ZMFheadphones Vérité

Introduction

The Chinese ‘curse,’ “May you live in interesting times,” is apparently at hand, as we most certainly live in interesting times. And, I imagine, that one holds onto the keys to sanity during these times—by finding some amount of joy, something to be grateful for, someone to help, every single day. Of course, pulling oneself free of the TV (the Boob Tube) may in and of itself bring a much needed balm of ease and quiet and peace.

There is also, of course, music, wherein one can find joy, connection, peace, and memories perhaps, reflective of the times when our lives were a bit less “interesting” and fond memories which live beside our favorite music.

Music has alway been transportive for me. It has taken me often to my very early years—as a five year old sitting on a sofa, affixed to his mom. We listened to jazz greats and sometimes the greats of blues, as my feet dangled high above the carpeted floor. Then there was rock when in Santa Barbara at my cousins’ home, where the Doobie Brothers, Marshall Tucker, Fleetwood Mac, Jefferson Airplane, Cat Stevens, Jim Croce, and others were all the rage, and those memories too bring a release of angst, a peaceful ease and comfort.

The philosophical and heartfelt meanderings above bring me to my review of the ZMF Véríté headphone which I believe is an exceptional component for connecting with those aforementioned times, the music, the memories, and the finding of bliss and connection and peace.

This is my second go round with ZMF. The first was with their entry level headphone— the ZMF Atticus—that was truly an ear-opener! Though its elder sibling—the Véríté—currently under review—is more capable, in, literally, every respect. How much so? Hold on to your seats folks.

REFRAIN: Unlike most reviews, this review will be non-sequential, as it will start with how the equipment actually sounds and not the process of physically “undressing” it and/or laying out its various accoutrements, specifications, etc. Think of this review then, as a non-linear movie—Memento, Kill Bill, Pulp Fiction, Eternal Sunshine of the Spotless Mind, The Queen’s Gambit, In the Shadow of the Moon, etc—that, likewise, starts at the end and winds its way to the beginning.

The Sound

Suffice to say, that what the ZMF Atticus did, the ZMF Véríté does a good deal better and in every respect. I will not repeat what I’ve said about the Atticus, but I could with more passion and enthusiasm and it would be true. But then this would not be a review, so much as a facsimile, a simulacrum. So…

The ZMF Véríté appears to be the first iteration of a hybridization of dynamic and planar technologies. Its beryllium coated driver provides the requisite stiffness and speed, sufficient to move at planar magnetic speeds, whilst excavating entire lost civilizations of detail across soundscape after soundscape. The Véríté is fast, fast, fast reminding one, at times, of electrostatic speeds and their energy and aliveness. In truth, after listening to how electrostatics rendered live music, choral arrangements, and symphonies, I simply did not choose to listen to this music via other headphone types. It just wasn’t the same. The Véríté has changed that somewhat and now I venture into that area again, selectively. While the Véríté does not match the electrostatics in every way, there is not another dynamic or planar headphone that I have experienced to date that comes as close.

And then there is the emotion, emotion, emotion. So incredibly immersive, so beguiling that it is as if the sound, the music rendered by the ZMF Véríté moves directly into one’s heart and soul, while keeping the left brained—the technologists/engineers/audiophiles—fully engaged. For those who may not have experienced this sensation with music, or with, perhaps, a headphone attached to an extremely capable system—Accustic Arts Player II, LTA Z10e—a listen is, indeed, in order. And it will not be necessary to access the heights of such component combos to gain an understanding of the prowess of the ZMF Véríté. It will deliver the ‘emotionality’ of a musical experience and all the attendant informational cues via even DAPs and it will be spellbinding.

Like its sibling, the Atticus, I listened to everything I could get my hands on and purchase (CDs) and load into my Qobuz file via ROON. And yes, like its sibling, voices were stunning and yet, there was more there, in terms of copious amounts of detail which followed in the wake of greater resolution and transparency. And the coupled warmth did steal one away from doing or wanting to do anything else or even thinking about doing anything else. And as I mentioned in the review of the Atticus, “…Every single moment with the Atticus was enjoyable! Every. Single. Moment.” This goes double for the Véríté and the choice between them would be an easy one.

