Sony MDR-Z7M2

With this review I would like to settle the long standing question of how the MDR-Z1R and MDR-Z7M2 compare. Reviews are all over the map on the Z7M2 and how it compares to its older sibling. I am reviewing them against each other using the Sony WM1A Walkman set to direct output (no EQ/DSP), and each using its packed-in silver-coated OCF 4.4mm Pentaconn balanced cable.

--But... why?--

Before I purchased my MDR-Z1R, I owned the previous Sony flagship, the MDR-Z7. I enjoyed it, but sold it when I upgraded. It had a bassy, rich sound signature, but extensive listening to familiar music proved the Z1R to be more revealing, and less occluded by bleeding bass in the mid range. Nonetheless, the Z7 was super fun and I always kind of missed it a little bit.

That's where the Z7M2 comes in. I have been casually looking to re-purchase a Z7 as a less expensive but similar "back-up" to my Z1R, as well as a "less serious" headphone for things like listening to TV via Bluetooth receiver - but the condition on used Z7 units, which have very difficult to replace pads, has not been up to snuff for me. So when I came across the Z7M2 for ~350 very lightly used, I thought: why not give it a try? How close does it get to its bigger brother for a third of the current new price?

Also, yeah, I'm kind of a Sony fanboy. I make no apologies. My purpose here is not really to situate these in the broader marketplace, just to compare them to each other, since, if you want Sony audiophile cans, these are your two currently manufactured options.




Lots more ports on the Z7M2

--A note on the Z1R--

I really dig Sony's apparent philosophy when it comes to "audiophile" headphones. I take that philosophy to be the following: they should be incredibly well built, comfortable, beautiful objects; not be outrageously expensive (with respect to the rest of the $3k-plus market at least); provide an elevated version of the sound signature lots of people already enjoy, as opposed to a radically different thing people need to get used to (not that there is anything wrong with that, I'm glad there are many different options in this hobby); be a "do it all" headphone for all musical genres; they should be easy to drive, not requiring lots of expensive equipment to "get the most out of them."

The Z1R is the epitome of this philosophy. You can buy it and feel really good about the level of sound quality you're getting, but without the need to constantly upgrade or tweak everything about your chain. It sounds great with the (really nice) stock cables, both single ended and balanced. It sounds great out of a laptop, out of a DAP, out of an amplifier (which it does not need to reach volume). It is equally adept at EDM or rock as it is orchestral music or jazz. It ages really well physically - after two years of daily use, my sheepskin pads haven't cracked or deformed, and only the headband cushion leather shows any real signs of minor change with a few lines starting to form (hence the headband cover I've purchased as a preventative maintenance option). I love the easy pad swap mechanism, and I love that Sony has stuck with this model since 2016, allowing the aftermarket to catch up and create accessories for it. I love that I can feel "done" after purchasing it.

Now, when the Z1R debuted, it was at the outside edge of "reasonable" pricing - but these days it's edging towards a mid-priced audiophile option. The real question then, is how high does the Z7M2 reach for an even more reasonable price, one that is firmly mid-range?




Pleather on the left, leather on the right. Z1R pads twist off, Z7M2 are screwed in. Same connectors (and pack-in cables) on both.

--The Z7M2--

The Z7M2 offers a very comparable build to the Z1R (Really, only the pleather pads vs the sheepskin on the Z1R differentiate it, and of course the differences in the housing/driver), with high levels of comfort (no hot spots after several hours for me) and durability. You get high quality 3.5 and 4.4mm cables in the box, which gives you a lot of flexibility without additional purchases. It is very easy to drive, perhaps only being 1% more power hungry with the same source (in my case, the WM1A Walkman) to reach the same volume as the Z1R. Isolation is strong as well. The sound signature is V-shaped and fun, but with good (but not class leading) levels of detail. Bass is strong and rich, mid range sounds are realistic and not too recessed. Treble feels a bit rolled off to me, with less energy than the Z1R.




Z1R driver with 30 micron thick magnesium dome and aluminum-coated "liquid crystal polymer" edge




Z7M2 driver, Aluminum-coated LCP edge diaphragm sans magnesium dome. Both are 70mm in diameter.



--Songs--

Aerosmith - What It Takes (44.1k/16b FLAC)

This track shows the difference in treble energy between the two sets of cans. Don't get me wrong - the Z7M2 provides a very engaging listen, with a tight, impactful drum kit and bass guitar. But cymbal hits and the acoustic guitar and accordion in this song are more forward on the Z1R, because of its increased energy in the treble regions. It's a bit more of a "draw you in" sort of detail.

