beyerdynamic XELENTO remote 2nd Generation
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Beyerdynamic Xelento Remote 2nd Generation.
https://north-america.beyerdynamic.com/xelento-remote.html
Introduction
There has always been a beyerdynamic in my collection while a lot of headphones have come and gone again the DT 1770 Pro is the one that have stayed.
I still remember how much I enjoyed the T70 and T70p with their bright and airy sound. I had the T1 first generation and the 1st generation T5p for a long time. Even before them I had the original DT-770 and DT-990. I also had a chance to listen to the latest DT 700 Pro X and DT 900 Pro X for some weeks and they are both headphones I could happily live with as my only headphone. Sometimes I also bring out the smaller portable T51p. My T51p are from 2014 but they are always a joy to listen to with their slam and punch.
With all the beyerdynamic headphones I have had through the years, I never had any of their IEM’s. I am not sure if beyerdynamic have ever been that successful with selling in-ears? I did listen to the iDX 120 iE and iDX 160 iE at IFA in Berlin many years ago, but they did not impress me enough to ever buy a pair. I had to go back in old notes to even find the names of those old models.
I use a mix of full-size headphones and IEM’s depending on when and where I listen. I use my full-size headphones at home or when going on longer vacations. I always bring a pair of either Etymotic ER-4XR or Etymotic EVO’s with me in my bag wherever I go. Etymotic have been my go-to IEMs for years. I find that changing between beyerdynamic DT 1770 Pro and Etymotic is easy and there is no need to adjust to very different sound signatures.
Over the last couple of years, I have spent more and more time with in-ears than with full size headphones. To get best possible sound on the road, I have been using three portable products to stream music from either my laptop or iPhone. First the EarMen TR-amp, then the EarMen Angel and last the smaller Cayin RU6 USB dongle. All of them have nice synergy with both ER-4XR and EVO and the later two also have 4.4 mm balanced output.
This journey is what has led me to be asking myself the question: Is there a next step for me in terms of getting a bigger soundstage, better resolution and more musical enjoyment in a small portable form factor? One I can use at the office while working, one that isolates well and share the same sound characteristics that I enjoy from my other beyerdynamic headphones.
Xelento Remote 2nd generation
The Xelento 2nd generation is my first real experience with beyerdynamic IEM’s. And what an experience that has been. I have been impressed several times already.
First, I was impressed with the luxurious unboxing experience.
Then the SMALL size of the earphones,
Then how big such small earphones can sound
..and lastly, their wearing comfort and how well they fit in my ears.
These are keepers, let me explain why…
The frequency response goes from 5Hz – 50 kHz. The transducers are beyerdynamic 11 mm Tesla 1-way dynamic drivers. They claim a True Harmonic Distortion (THD) of 0.02%. They are dynamic with a maximum Sound Pressure Level (SPL) of 134 dB. The impedance is only 16 Ohms, which does cause background noise on some amplifiers.
Accessories
While opening the box it immediately shows that this product is a statement in design. The earphones really are like small pieces of jewelry as beyerdynamic’s marketing material states; “An audible piece of jewellery”. They even have a 24 carat golden beyerdynamic logo.
The included leather case for storing and transporting the cables and earphones is super handy and luxurious. The case is beautiful, it’s flat and already has its own place in my laptop-bag. The leather case can even fit the Cayin RU-6 USB-dongle as well.
Tips
The Xelento earphones include two types of tips and a nice selection of 10 different tip-sizes. 3 different Comply foam sizes and 7 silicon tips in various sizes. Every person will be able to find the right size from the variety and they can choose between oval silicone tips or standard Tx-500 Comply tips. I prefer the silicone tips because they are quicker to insert. They slide directly into my ear where you have to squeeze the “memory” foam-tips before inserting.
If none of the oval silicon tips give a proper seal and isolation, the Comply foam tips might be what you are looking for. I would say the oval silicon tips isolates good but not as well as my Etymotic EVO when using double flange tips and Etymotics’ deep ear insertion. However, while music is playing, I am not able to hear people talking right next to me and I cannot hear myself typing on the keyboard right in front of me. So, for most use cases the isolation is good enough with the silicon but the Comply tips has even better isolation from outside noise.
Soundwise, I prefer the clearer sound of the silicone tips. The Comply foam tips does isolate better but also takes some of the edge away from the sound and adds a bit more low end. But they are comfortable and some people will prefer the softer more relaxed sound and better isolation from the Comply tips.
Cables
The Xelento remote includes two cables. A normal 3.5 mm jack cable with remote control (volume up/down pause/play/Siri), like the one that used to be on Apples old cabled EarPods, with a microphone allowing one to take a phone call. Then there is a balanced 4.4 mm cable (Pentaconn/TRRRS) for balanced out like I have on the Cayin RU-6 and Earmen Angel. Both cables use the MMCX connector system (Also adopted by Sennheiser, Sony, Audeze, Meze and many others.) so any 3rd party MMCX cable could be used.
The cables that come with the Xelento feels durable, they are flexible, they are lightweight yet does not tangle easily and has almost no microphonic sounds when sitting at a desk. Even walking around and wearing the cables over the ears I get very little to no microphonic noise at all. These are probably the best cables I have tried in that regard. Way to go!
The only problem I found with the cables is that it requires super-human eyesight to spot the almost invisible “L” and “R” to identify left and right sides. I would have preferred an easier to spot red and blue mark somewhere.
Wearing comfort
At first, I was really surprised when I saw how small these earphones are. I have small ears so this was a welcome surprise. The first tips I selected were the medium and they just popped right into my ears and immediately blocked out all noise. I can use them for hours and there is no pain in my ears at all. Sometimes I even forget I am wearing the earphones. Extremely comfortable.
These earphones do not go super deep in to the ear canal but just enough to get a good grip and seal. I have not had any problems with them falling out when walking around. There is an option to tighten the cable under the jaw and then the cable sits tight when moving around.