Yes, I played the Véríté with the Accustic Arts Player II, the LTA Z10e, as mentioned above, and what it conveyed of its up-line partners was revelatory, defined by one’s mouth being agape more often than not, being entirely lost in the music, being aware of all the spatial cues, and experiencing a sense of joy and astonishment time and time again. Please know that this is a most rare occurrence for a ‘jaded’ music lover.

The ZMF’s Véríté volumetric cube—soundstage—is more vast and encompassing still than its little brother’s—the Atticus. It brings intimacy on the level of planars and, dare I say, at moments, on that of electrostatic headphones as well. And this I would never have thought. Imaging, separation and layering are truly superb and again far beyond the Atticus. And where the Atticus peeked in or touched down for microseconds on the world of electrostatics, the Véríté stares into that world and lingers a bit longer. I cannot think of a dynamic or planar headphone that combines its talents or its electrostatic-like delivery. Nor has the whole-cloth coherency of an electrostatic ever been so close at hand with a dynamic headphone. I have listened mouth agape on many an occasion to the Véríté and I relish continued listening after a review piece.

The ZMF Véríté was partnered with the Accustic Arts Player II CDP (review coming), ROON Nucleus Plus, the Mola Mola Tambaqui DAC as both DAC and balanced headphone amplifier, the Bricasti M1 DAC, the LTA Z10e HPA/integrated, MEZE Empyrean, MEZE LIRIC, Rosson Audio RAD-0, ZMF Atticus, ZMF Atrium (review coming). Cabling was Audience Front Row and power conditioning was handled by the RSX Power8 and the TORUS RM20.Bass

Tumultuous. Propulsive. Eiji Oue’s V. Infernal Dance of King Kashchey (Stravinsky, Reference Recording) opens and there is the portent of power in the low rumblings of the orchestra, where often there is not. The stage is deep and wide, the layering and positioning superb. Tone and timbre are rich and natural. Enters the assault of Infernal Dance of King Kashchey and via the massed tympani it is tumultuous, propulsive, beautifully resolved, and fast! Interestingly, its streamed version does not carry at all the same weight as the CD via the Accustic Arts Player II, nor the resolution! The CD brings tremendous bass weight and easily reaches to sub-bass depth and on to the Holy-Bass-Head-Grail with the Véríté. Further, no detail is missed or obscured right across the frequency range, so refined, nuanced, and capable is the Véríté. And when power is called for the Véríté summons it easily. It is impossible to stop listening to the entirety of this CD and the next.

Midrange

Spacious. Resolving. Natural. Immersive. If the ZMF Véríté’s midrange were a wine, it’d be a 2018 Harbison Estate ‘The Trail’ Cabernet Sauvignon Oakville. In other words, it would be “full-bodied, opulent, and sexy.” Olafur Arnalds’ “Árbakkinn” (Island Songs, Mercury (Universal France)) is given perhaps the most moving rendition via the ZMF Véríté and the Accustic Art Player II (not available for the STAX SR-X9000 review) and the LTA Z10e that I have ever heard. Poet Einar Georg Einarsson recites his poem with warmth and richness, and yet there is exacting resolution and detail that place him or, perhaps, me in Iceland, listening but a few feet away. Voces8 “Prayer to a Guardian Angel” (Lux, Decca) follows via CD and it too is compelling and induces an eyes-closed, peaceful, momentary catatonia. It is hard to rouse oneself from this playing. The Lux album plays through and then the Voces8 Enchanted Isle album plays through, and, though contemplated, the hour is late, and an overlong day holds off play of the Eventide album. Again this is an area where dynamic and planar headphones often fear to tread—choral—so accomplished are electrostatics here, but the Véríté shows no fear.

The ZMF Véríté is faster than its immediate brethren—dynamic headphones—faster even than planar headphones, and as fast, at times, as electrostatics, and it brings a weight and palpability and a richness that electrostatics themselves, save the STAX SR-X9000, cannot match. Shocking! The ZMF Atticus was exceptional. The Véríté is better still and in every respect. Truly shocking!