Michael Jackson - Speed Demon (96k/24b FLAC)

This is a super detailed track with a lot of little percussion hits and guitar parts around the edges of the mix. The Z7M2 handles it really well, with the Z1R just providing a bit more of a sense of space and a little more zing on the extraneous sounds.

Daft Punk - Give Life Back to Music (88.2k/24b FLAC)

The Z7M2 rendered this famously excellent-sounding track with good detail and authority. Was the Z1R better? Sure. But my head was bopping to this on the Z7M2 and there was never a point at which I thought "this is missing something."

Lady Gaga - Applause (44.1k/24b FLAC)

If you want a track to put the lie to the notion that the Z7M2 lacks bass in any way, shape or form, this is it. It's seismic. These cans are great for EDM and dubstep, just like the M1 and Z1R.

Dave Brubeck Quartet - Take Five (176.4k/24b FLAC)

Jazz ensembles can really reveal "sound stage." When I close my eyes, the drums are to my left, the piano to my right, the bass behind me, and the saxophone in front of me. But compared to the Z1R, the Z7M2 seems to put them maybe a foot or two away from me in each direction, where the Z1R puts them three or four feet out. It feels like a bigger room on the Z1R. The listen is still very pleasant on the Z7M2, it's only by comparison that the Z1R shows its superiority. FWIW I have no idea what causes the perception of sound stage or distance. I just know the Z1R has more of it.

Macy Gray - She Ain't Right (96k/24b FLAC)

The bass performance of the Z7M2 shows its chops here, as the percussion and stand-up bass are realistic and deep. Gray's vocal is not recessed at all, and I am baffled by Zeos' claims that vocals are scooped on this headphone. They're very comparable in forwardness to the Z1R.

Herbert von Karajan/Berliner Philharmoniker - Beethoven Symphony No. 5 (1977 recording) (192k/24b FLAC)

This really reveals the difference in bass detail between the two headphones. Z1R brings details out of the strong, reverberant bass portions of this mix (especially during the "dun dun dun duuuunnnnn" opening portion of the symphony). I wonder if this is because of the blacker background created by the curved housing and washi paper filter in the Z1R. Z7M2's bass is strong and deep. It just isn't as nimble as Z1R, which somehow manages to be both a basshead can and detailed at the same time.

Herbert von Karajan/Berliner Philharmoniker - Haydn Symphony No. 83 (44.1k/16b FLAC)

This is a bit of a lighter orchestral mix than the previous symphony. The Z7M2 is very enjoyable, but the extra weight in the bass and zing in the treble gives the Z1R more oomph and more of a "being there" feeling, when comparing the two headphones to my experiences at concerts.

Klimt Quartet - Mendelssohn Piano Quartet No. 1 (44.1k/16b FLAC)

I chose this track because the opening really goes deep into the inner voice of the cello, while the piano coming in provides a lot of mid to high frequency detail. The Z1R does it all better. The inner voice is much more evident in the Z1R (by which I mean the inner resonances and sound decay of the cello's body).

John Williams/LSO - The Map Room: Dawn (Raiders of the Lost Ark Score) (44.1k/16b FLAC)

The Z7M2 totally nailed this movie score track from top to bottom. Thrilling bass, beautiful vocals, just really ravishing. This leads me to believe that the Z7M2 can really soar with well recorded but slightly "thinner" orchestral music such as movie scores, whereas busier "true" classical works can be a bit much technically.

I also tried these cans out with my BTR3K Bluetooth receiver on some movies. Bass was thunderous and positional audio on 5.1 channel material was good. Dialogue was clear and forward.




Z1R frequency graph. Bass shelf and 10k peak.




Z7M2 graph. midbass bump and 10k trough. Less going on in the treble region.

--Conclusion--

At its retail price (currently $500-$600 depending on international vs US warranty versions), the Z7M2 represents a solid but not "great" value (I still think the discounted Dan Clark/Drop Aeon Open and Closed X cans occupy that "great" value slot at $400 - but in like new condition at $350 things really even up). Its construction is impeccable for the price, but comparatively its levels of detail can be beat for the same money. When purchased used, its durability makes it a more compelling option versus its competition.