Sound impressions
But most importantly, how do these pearls play music? The first thing I noticed immediately from the first listen is that Xelento has a bigger soundstage than what I am used to with my current in-ears. Changing directly from Etymotic IEMs, which are not known for having a big soundstage, it is clear that soundstage with Xelento is also outside and around the head. Seeing how small these earphones are it is almost surreal that they produce such a BIG sound!
This bigger soundstage feels like a relief and take some of the pressure away and the music is not so much in my face but served lightly and effortlessly around me. It is still not full-size DT 1770 Pro soundstage but compared to Etymotic EVO, they are opening up the music in front of and around my head.
One time when listening to this track (Julian Lage, Tributary from View With a Room) I thought at first that the music came from the speakers in my laptop in front of me. Most headphones might give the same impression but they way I heard it with the Xelento’s, it sounded more real and natural:
Characteristics - Bass, midrange, treble etc…
The pro studio products from beyerdynamic are mostly tuned differently than their consumer oriented headphones. DT 1990 Pro and 1770 Pro are aiming at being “reference neutral” to be used for mixing and mastering music. The DT 900 Pro X and 700 Pro X are also tuned to be more neutral, especially compared to the latest 3rd generation T1 and T5, which are tuned for "sophisticated music enjoyment at home” - read darker and warmer sound.
Personally, I prefer listening to music with the brighter tuning of the studio headphones. I like headphones with a present midrange and also enough treble to make instruments come to life. Before listening to the Xelento’s for the first time, I was afraid that they would be tuned to be as dark as the T1.3 and T5.3 since they are aimed at the same target audience.
From the beginning it was obvious that Xelento 2nd generation do have more bass than what I am used to. However, to my relief midrange and treble is still there. Very much there.
I remember when I tested the latest beyerdynamic T1 3rd generation, at first listen I thought they were faulty. (See: https://www.head-fi.org/showcase/beyerdynamic-t1-3rd-generation.24638/reviews#review-24333 )
Without the proper time for my ears to adjust to their sound, treble was completely gone and there was no midrange presence. It took me a long time to adjust my ears to the T1.3’s much darker sound compared to DT 1770 Pro and the brighter Etymotic IEM’s.
Before getting the Xelento’s, I did fear and to some extend expect, that they were tuned like the T1.3. To my relief this is not the case. Despite a very impactful bass, with Xelento, I did not need time to adjust my ears to them. Xelento 2nd gen sounded good right from the beginning. This was important for me because it means that they can be a part of my collection of headphones without being too different from the rest.
They are darker, yes! Though there is still a crispness, air and breath to both male and female vocals which are present and very lifelike.
Again, given the small size of these in-ears, it is mind-blowing that they can produce such a deep and enormous bass. I could easily live with less bass impact but when bass is this tight and controlled, it does not matter that is big when needed. The bass in the Xelento’s is satisfying in the way it is there when called for, midrange and treble is present and it is only in the highest treble region that on some recordings, I could wish for a bit more edge and sparkle.
Despite this silky, soft and warm feeling in the midrange and even though the treble is not super sparkly nor edgy, most importantly the sound is not veiled but remains open and wide with a feeling of air. I often find myself tapping my feet and spend whole evenings just browsing all kinds of genres and enjoying all types of music from techno, hip-hop, jazz, classical, rock and metal. It feels like most recordings sound great. Only once in a while I come across a recording that is not really compatible with the Xelento’s. I will not say they are picky nor extremely revealing of bad recordings, but when the recording is good the Xelento’s are really rewarding.
Xelento do skew to the warmer, softer and more natural side, yet they still have that clear, airy and 3-dimensional way of playing music. Xelento are tuned for enjoying music and not for being reference neutrality. I really love these little gems for what they do and how well beyerdynamic has managed this perfect balance.
Go and try the Xelento 2nd generation for yourself if you can. They are a masterpiece from beyerdynamic and I bet these could be an end-game in-ear for many music-lovers.
Music examples
I really enjoy listening to the the album “L’Impératrice” by Tako Tsubo. with the Xelento’s. The bass-lines in most of the tracks on this album really carry the music and there is a super tight drive in the Xelento’s without placing the vocal and other instruments in the back. Take a listen to track no. 7 “Peur des filles” and hear that bass-line.
The 4th track “Submarine” really require deep bass. To me this is one example where the bass sometimes tend to be even a bit too much for me.
One instrument that Xelento’s can master like no other in-ear I have heard is the double bass. In the following track the bass sounds big and full yet never too much. Never bloomy nor bloated but just powerful and weighty in the right way and still you can hear the strings striking the wood.
The following track was a real eye (and ear) opener when I heard it with the Xelento’s. The crisp and clear acoustic guitar is so lifelike, that you can almost see the guitar strings right in front of your head. The bass is full but still leave space for voice and guitar. Those Tesla-drivers have to be super fast and have ultra high resolution in order to play it like that. I have always thought that no in-ear could play this like the balanced armature in my ER-4XR but this track shines like I have never heard it before with the Xelento’s.
This next album “View with a room” by Julian Lage is one I have been listening to a lot lately. Again it is the bass and guitar that are played with such relaxed authority with the Xelento’s that each track is so pleasing.
Who am I?
I am a 45 year old headphone- and music-lover. I have been using this forum since 2008 and even before that I started collecting headphones for music-pleasure. I ran a little web-shop, selling headphones and amplifiers for a while between 2006-2008. I used to work in the quality department at the Bang & Olufsen TV- and speaker-factory in Denmark. I am in no way a sound-engineer. I was selected to be a part of the B&O employee-listening panel for speakers, after going through multiple listening tests. Today I work in the quality department of LEGO System in Denmark. I only have very little interest in measurements of headphones, DAC’s and amplifiers. I do recognize that, measurements will tell something about the quality and design of a component, but I use my ears to tell me what I hear and how equipment plays the music I love to listen to. Please take my impressions as one hobbyist trying to share his impressions with other enthusiasts. I have had a lot of headphones and earphones over the years and my favorite brands (and models) are Beyerdynamic, Grado and Etymotic. I tend to prefer brighter, open sounding, airy, edgy and midrange centric sounding headphones. I never aimed for ultra-high end products/brands or the most expensive gear, but I have always tried to find the middle ground with getting best possible sound for the money.