Treble+

Fast. Extended. Transparent. Air-infused. Across the treble region the Véríté’s transients and its handling of dynamic swings are fast, fast, fast as though lightning flashes, which make the Atticus seem slow in comparison. Few headphones could, however, keep pace. Its transparency, its ability to bring finely resolved focus and thus detail to track after track brought discovery and a newness to the very familiar. This, coupled to its analog richness, made each experience immersive and captivating. And the Véríté’s ability to infuse air into live performances and choral pieces and symphonies once again posed a challenge even to electrostatics! Though the air that the Top-Of-the-Line (TOTL) STAX SR-X9000 provides on choral arrangements, live performances and symphonies goes, to date, very much unmatched.

Vilda Frang’s “Allegro Molto” (Veress: String Trio - Bartók: Piano Quintet, Alpha) and its rapid, transient pulses—knuckle raps, plucks, drumming upon violin or cello, and bowing—and dynamic shifts are handled with aplomb. And again there is weight and detail and resolution—as though sunlight crossing over and exposing a dark intricate mosaic. The Véríté’s rendering is also visceral and startling. Far too many headphones, regardless of modality, do not appear to curate these various combined traits. Dave Brubeck’s “Take Five” (Time Out, Columbia-Legacy) saunters in with air-infused drum cymbals that are alive, well, and pulsing. Paul Desmond’s sax weaves texture, tone, timbre in an entrancing dance that, via the Véríté, the Player II, and Z10e, is, no doubt, the envy of snake charmers the world over. Meanwhile, Brubeck and Wright, spotlit and layered, provide gravitas and drive. Bravo!



The Wrappings and Accessories



The ZMF Véríté, like its brother, comes in a substantial, black, hardened Seahorse SE 430 case, provided, no doubt, to make sure that the heirloom component contained within finds its way intact to one’s heirs and their heirs and so on.

The case opens to reveal a snug, foam-lined enclosure that provides further assurance of safety to the ZMF Véríté seated within. The sight of the Véríté is truly captivating. Here sits a beautifully designed SAPELE wood headphone with an aged copper grill, that vents sound into the world, and a high grade leather employed for both the earpads and head band (a vegan suede option is also available for both). Included within the case are:

SAPELE Vérité Headphones
ZMF Stock Braided Cable and OFC Cable
ZMF Universe Perforated Pads and 1 choice set
ZMF Owner's Card
Lifetime Driver Warranty
Seahorse Case

The wrappings and accessories, and, indeed, the headphones, speak to a customer focused integrity, an attention to detail, masterful craftsmanship, technological knowhow, and a desire to bring value, music, and enjoyment to each of its customers.


Design—Look and Feel


Gorgeous. Yes, the word “gorgeous” keeps coming up because that is truly what the ZMF Véríté is and there is not a better descriptor. The Véríté is functional, heirloom art as though Mid-Century Modern, my favorite design style. Again, this “Mom&Pop” headphone concern—ZMF—has brought exceptional style, class, technological prowess, and old-school integrity that stand it above the fray of headphones, regardless of their technological underpinnings. Again, bravo!
The Specifications



ZMF Véríté

Type: Open-back headphones w/PEN Driver Vapor-Deposed w/20% Beryllium
Wood type: Sapele
Impedance: 300 Ohms
Sensitivity: 97dB SPL / 1mW @ 1kHz
THD: 0.1% @ 1kHz / 100 dB SPL
Frequency response: 10Hz–25kHz
Weight: 430g
Cables provided: 1 x ZMF Stock
Carrying case: Seahorse SE 430
Warranty: Lifetime for Drivers/2 Years Parts and Mechanical



Conclusion

Gorgeous. Incredibly transparent, resolving, detail rich, fast, fast, fast, and astonishingly musical. The sum of the Véríté’s talents speak to something other than a dynamic headphone, something imbued with a good measure of the planar magnetic tribe, and, at times, the electrostatic tribe as well. An exceptionally talented chameleon able to meet the task at hand with all its best skill forward!

The Véríté is a TOTL headphone that will sound marvelous with a DAP, but it will be at its very best with top-flight, read, TOTL components of uncompromising abilities— Accustic Arts Player II, Mola Mola Tambaqui, Bricasti Design M1, Enleum AMP-23R, LTA Z10e, etc.