Having used the Z1R for two years now, I would not want to go back to the Z7M1 or M2 exclusively for my "serious listening." The gains in soundstage and treble detail are quite apparent upon direct comparison. On the other hand, if I had never heard the Z1R, I would be very satisfied. Longer listening sessions on the Z7M2 were quite satisfying. I do think the Aeon Closed X is a "better" headphone than the Z7M2 because of its detail level in mid/treble, even though the Z7M2 has better bass punch/slam. But the Z1R is better still than the Aeon, because it combines the same 70mm dynamic driver slam with comparable upper range detail. Basically, the busier the mix is, the better the Z1R renders things, because of its extra treble energy and tighter (but somehow still deeper) bass. I think the Z7M2 is very well suited to rock, pop, EDM, and Jazz, but the Z1R is better at each, and really pulls away in dense orchestral classical.

If you want a taste of what the Z1R offers and can't afford $1600-plus, the Z7M2 is a great option, especially used between $300-400. It's going for the same things as the Z1R (a detailed, high-end rendition of the "fun" sound signature), it just isn't as equipped to deliver them with quite the same level of dexterity. I think the main difference makers in this respect are the housing shape and washi paper filter (which seem to attenuate closed-back reflections and thus clears up the prodigious bass), and the magnesium dome driver of the Z1R (which according to Sony delivers high frequency sounds, and thus would seem to deliver more zing in the treble area).




A tale of two boxes.

*Viewing them as a $400 headphone*

So, I got these from a trade (my andromeda for these) a few months ago. I got them with a perforated extremely angled pads which made things lose detail. Those pads didn't last long before it started to disintegrate. Bought some lambskin pads online and is what I will be referencing for this write up.

Packaging -
usual midrange Sony packaging; cardboard sleeve > cardboard box > headphones > cables > some pamphlets > cables.

Nothing out of the ordinary.

Build -
incredibly robust free from that nothing creaks, or unevenness. Visually perfect devoid of flaws and relatively light for how big and bulky it is.

Cables pros - Pleasing to the eye finish that follows the general design and color scheme of the headphones with ample amounts of strain relief, cable itself is tangle free with a confident feeling yet soft sheath.

Cable cons - 1) for the 3.5mm, extremely long. 2) proprietary connectors exclusive only to the Sony MDR-Z7/m2 and the Z1R.

Sound -
To preface, the set-up I'm using for this is the Cayin N8 on High gain > P+ mode > mix of tube mode and solid state > all with the 3.5mm stock cable.

I will start with TREBLE. Smooth, perhaps too smooth... it doesn't have any particularly unpleasant peaks it sounds natural and depending on the song it might get boring due to the 10k dip. Don't get me wrong, it extends quite well and is rather detailed but leans more towards naturally done detail.

As for MID-RANGE, smooth for the most part except for a single 3k peak which causes the honk (will need some time to get used to). At times it sounds a bit hollow usually more apparent on male vocals not so much on female vocals.

And lastly BASS. Bass is a bit of a hard one to comment on despite that I will start with the midbass. Due to how Sony designed the cups I find it very controlled with nigh resonances, I know it's wrong and I want to hate it, yet I find myself craving for it after every session. For the subbass, it is both there and not there. At times there's copious amounts of rumble and at times barely any. The more I listen the more I get enamored. When it's there, it is punchy, deep, and just sublime. My only complaint is that it doesn't quite hit the deepest parts.

As for TECHNICALITIES expectedly for a headphone sporting 70mm drivers moving ample amounts of air, it's not the fastest. Soundstage is a medium for a closed back. It's skewed more towards width rather than depth. Imaging and layering's somewhat smeared I can distinguish each instrument in a track but lacks a sense of physicality. The background is very dark and gets holographic at times (currently listening to Electric Light Orchestra's Mr. Blue Sky makes it sound incredibly immersive, most classic alt/folk has this effect). Most of the time it's diffused.

ISOLATION is decent, can still hear the AC as of writing this, still respectable considering the vents surrounding the cups, sound leak shouldn't be a problem unless the person is a few inches away from you then they will hear it.


DYNAMICS. Despite the treble it is dynamic to a degree. Of course, take my view of dynamics with a grain of salt I only have a limited range of sources I can test this on. Just curb your expectations.