For my reviews, I always use the following playlist:
https://north-america.beyerdynamic.com/xelento-remote.html
Introduction
There has always been a beyerdynamic in my collection while a lot of headphones have come and gone again the DT 1770 Pro is the one that have stayed.
I still remember how much I enjoyed the T70 and T70p with their bright and airy sound. I had the T1 first generation and the 1st generation T5p for a long time. Even before them I had the original DT-770 and DT-990. I also had a chance to listen to the latest DT 700 Pro X and DT 900 Pro X for some weeks and they are both headphones I could happily live with as my only headphone. Sometimes I also bring out the smaller portable T51p. My T51p are from 2014 but they are always a joy to listen to with their slam and punch.
With all the beyerdynamic headphones I have had through the years, I never had any of their IEM’s. I am not sure if beyerdynamic have ever been that successful with selling in-ears? I did listen to the iDX 120 iE and iDX 160 iE at IFA in Berlin many years ago, but they did not impress me enough to ever buy a pair. I had to go back in old notes to even find the names of those old models.
I use a mix of full-size headphones and IEM’s depending on when and where I listen. I use my full-size headphones at home or when going on longer vacations. I always bring a pair of either Etymotic ER-4XR or Etymotic EVO’s with me in my bag wherever I go. Etymotic have been my go-to IEMs for years. I find that changing between beyerdynamic DT 1770 Pro and Etymotic is easy and there is no need to adjust to very different sound signatures.
Over the last couple of years, I have spent more and more time with in-ears than with full size headphones. To get best possible sound on the road, I have been using three portable products to stream music from either my laptop or iPhone. First the EarMen TR-amp, then the EarMen Angel and last the smaller Cayin RU6 USB dongle. All of them have nice synergy with both ER-4XR and EVO and the later two also have 4.4 mm balanced output.
This journey is what has led me to be asking myself the question: Is there a next step for me in terms of getting a bigger soundstage, better resolution and more musical enjoyment in a small portable form factor? One I can use at the office while working, one that isolates well and share the same sound characteristics that I enjoy from my other beyerdynamic headphones.
Xelento Remote 2nd generation
The Xelento 2nd generation is my first real experience with beyerdynamic IEM’s. And what an experience that has been. I have been impressed several times already.
First, I was impressed with the luxurious unboxing experience.
Then the SMALL size of the earphones,
Then how big such small earphones can sound
..and lastly, their wearing comfort and how well they fit in my ears.
These are keepers, let me explain why…
The frequency response goes from 5Hz – 50 kHz. The transducers are beyerdynamic 11 mm Tesla 1-way dynamic drivers. They claim a True Harmonic Distortion (THD) of 0.02%. They are dynamic with a maximum Sound Pressure Level (SPL) of 134 dB. The impedance is only 16 Ohms, which does cause background noise on some amplifiers.
Accessories
While opening the box it immediately shows that this product is a statement in design. The earphones really are like small pieces of jewelry as beyerdynamic’s marketing material states; “An audible piece of jewellery”. They even have a 24 carat golden beyerdynamic logo.
The included leather case for storing and transporting the cables and earphones is super handy and luxurious. The case is beautiful, it’s flat and already has its own place in my laptop-bag. The leather case can even fit the Cayin RU-6 USB-dongle as well.
Tips
The Xelento earphones include two types of tips and a nice selection of 10 different tip-sizes. 3 different Comply foam sizes and 7 silicon tips in various sizes. Every person will be able to find the right size from the variety and they can choose between oval silicone tips or standard Tx-500 Comply tips. I prefer the silicone tips because they are quicker to insert. They slide directly into my ear where you have to squeeze the “memory” foam-tips before inserting.
If none of the oval silicon tips give a proper seal and isolation, the Comply foam tips might be what you are looking for. I would say the oval silicon tips isolates good but not as well as my Etymotic EVO when using double flange tips and Etymotics’ deep ear insertion. However, while music is playing, I am not able to hear people talking right next to me and I cannot hear myself typing on the keyboard right in front of me. So, for most use cases the isolation is good enough with the silicon but the Comply tips has even better isolation from outside noise.
Soundwise, I prefer the clearer sound of the silicone tips. The Comply foam tips does isolate better but also takes some of the edge away from the sound and adds a bit more low end. But they are comfortable and some people will prefer the softer more relaxed sound and better isolation from the Comply tips.
Cables
The Xelento remote includes two cables. A normal 3.5 mm jack cable with remote control (volume up/down pause/play/Siri), like the one that used to be on Apples old cabled EarPods, with a microphone allowing one to take a phone call. Then there is a balanced 4.4 mm cable (Pentaconn/TRRRS) for balanced out like I have on the Cayin RU-6 and Earmen Angel. Both cables use the MMCX connector system (Also adopted by Sennheiser, Sony, Audeze, Meze and many others.) so any 3rd party MMCX cable could be used.
The cables that come with the Xelento feels durable, they are flexible, they are lightweight yet does not tangle easily and has almost no microphonic sounds when sitting at a desk. Even walking around and wearing the cables over the ears I get very little to no microphonic noise at all. These are probably the best cables I have tried in that regard. Way to go!
The only problem I found with the cables is that it requires super-human eyesight to spot the almost invisible “L” and “R” to identify left and right sides. I would have preferred an easier to spot red and blue mark somewhere.
Wearing comfort
At first, I was really surprised when I saw how small these earphones are. I have small ears so this was a welcome surprise. The first tips I selected were the medium and they just popped right into my ears and immediately blocked out all noise. I can use them for hours and there is no pain in my ears at all. Sometimes I even forget I am wearing the earphones. Extremely comfortable.
These earphones do not go super deep in to the ear canal but just enough to get a good grip and seal. I have not had any problems with them falling out when walking around. There is an option to tighten the cable under the jaw and then the cable sits tight when moving around.