The ZMF Véríté is, undoubtedly, a step above its sibling in every respect—transparency, resolution, transient speed, detail retrieval—whilst not for a nanosecond being anything less than extraordinarily musical. This then is another salute to ZMF with regard to its ability to produce gorgeous, heirloom quality headphones that happen to sound even better than they look! And that is no small feat. Without further ado, we award the ZMF Véríté our highest honor—the DIAMOND AWARD for all that it embodies. And a heads up, its recently debuted big brother—the Atrium—listened to side by side with the Véríté is, well…!!! You’ll have to wait for that review.

AudioKeyReviews.com and AudioKeyREVIEWS! Interactive Magazine

The Systems

1.
ROON NUCLEUS PLUS
Accustic Arts Player II
Bricasti Design M1 DAC
STAX SR-009S
Dan Clark VOCE
MEZE Empyrean
MEZE LIRIC
Rosson Audio RAD-0
ZMF Atrium
ZMF Véríté
ZMF Atticus
LTA Z10e
Audience Front Row Cables/Wires
AntiCables
TORUS RM20
RSX Power8

2.
ROON NUCLEUS PLUS
MEZE Empyrean
MEZE LIRIC
Rosson Audio RAD-0
ZMF Atrium
ZMF Véríté
ZMF Atticus
Mola Mola Tambaqui (as HPA)
Audience Front Row Cables/Wires
AntiCables
TORUS RM20
RSX Power8

3.
Astell&Kern SE180
The Company


ZMF

ZMF Véríté ($2499.99)

www.zmfheadphones.com
contactZMF@gmail.com

AudioKeyReviews.com and AudioKeyREVIEWS! Interactive Magazine

Hanging out!

Hi All,

Today we are talking about an absolutely phenomenal pair of headphones. The ZMF Headphones Verite. These are the easiest types of reviews to write, where you really don’t have much in the way of negative news to report. They are comfortable (perhaps a bit heavy, but not overly so) look great, and sound even better.

ZMF Headphones is a small headphone company based out of Chicago Illinois. The owner of ZMF headphones, Zach Mehrbach, is…a really nice guy. Really. Although I have only had correspondence with him via email, he comes across as incredibly helpful, supportive, and proud of his work. I can’t thank him enough for the opportunity to hear two (Verite, and Eikon) of his headphones for a couple months, and review them. To quote Bert Reviews on youtube (if you haven’t seen Bert Reviews, go search it up now, it is worth it, trust me) “Zach is AWESOME!”


A bit closer up

The Verite is ZMF’s latest flagship model. There have been a few different wood choices available so far, but Zach was kind enough to send me a pair of the limited “Ziricote” wood Verite. I have not personally heard a pair of Verite in another wood choice, so I can’t say if they sound any different. Supposedly there are subtle differences between the wood type, but I would guess you would see more difference changing the pads, than purchasing a different wood.

Speaking of pads, this is actually one of the neatest, and for me, most unexpected parts of reviewing ZMF headphones. Zach has many different earpads for you to choose from, in both leather and suede materials. I did not expect to hear such marked differences between the different pad choices, but the differences were huge. It is like owning one pair of headphones, with three or more different sound signatures, immediately available via a simple ear pad change. More on this later.

Right, so lets talk about how the Verite sound. I’ll talk about their overall sound signature, then the differences the pads make afterwards.


The Eikon and Verite together. Both Rock!

Bass: The bass on the Verite is full and robust sounding. I tend to enjoy a bass response level that is a bit north of strictly neutral so this suits me just fine. I didn’t really find myself needing to EQ up the bass level a few decibels, as I do with some other headphones that have a bit less bass than the Verite in their stock tuning. The bass on the Verite doesn’t slam as hard, with as much impact, as the Abyss AB-1266, but it is a very punchy headphone. If you do EQ up the bass a bit, you will feel it, no doubt about it. The Verite’s bass response was pretty much perfect, for my ears, in terms of level. I really, really enjoyed it. Great texture, great punch, great sub bass. The Verites bass is quite a visceral experience. Whats not to like really.