Drivability -
From what the previous owner told me and from my experience using them, I have come to a conclusion that they need power to sound their best. Although the Cayin N8's 4.4mm balanced is more capable than the single ended port. It makes the whole sound brighter (more to do with how Cayin implemented it than the headphone itself. I never use the 4.4mm and have converted all my cables to 3.5) I generally like the lusher more intimate sound of its 3.5 port. Using the settings I listed at the sound portion, I usually run them around 29-40s/100 depending on the dynamic range of the song (chesky recorded tracks for example needs around 50s). But I can drive them easily off the n8 on low gain all other settings turned off at around 30s. On the Sony a105 I need about 50-70/120. On paper they look to be efficient headphones that can be driven off anything, but they do need a bit more juice to drive them and an even more impressive source to make them sing their best. I will be excluding amplifiers as I found them unnecessary (at least for the ones I own. They dulled the details a fair bit compared to me running them off the 3.5).

Scalability -

Sadly, I don't own any desktop grade sources. But generally, they do scale quite well. Well enough for me to notice a sonic degradation when I plug them off my Pico Power and Elukit portable tube amp via my crystal cable diamond series interconnect (mentioning it for a subjective point that I did not skimp on any of the peripherals in my chain). Off the Sony A105 they sound pleasantly warm just a bar touch monotonous. Off the Cayin N8 they sound spacious, ethereal in the upper ranges but thick and tight in the lower registers with dynamics to spare 10-fold!

Conclusion -
The Sony Z7m2 is a uniquely polite sounding headphone with reviews and comments from both the head fi community and the Japanese community split 50 to 50 "You either hate it or love it" is a phrase you'll hear a lot from them. Sure, they don't portray the grandness that their original price tag suggests but what you get is a pure-bred Sony; built to last, relatively attractively designed and a trailblazer! It would be an understatement to say I have an inkling Sony wanted to over-do themselves when it is clearly a product of over engineering, a product that left many confused why Sony even bothered to release it despite it being the antithesis of the mk1.

It's a lush sounding headphone add to that the almost weightless head feel and you have a recipe for an addictive product.

Preamble:
Bought these brand new direcly from Sony Australia with my own money. Though are a ridiculous discount ($440 AUD - they are $1300 New). As Such, i will be rating these in terms of a <$500 AUD (<$350 USD) set of cans. As if they were to be rated at the RRP, i would give them a 2.5 - 3/5

Comparators
Campfire Audio Cascade

Source
Hiby R5
Macbook Pro

Tracks
Bass response: Drake MIA, Ed Sheeran South of Boarder
Mid response: Ed Sheeran South of the boarder, Toto Africa, Sam smith How do you sleep
Treble response: sam smith How do you sleep, Dj snake You know you like it

Packaging
Not bad.
The cables are really good. And cool of sony to include a balanced 4.4mm out of the box.
Only caveat, the 3.5mm SE cable is retardedly long. Like 2m long.

Build
Very nice build quality.
Aluminum finishings everywhere

Fit
Head band and pads are supple and comfortable to wear for extended periods of time
The sony is more comfortable than the Cascades, as the cascade i noticed kept having point tenderness on the top of my head.

Sound

• Bass: Lackluster at best. But... Responds really well to EQ. It's really biazzare, as the older borther to the Z7m2 the Z1R has very good, overly emphasized bass. It has a slow decay and isn't visceral without EQ. With EQ it sounds really nice. A boomy, yet controlled sound. The Cascades easily win here. Boom BOOM BOOM.
• Mids: Decent, though at times it feels very ?distant. I know that's a weird way to describe a sound signature but it's what it sounded like. Even still, the Sony manages to beat out the Casade, in which the mids are recessed.
• Treble: Nicely done, has an airiness to it. Isn't silibant at all (the cascade had harsher sound treble). Not much else to remark here.
• Stage: The stage is wide. It is better than the cascade (which has a congested characteristic). Of course not as wide as an open back set of cans, but decent.
• Instrument seperation: I think the Z7m2 does really well here. It is able to seperate instruments very very well.
• Reproduction accuracy: In comparsion to the Cascades, the Z7m2 wins here. However, neither are awefullly good at accuracy. particularly the m2 which the FR is hard to gauge when listneing to them.

Summary
Again, at 1300 AUD RRP, these are, in no way, worth it. At $440 AUD, the case for these becomes more convincing. I wasn't able to pin down a genre these shone at, but it seemed to me, it was very good at instrumental stuff (although i, myself, don't listen to too much instrumental stuff). Further, if these are bought at the RRP i would rate these a 2.5/5. But, at $450, i think they are definetly a 4/5, down to the laid back easy to listne to sound signature and good response to EQ.