Sound impressions
But most importantly, how do these pearls play music? The first thing I noticed immediately from the first listen is that Xelento has a bigger soundstage than what I am used to with my current in-ears. Changing directly from Etymotic IEMs, which are not known for having a big soundstage, it is clear that soundstage with Xelento is also outside and around the head. Seeing how small these earphones are it is almost surreal that they produce such a BIG sound!
This bigger soundstage feels like a relief and take some of the pressure away and the music is not so much in my face but served lightly and effortlessly around me. It is still not full-size DT 1770 Pro soundstage but compared to Etymotic EVO, they are opening up the music in front of and around my head.
One time when listening to this track (Julian Lage, Tributary from View With a Room) I thought at first that the music came from the speakers in my laptop in front of me. Most headphones might give the same impression but they way I heard it with the Xelento’s, it sounded more real and natural:
Characteristics - Bass, midrange, treble etc…
The pro studio products from beyerdynamic are mostly tuned differently than their consumer oriented headphones. DT 1990 Pro and 1770 Pro are aiming at being “reference neutral” to be used for mixing and mastering music. The DT 900 Pro X and 700 Pro X are also tuned to be more neutral, especially compared to the latest 3rd generation T1 and T5, which are tuned for "sophisticated music enjoyment at home” - read darker and warmer sound.
Personally, I prefer listening to music with the brighter tuning of the studio headphones. I like headphones with a present midrange and also enough treble to make instruments come to life. Before listening to the Xelento’s for the first time, I was afraid that they would be tuned to be as dark as the T1.3 and T5.3 since they are aimed at the same target audience.
From the beginning it was obvious that Xelento 2nd generation do have more bass than what I am used to. However, to my relief midrange and treble is still there. Very much there.
I remember when I tested the latest beyerdynamic T1 3rd generation, at first listen I thought they were faulty. (See: https://www.head-fi.org/showcase/beyerdynamic-t1-3rd-generation.24638/reviews#review-24333 )
Without the proper time for my ears to adjust to their sound, treble was completely gone and there was no midrange presence. It took me a long time to adjust my ears to the T1.3’s much darker sound compared to DT 1770 Pro and the brighter Etymotic IEM’s.
Before getting the Xelento’s, I did fear and to some extend expect, that they were tuned like the T1.3. To my relief this is not the case. Despite a very impactful bass, with Xelento, I did not need time to adjust my ears to them. Xelento 2nd gen sounded good right from the beginning. This was important for me because it means that they can be a part of my collection of headphones without being too different from the rest.
They are darker, yes! Though there is still a crispness, air and breath to both male and female vocals which are present and very lifelike.
Again, given the small size of these in-ears, it is mind-blowing that they can produce such a deep and enormous bass. I could easily live with less bass impact but when bass is this tight and controlled, it does not matter that is big when needed. The bass in the Xelento’s is satisfying in the way it is there when called for, midrange and treble is present and it is only in the highest treble region that on some recordings, I could wish for a bit more edge and sparkle.
Despite this silky, soft and warm feeling in the midrange and even though the treble is not super sparkly nor edgy, most importantly the sound is not veiled but remains open and wide with a feeling of air. I often find myself tapping my feet and spend whole evenings just browsing all kinds of genres and enjoying all types of music from techno, hip-hop, jazz, classical, rock and metal. It feels like most recordings sound great. Only once in a while I come across a recording that is not really compatible with the Xelento’s. I will not say they are picky nor extremely revealing of bad recordings, but when the recording is good the Xelento’s are really rewarding.
Xelento do skew to the warmer, softer and more natural side, yet they still have that clear, airy and 3-dimensional way of playing music. Xelento are tuned for enjoying music and not for being reference neutrality. I really love these little gems for what they do and how well beyerdynamic has managed this perfect balance.
Go and try the Xelento 2nd generation for yourself if you can. They are a masterpiece from beyerdynamic and I bet these could be an end-game in-ear for many music-lovers.
Music examples
I really enjoy listening to the the album “L’Impératrice” by Tako Tsubo. with the Xelento’s. The bass-lines in most of the tracks on this album really carry the music and there is a super tight drive in the Xelento’s without placing the vocal and other instruments in the back. Take a listen to track no. 7 “Peur des filles” and hear that bass-line.
The 4th track “Submarine” really require deep bass. To me this is one example where the bass sometimes tend to be even a bit too much for me.
One instrument that Xelento’s can master like no other in-ear I have heard is the double bass. In the following track the bass sounds big and full yet never too much. Never bloomy nor bloated but just powerful and weighty in the right way and still you can hear the strings striking the wood.
The following track was a real eye (and ear) opener when I heard it with the Xelento’s. The crisp and clear acoustic guitar is so lifelike, that you can almost see the guitar strings right in front of your head. The bass is full but still leave space for voice and guitar. Those Tesla-drivers have to be super fast and have ultra high resolution in order to play it like that. I have always thought that no in-ear could play this like the balanced armature in my ER-4XR but this track shines like I have never heard it before with the Xelento’s.
This next album “View with a room” by Julian Lage is one I have been listening to a lot lately. Again it is the bass and guitar that are played with such relaxed authority with the Xelento’s that each track is so pleasing.
Who am I?
I am a 45 year old headphone- and music-lover. I have been using this forum since 2008 and even before that I started collecting headphones for music-pleasure. I ran a little web-shop, selling headphones and amplifiers for a while between 2006-2008. I used to work in the quality department at the Bang & Olufsen TV- and speaker-factory in Denmark. I am in no way a sound-engineer. I was selected to be a part of the B&O employee-listening panel for speakers, after going through multiple listening tests. Today I work in the quality department of LEGO System in Denmark. I only have very little interest in measurements of headphones, DAC’s and amplifiers. I do recognize that, measurements will tell something about the quality and design of a component, but I use my ears to tell me what I hear and how equipment plays the music I love to listen to. Please take my impressions as one hobbyist trying to share his impressions with other enthusiasts. I have had a lot of headphones and earphones over the years and my favorite brands (and models) are Beyerdynamic, Grado and Etymotic. I tend to prefer brighter, open sounding, airy, edgy and midrange centric sounding headphones. I never aimed for ultra-high end products/brands or the most expensive gear, but I have always tried to find the middle ground with getting best possible sound for the money.
