t own any and I honestly don’t hear a huge difference between those and less expensive headphones so take that as you will. I would grade these 6/10 as well as they don’t seem to do much wrong but don’t stand out either.

Bass: In a word, excellent. Great extension but also clean. Now JM has stated there are 2 versions of his mods, one “neutral” and one “bass”, these are the bass ones which line up more with my own taste. Now, these cans aren’t the last word in basshead quantity but that’s I doubt that’s what these were tuned for. They seem to extend down more than my TH-X00 Ebony Fostex headphones with less “flab” or distortion. However, these R7’s also has slightly less quantity in the mid-bass than the Fostex making the R7s sound a bit less full. The R7 has more neutral bass profile if that makes sense. I really, really like these. 8/10.


Imaging/Soundstage: For a closed can: excellent! A good way to get good soundstage is space for your ears and these are pretty big. They are among the best closed cans for soundstaging in opinion. Imaging is one of those things that seem to be subjective but the combination of good tonality and good soundstage make the imaging very good as well. I would say is soundstage is 7/10 and imaging 6.5/10.

Comparisons: We all know closed cans just don’t have the selection in the head-fi world that open cans do. This situation has gotten better but there always seems to be way more selection of open cans. That said, I will compare to the 2 I like best in my collection leaving out a few others I also have.

AKG K371 aka the Harman king. Needs no introduction here. Where the K371 follows the Harman target curve very very well, these are a bit different. Pull down the K371’s treble sizzle (which gets a bit choppy) and extend and tighten the bass and you have these which for me is near perfect in terms of tonality. If you switch from the K371 right to these, all of a sudden, the K371 sounds a bit leaner in the high mid/low treble area and brighter with similar bass but not quite as much. Soundstage is smaller also on the K371. I do prefer these cans but of course the K371 is a pretty damn good cheap closed can that does many things well.

Drop Fostex TH-X00 Ebony. Also needs not much introduction here. These are the famous 50mm Foster biocellulose driver with about 1 tesla of magnetic strength (compared 1.5 for their higher end TH-900). They are famous for their bass. Of the 4 cup materials these can come in (Mahogany, Purpleheart, Ebony, Teak), the Ebony’s 2nd most neutral with a tiny bit more zing and bass than the Teaks, the way I like it. All 4 headphones sound more alike than different. Now compared to these modded R7s, the Ebonys have much less soundstage. The Fostex also seem to have a tiny bit more bass but is also looser; extension is comparable. The looser/more distortion-y X00 makes them more a bass-head can for sure. By no means though are the R7’s lack in bass!
Amps: For the majority of listening, I use my super neutral THX amp but JM did tell me he preferred them with tubes and class A amps. To that effect, I tried my 2 other amps, the class A biased Schiit Asgard 3 and my G1217 Project Polaris, which uses JFETs at the inputs to cause 2nd order distortion, like a tube but with class AB output making this sound like a hybrid.

The differences were in line with what I was expecting, the Asgard 3 wasn’t a huge difference but in vocal music, classical, and anything more organic, there was maybe a smidge more warmth. Now with the Polaris and its distortion profile, there was a bigger difference. Again, more acoustic or organic type music had a slight more natural timbre to it while taking the edge off harder music or electronic music, if you want that. I honestly preferred these cans with my neutral THX amp with hard and electronic music but I do tend to have a bias towards more sterile amps by and large.

Conclusion:

You should be asleep by now. But if you aren’t, thanks for reading!

So the summary for those who don’t want to read my blob of text:

Pros:

• Excellent tuning, slightly flatter than Harman
• Very good resolution and technicalities
• Works with any type of music

Cons:

• Won’t be bassy enough for bassheads
• Limited availability due to JM’s hand speed
• Not the last word in performance

For closed cans, these may be my favorite right now. Now, value is harder to quantify, because I have no idea how JM will price these as going forward. If I assume $300, which is about 2x or 3x the price of the stock R7 depending on sales, I’d say these are a bargain and you need to grab one now. There’s a chance the stock R7 sounds just as good, I wouldn’t know, but judging the work JM has put into these, I would really doubt that.

For the price of a mid-fi can, you get a nice taste of something more. If you were to say you are stopping here and not buying any more, I can see that. The value proposition is very, very high here. You owe yourself a listen.

So message the man now or find a listing!