For my reviews, I always use the following playlist:
Syan25
I liked this review
a:xus
@rasmushorn I live in Copenhagen Vesterbro if you want to take a listen.
I can only compare the A1 to my FiiO k7 with the quad era-1's.
The A1 is warmer, sounds more organic in some way.
The K7 is cleaner, more detailed at all levels and has no distortion in the bass like the A1 seems to have in comparison. The soundstage is bigger in the K7. It seems as if the A1 has more power/dynamic puch than the k7 in SE mode. But I may be mistaken. It might just be the warmth/distortion from the A1?
Listening to some Paul Simon now. Graceland. The A1 clearly makes his voice and instruments fill out and it seems like there is longer decay and the reverb in the recording is more full bodied in the A1 than the K7. Mid bass also seems to be boosted a bit on the A1.
As with all amp differences it is minor differences and may be subjective/placebo to a degree.
I can only compare the A1 to my FiiO k7 with the quad era-1's.
The A1 is warmer, sounds more organic in some way.
The K7 is cleaner, more detailed at all levels and has no distortion in the bass like the A1 seems to have in comparison. The soundstage is bigger in the K7. It seems as if the A1 has more power/dynamic puch than the k7 in SE mode. But I may be mistaken. It might just be the warmth/distortion from the A1?
Listening to some Paul Simon now. Graceland. The A1 clearly makes his voice and instruments fill out and it seems like there is longer decay and the reverb in the recording is more full bodied in the A1 than the K7. Mid bass also seems to be boosted a bit on the A1.
As with all amp differences it is minor differences and may be subjective/placebo to a degree.
Beyerdynamics Xelento Remote Generation 2
Introduction
Coming off the heels of their excellent first TWS effort the Free Byrd, along with a stellar reputation from the first-generation models, the Xelento Remote G2 and Xelento Wireless G2 are here. Senior Headphone Editor W. Jennings has glowing recommendations of the marque’s headphones for their superb detailed sound, along with the studio models, which are highly sought in the sound industry as well. Widely acclaimed for a crisp, clear top end, many of their top headphones mimic this signature for the consumer. The two models will be Beyerdynamics last new models for the year, and from the look are gems in the making.
Beyerdynamic has a long history of making headphones. Since the DT48 (Dynamic Telephone) was launched in 1937, Beyer has been at the forefront of innovative headphones, and the DT label still stands with many of their studio models representing history, heritage and quality sound offerings. It is no coincidence then that the DT 900 Pro X makes our list as one of the best models for studio work. The Xelento first generations were quite good from the reviews and based upon history alone, have a tough act to follow, but just might be worthy of inclusion in Beyer’s long vaunted history.
Specs:
TECHNICAL SPECIFICATIONS
Transducers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-way, dynamic (Beyerdynamic TESLA.11)
Acoustic design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Closed
Frequency range . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 – 50,000 Hz
Sound coupling to the ear . . . . . . . . . . . . . . . . . . . . . . . . . . . In-ear
Ambient noise attenuation . . . . . . . . . . . . . . . . . 22 dBA at 1 kHz
Nominal impedance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Ω
Nominal sound pressure level . . . . . . . . . . . . . . . 114 dB at 1 mW
Nominal power handling capacity . . . . . . . . . . . . . . . . 200 mW
Max. sound pressure level . . . . . . . . . . . . . . . . . . . . . . . 134 dB SPL
T.H.D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 0.02% at 1 kHz
Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MMCX (female)
Protection class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IPX4
Weight (without cable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 g
Hi-Res Audio certified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Yes
Connecting cable, jack balanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .None
Connection (player) . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.4 mm jack, 5-pole (Pentaconn)
Connecting cable, jack unbalanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . 3-button, universal* with microphone
Microphone type . . . . . . . MEMS analogue, omnidirectional
Connection (player) . . . . . . . . . . . . . . . . . . . . . mini jack (3.5 mm), 4-pole (CTIA pinouts)
Hard case
Dimensions W x H x D . . . . . . . . . . . . . . . . . . . . . . 70 x 134 x 24 mm
Unboxing:
Marketed as audible jewelry, the Xelento models are made right at the company headquarters in Heilbronn. Hand made in part, as well as hand finished, the Xelento sports Beyers latest Tesla driver, the Tesla.11; an 11.2 mm dynamic driver certified for Hi-Res Audio. High efficiency is achieved by a powerful neodymium ring magnet and the Tesla technology, making for a very fast responding driver. Limits of many dynamic drivers are the speed at which they can respond to sound inputs, limiting overall dynamism. The use of the ring magnet, and Tesla technology overcome this, but without making the character dry or analytical.
Coming in a rather unique package, with two diagonal opening flaps, the Xelento “jewelry” is presented front and center. Underneath you will find a glossy information sheet, with a larger than life image of the Xelento. Below that is the long front opening case, tips and the two cables, both in 1.3m length. One pentaconn 4.4bal cable is included along with a single-ended 3.5mm cable plus a microphone for use on the go. As a move towards additional strength, the connection is MMCX, which can also be used to accommodate Beyer’s Bluetooth module, making the Xelento Remote G2 a veritable option for use with your Smartphone. With CODEC’s of Qualcomm® aptX™ HD, Qualcomm®aptX™ Adaptive and LHDC as well as the integrated digital and analogue converter with amplifier from the AKM specialist ensure that wireless sound enjoyment is possible on all devices. This does of course put it into the price point of the higher model BT TWS models (or above them in price) but may just outperform those due to the wired technology as a first option. The module is a $299 option or one can get the Xelento Wireless G2 with it included for $1199, as opposed to the $999 here.
There is no getting around that the earbuds are small. Ornamentally small. A pear-shaped teardrop has a shiny metal faceplate laden with the “Y” on both in gold of the 24k variety. Yes, the logo is in solid gold inlay. The shiny surface then adds a bit of look to it, much like a mirror might make a room look bigger. Also, in real gold is the “Xelento” on both buds, along with a vent hole under said logo. The inside carries a black “L” or “R” for each bud along with “beyerdynamic,” also in black on the left and “made in Germany” on the right along with the unit’s serial number. The oblong nozzle also carries a black lip, with a screen attached. There is no denying the small size of the bud, but I did find the nozzle shape a bit odd. Comply T500 foam tips (s, m, l) are included along with seven, yes SEVEN sizes of oblong silicon tips (xs, s, m, l, xl, xxl, 3xl).
Some reviewers have complained about the small size of the Xelento G2, but I find it fits well, and is nearly flush when inserted; even with Comply’s attached. The cable does not come with any ear guides, making it a struggle to keep in place when using the cable as an over-ear on the front. There is a cable cinch, above the Y-splitter, so one could easily use the cable much like musicians do, routing it around back. For the audiophile though, this really isn’t an option, and ear guides would be appreciated. I was able to get the cables to stay in place, even with reading glasses on, but it took a concerted effort in doing. No microphonics were heard while using the silver-plated cable.
Presentation and build-wise, the Xelento Remote G2 is so far worthy of the price.
Sound
Coming off a custom IEM in the Campfire Audio Supermoon, with a higher price I found the fit of the Xelento G2 to be quite good, even with the large Comply tips. This afforded an excellent seal, and my incessant pecking of the MBP keyboard could not be heard at all. It might be that Beyerdynamic is onto something here.
Queueing Taylor Swift’s “Question…?” from her excellent Midnights album, the first impression was of typical dynamic driver deep reaching bass. But with the size, excellent rumble was had as well. The acoustic chamber design definitely plays a part here, but this has more of a rumble than many of late. That bass is controlled as well, with excellent decay (the magnet helps), allowing the bass to set the tone without encumbering the rest of the signature. A little bleed into the mids acted as a red-carpet treatment more than a hindrance to me, which leads to an uncharacteristic Beyerdynamic sound signature of which I will discuss below.
Swift’s vocals as a result came across as sublime, and dead center, with excellent definition to note and air between each note. That Tesla technology is playing a big part in the signature here, allowing a larger than life sound, but under excellent control. Support instruments here played their part, with easily defined location across the mids, and without stepping on each other’s toes. Often with dynamic drivers, the vocals are moved forward to accommodate the lack of energy, which can come about in a single driver. Not so here, and this adds to that uncharacteristic sound listed below, almost mimicking a dual driver technology.
Voluminous comes to mind when describing the soundstage. But with excellent weight to the notes so that space is filled with high quality sound as opposed to a large expanse of vacant space as often occurs with large soundstages that do not meet the IEM’s sound signature. Monty Alexander’s “Spunky” defines that space with percussion clearly to the left, while the piano occupies center stage. The upright bass holds the right, and you can clearly define the placement on stage in the recording; which is by design to give that expansiveness of which I speak. The expansive stage is further defined on “La Vida Es Un Carnaval” by Celia Cruz. A large horn section gives the song a big noted sound, and her piercing vocals fill in the space nicely. The solid bass adds to the notes, and the excellent percussion instruments extend the high end along with the trumpet high notes. But not too much like some IEM’s I have heard of late.
That treble note is often used to help define Beyerdynamic’s sound characteristics as excellent for studio monitors and here the Xelento Remote G2 does not go quite as high but has excellent weight in the trumpet’s notes mentioned. Sometimes when the upper notes are rounded, they tend to have less sparkle. Not here as the reach provides excellent expansion but without becoming grating or too piercing. Compared to the Supermoon, there is better definition, and a more realistic treatment of the upper notes. But the Supermoon does extend a bit further, which helps give it an expansive sound as well. Both are excellent but front slightly different directions.
I mentioned earlier about an “uncharacteristic” sound coming out from the Xelento G2. Beyer’s headphones and studio headphones have a typical sound to me, which promotes excellent quality of notes all around, but especially in the upper end. With excellent definition and detail, they make for fabulous monitoring or even reference quality headphones. This really isn’t my flavor, and I subsequently sold a model I owned to Will, who took them without hesitation. But the Xelento Remote G2 are different. There is a smoothness to the signature, which pervades my senses across the sound spectrum using the 4.4 balanced cable (both, actually). This is not the “typical” Beyerdynamic sound to me, but I very much appreciate it. There is richness in the details presented no matter what I listened to, and that signature carried over into a warmer richness, which is my preferred signature. Even that bass carrying into the lower mids does not hinder the quality, offering up a platform for a smooth transfer into the mids and subsequent vocals; no matter the source. If this was by design (I never heard the G1 models), I very much approve.
That richness in character is still presented as a highly detailed sound, with excellent clarity of the notes. You can hear Taylor Swift take her breath’s ever so softly, and with a warmth you might not find on a more “clinically-driven” sound. That breath may come across as a bit harsh as opposed to sublime and sensuous. For giggles, I switched to the excellent DDHiFi BC130B 4.4 balanced cable in copper. Slightly better detail came about, and with an even richer tone. The Xelento Remote was showing that it could play well across many platforms. As easy as the Xelento is to drive, the DDHiFi cable made it easier yet. I had to turn the volume down on the Astell & Kern ACRO CA1000 by about 7-8 numbers on the volume scale for the same “perceived” sound level.
Switching to the microphone 3.5 single ended cable did not diminish the overall listening pleasure of the Xelento G2, either. Controls were easy, and when paired with a Smartphone (iPhone dongle for me), the call quality of the microphone made for a quite acceptable option. A lack of microphonics certainly helped as well.
Conclusion
Coming into this, we had high praise for the Free Byrd TWS from Beyer. As a first attempt at TWS technology in a higher priced bracket it is an excellent model, especially coming in at a lower price than some of its competitors. The Xelento Remote and Xelento Wireless may have had a part in that, with their excellent sound, build and technology. But the Xelento models stood on their own before the Free Byrd and based upon the Xelento Remote G2 can certainly do so with this iteration. We found it to be one of the best sounding models at this price, which is chock full of excellent sounding IEM’s.
From the warmth pervading, but without lacking in quality details, the Xelento G2 comes across as a smooth operator, with soundstage that should make others envious. But that expansive soundstage does not come at the detriment of the rest in the signature. Good rumble down low carries you into smooth mids, with real character, ending with enough sparkle to satiate my upper end tolerances. The overall sound signature of the Xelento Remote G2 is one that can definitely hold its own within this price, and on its own merits, making this one of the best to come across our desks in a good while.
Introduction
Coming off the heels of their excellent first TWS effort the Free Byrd, along with a stellar reputation from the first-generation models, the Xelento Remote G2 and Xelento Wireless G2 are here. Senior Headphone Editor W. Jennings has glowing recommendations of the marque’s headphones for their superb detailed sound, along with the studio models, which are highly sought in the sound industry as well. Widely acclaimed for a crisp, clear top end, many of their top headphones mimic this signature for the consumer. The two models will be Beyerdynamics last new models for the year, and from the look are gems in the making.
Beyerdynamic has a long history of making headphones. Since the DT48 (Dynamic Telephone) was launched in 1937, Beyer has been at the forefront of innovative headphones, and the DT label still stands with many of their studio models representing history, heritage and quality sound offerings. It is no coincidence then that the DT 900 Pro X makes our list as one of the best models for studio work. The Xelento first generations were quite good from the reviews and based upon history alone, have a tough act to follow, but just might be worthy of inclusion in Beyer’s long vaunted history.
Specs:
TECHNICAL SPECIFICATIONS
Transducers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-way, dynamic (Beyerdynamic TESLA.11)
Acoustic design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Closed
Frequency range . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 – 50,000 Hz
Sound coupling to the ear . . . . . . . . . . . . . . . . . . . . . . . . . . . In-ear
Ambient noise attenuation . . . . . . . . . . . . . . . . . 22 dBA at 1 kHz
Nominal impedance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Ω
Nominal sound pressure level . . . . . . . . . . . . . . . 114 dB at 1 mW
Nominal power handling capacity . . . . . . . . . . . . . . . . 200 mW
Max. sound pressure level . . . . . . . . . . . . . . . . . . . . . . . 134 dB SPL
T.H.D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 0.02% at 1 kHz
Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MMCX (female)
Protection class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IPX4
Weight (without cable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 g
Hi-Res Audio certified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Yes
Connecting cable, jack balanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .None
Connection (player) . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.4 mm jack, 5-pole (Pentaconn)
Connecting cable, jack unbalanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . 3-button, universal* with microphone
Microphone type . . . . . . . MEMS analogue, omnidirectional
Connection (player) . . . . . . . . . . . . . . . . . . . . . mini jack (3.5 mm), 4-pole (CTIA pinouts)
Hard case
Dimensions W x H x D . . . . . . . . . . . . . . . . . . . . . . 70 x 134 x 24 mm
Unboxing:
Marketed as audible jewelry, the Xelento models are made right at the company headquarters in Heilbronn. Hand made in part, as well as hand finished, the Xelento sports Beyers latest Tesla driver, the Tesla.11; an 11.2 mm dynamic driver certified for Hi-Res Audio. High efficiency is achieved by a powerful neodymium ring magnet and the Tesla technology, making for a very fast responding driver. Limits of many dynamic drivers are the speed at which they can respond to sound inputs, limiting overall dynamism. The use of the ring magnet, and Tesla technology overcome this, but without making the character dry or analytical.
Coming in a rather unique package, with two diagonal opening flaps, the Xelento “jewelry” is presented front and center. Underneath you will find a glossy information sheet, with a larger than life image of the Xelento. Below that is the long front opening case, tips and the two cables, both in 1.3m length. One pentaconn 4.4bal cable is included along with a single-ended 3.5mm cable plus a microphone for use on the go. As a move towards additional strength, the connection is MMCX, which can also be used to accommodate Beyer’s Bluetooth module, making the Xelento Remote G2 a veritable option for use with your Smartphone. With CODEC’s of Qualcomm® aptX™ HD, Qualcomm®aptX™ Adaptive and LHDC as well as the integrated digital and analogue converter with amplifier from the AKM specialist ensure that wireless sound enjoyment is possible on all devices. This does of course put it into the price point of the higher model BT TWS models (or above them in price) but may just outperform those due to the wired technology as a first option. The module is a $299 option or one can get the Xelento Wireless G2 with it included for $1199, as opposed to the $999 here.
There is no getting around that the earbuds are small. Ornamentally small. A pear-shaped teardrop has a shiny metal faceplate laden with the “Y” on both in gold of the 24k variety. Yes, the logo is in solid gold inlay. The shiny surface then adds a bit of look to it, much like a mirror might make a room look bigger. Also, in real gold is the “Xelento” on both buds, along with a vent hole under said logo. The inside carries a black “L” or “R” for each bud along with “beyerdynamic,” also in black on the left and “made in Germany” on the right along with the unit’s serial number. The oblong nozzle also carries a black lip, with a screen attached. There is no denying the small size of the bud, but I did find the nozzle shape a bit odd. Comply T500 foam tips (s, m, l) are included along with seven, yes SEVEN sizes of oblong silicon tips (xs, s, m, l, xl, xxl, 3xl).
Some reviewers have complained about the small size of the Xelento G2, but I find it fits well, and is nearly flush when inserted; even with Comply’s attached. The cable does not come with any ear guides, making it a struggle to keep in place when using the cable as an over-ear on the front. There is a cable cinch, above the Y-splitter, so one could easily use the cable much like musicians do, routing it around back. For the audiophile though, this really isn’t an option, and ear guides would be appreciated. I was able to get the cables to stay in place, even with reading glasses on, but it took a concerted effort in doing. No microphonics were heard while using the silver-plated cable.
Presentation and build-wise, the Xelento Remote G2 is so far worthy of the price.
Sound
Coming off a custom IEM in the Campfire Audio Supermoon, with a higher price I found the fit of the Xelento G2 to be quite good, even with the large Comply tips. This afforded an excellent seal, and my incessant pecking of the MBP keyboard could not be heard at all. It might be that Beyerdynamic is onto something here.
Queueing Taylor Swift’s “Question…?” from her excellent Midnights album, the first impression was of typical dynamic driver deep reaching bass. But with the size, excellent rumble was had as well. The acoustic chamber design definitely plays a part here, but this has more of a rumble than many of late. That bass is controlled as well, with excellent decay (the magnet helps), allowing the bass to set the tone without encumbering the rest of the signature. A little bleed into the mids acted as a red-carpet treatment more than a hindrance to me, which leads to an uncharacteristic Beyerdynamic sound signature of which I will discuss below.
Swift’s vocals as a result came across as sublime, and dead center, with excellent definition to note and air between each note. That Tesla technology is playing a big part in the signature here, allowing a larger than life sound, but under excellent control. Support instruments here played their part, with easily defined location across the mids, and without stepping on each other’s toes. Often with dynamic drivers, the vocals are moved forward to accommodate the lack of energy, which can come about in a single driver. Not so here, and this adds to that uncharacteristic sound listed below, almost mimicking a dual driver technology.
Voluminous comes to mind when describing the soundstage. But with excellent weight to the notes so that space is filled with high quality sound as opposed to a large expanse of vacant space as often occurs with large soundstages that do not meet the IEM’s sound signature. Monty Alexander’s “Spunky” defines that space with percussion clearly to the left, while the piano occupies center stage. The upright bass holds the right, and you can clearly define the placement on stage in the recording; which is by design to give that expansiveness of which I speak. The expansive stage is further defined on “La Vida Es Un Carnaval” by Celia Cruz. A large horn section gives the song a big noted sound, and her piercing vocals fill in the space nicely. The solid bass adds to the notes, and the excellent percussion instruments extend the high end along with the trumpet high notes. But not too much like some IEM’s I have heard of late.
That treble note is often used to help define Beyerdynamic’s sound characteristics as excellent for studio monitors and here the Xelento Remote G2 does not go quite as high but has excellent weight in the trumpet’s notes mentioned. Sometimes when the upper notes are rounded, they tend to have less sparkle. Not here as the reach provides excellent expansion but without becoming grating or too piercing. Compared to the Supermoon, there is better definition, and a more realistic treatment of the upper notes. But the Supermoon does extend a bit further, which helps give it an expansive sound as well. Both are excellent but front slightly different directions.
I mentioned earlier about an “uncharacteristic” sound coming out from the Xelento G2. Beyer’s headphones and studio headphones have a typical sound to me, which promotes excellent quality of notes all around, but especially in the upper end. With excellent definition and detail, they make for fabulous monitoring or even reference quality headphones. This really isn’t my flavor, and I subsequently sold a model I owned to Will, who took them without hesitation. But the Xelento Remote G2 are different. There is a smoothness to the signature, which pervades my senses across the sound spectrum using the 4.4 balanced cable (both, actually). This is not the “typical” Beyerdynamic sound to me, but I very much appreciate it. There is richness in the details presented no matter what I listened to, and that signature carried over into a warmer richness, which is my preferred signature. Even that bass carrying into the lower mids does not hinder the quality, offering up a platform for a smooth transfer into the mids and subsequent vocals; no matter the source. If this was by design (I never heard the G1 models), I very much approve.
That richness in character is still presented as a highly detailed sound, with excellent clarity of the notes. You can hear Taylor Swift take her breath’s ever so softly, and with a warmth you might not find on a more “clinically-driven” sound. That breath may come across as a bit harsh as opposed to sublime and sensuous. For giggles, I switched to the excellent DDHiFi BC130B 4.4 balanced cable in copper. Slightly better detail came about, and with an even richer tone. The Xelento Remote was showing that it could play well across many platforms. As easy as the Xelento is to drive, the DDHiFi cable made it easier yet. I had to turn the volume down on the Astell & Kern ACRO CA1000 by about 7-8 numbers on the volume scale for the same “perceived” sound level.
Switching to the microphone 3.5 single ended cable did not diminish the overall listening pleasure of the Xelento G2, either. Controls were easy, and when paired with a Smartphone (iPhone dongle for me), the call quality of the microphone made for a quite acceptable option. A lack of microphonics certainly helped as well.
Conclusion
Coming into this, we had high praise for the Free Byrd TWS from Beyer. As a first attempt at TWS technology in a higher priced bracket it is an excellent model, especially coming in at a lower price than some of its competitors. The Xelento Remote and Xelento Wireless may have had a part in that, with their excellent sound, build and technology. But the Xelento models stood on their own before the Free Byrd and based upon the Xelento Remote G2 can certainly do so with this iteration. We found it to be one of the best sounding models at this price, which is chock full of excellent sounding IEM’s.
From the warmth pervading, but without lacking in quality details, the Xelento G2 comes across as a smooth operator, with soundstage that should make others envious. But that expansive soundstage does not come at the detriment of the rest in the signature. Good rumble down low carries you into smooth mids, with real character, ending with enough sparkle to satiate my upper end tolerances. The overall sound signature of the Xelento Remote G2 is one that can definitely hold its own within this price, and on its own merits, making this one of the best to come across our desks in a good while.
Taka0302
I read with interest your review of the Xelento Remote G2.
Is the fit of the Xelento Remote G2 better than the Xelento Remote G1?
Is the fit of the Xelento Remote G2 better than the Xelento Remote G1?
ngoshawk
I have not tried the first gen Xelento. But the G2 is so small, that fit should not be a problem, unless your canal is large enough so that insertion is too deep.
Yeah the Xelento 2nd gen are great. I still enjoy them. Specifically the comfort and fit is the best I have ever tried. Compared to BA drivers or hybrid they do not have that same edge and in the treble the BA drivers are better. But they do not have the naturalness of the Xelento. And for soundstage I still have not heard any IEM that can compare to the Xelento.