Mids: The Mids on the Verite are a bit different than I am used to with my usual headphones. A bit more present, and warm. Not overly so, they are less warm than the LCD-3 I used to own, but certainly more present than a pair of Abyss Headphones. This lends itself very well to certain kinds of music. Jazz on the Verite was absolutely lovely, I found. I wouldn’t say the Verite is a “romantic” sounding headphone, but its certainly heading in that direction. The mids are smooth, and relaxing sounding to my ears. I think the mid range of the Verite might be what make it such an enjoyable headphone for longer listening sessions, it is just “right” sounding.

Treble: When I first tried on the Verite I was surprised by the treble, and thought it sounded a bit recessed and hidden. This is definitely not the case however, and I think it was just a case of my ears needing time to adjust after listening to headphones with more treble energy for the last 6 months (or however long it has been!) The Verite’s treble has a bit sheen and sparkle to it in the upper treble regions, but not too much. I never found myself wincing, or noticing extreme sibilance problems, which is a very good thing. The treble isn’t crunchy in the lower treble, like the Eikon can be, and doesn’t “Show off” like the Focal Utopia. The treble tuning of the Verite just seems to compliment the rest of the sonic signature well, isn’t offensive and grating on the ears, but is still present enough to bring a very healthy amount of detail to the table. Really good stuff.

Technicalities: Now, I don’t want this next section to come off as a negative, as the Verite is a $2500ish headphone, not $6000, and is also a completely different driver type than my regular headphones. However, for my ears, and this is just me, it lags behind in terms of raw technical performance vs my Susvara and Abyss headphones. The soundstage isn’t as wide, spacious, and airy sounding as the Susvara and Abyss. It isn’t as detailed, and as competent in terms of dynamic capability as my regular headphones. It just isn’t…

HOWEVER…

The Verite

A) Makes up for lagging behind in terms of technical performance by being supremely listenable and pleasant sounding. The tuning is very well done.

B) Is, again, a much more affordable headphone!!!

Now this isn’t to say that the soundstage sucks, its way wider than some other headphones, and it isn’t to say the detail levels are horrible. That just isn’t true.


Current

Comparisons:

Focal Utopia: The Verite garnered a lot of comparisons with the Focal Utopia when it was released, probably due to the mention of Beryllium with regards to its drivers coating vs. The Utopias pure Beryllium driver. Now, the Verite, for my personal preferences, is the better headphone. Again, it is slightly behind in terms of detail and most of its technical performance, but it does have a wider soundstage. The Verite simply has a much more enjoyable tuning! This is for my personal preferences of course, and its always good to hear a headphone prior to purchasing it, but the Verite is just the better, more enjoyable headphone to listen to.

Hifiman Susvara: The Susvara has a more “airy” and ethereal presentation. The Verite has a bit more bass presence, and a slightly smaller soundstage. The Susvara drags more detail out of the recordings, but the Verite is more of a standout performer with certain genres of music, Jazz in particular.

Abyss: The Verite is less bright, and has a better treble response than the Abyss AB-1266 Phi or Diana Phi in my opinion. Much more present mids, with a similar level of bass response. Again, the Verite is outdone in terms of raw technicalities by the Abyss, but the Verite also has a tuning that offsets what the Abyss is good at nicely. The Abyss is still my favourite headphone, but the Verite would make for an awesome accompaniment in any collection.


The Verite make a great pairing with the iFi iDSD BL

Pads: Lets talk about Pads! The pads that Zach sent with my review pair of Verite were the Universal Leather (perforated), the Universal Suede (perforated) and the Verite pads (again, perforated.) The Universal Leather were a bit more “fun” to listen to. A bit more bass, and a bit more treble, whilst having the best impact of the bunch. The Universal suede had a bit wider soundstage I found, snare drums sounded a bit more crisp, but from the mids on down things seemed a bit warmer and “rounder.” The Verite pads were the most linear sounding out of all the pads and actually ended up being my go to choice. Each pair of pads brought something interesting and special to the table, and I would recommend picking these three sets up if you purchase the Verite. At $50ishUSD, the pads and whole concept of multiple pads is an affordable way to get different, but complimentary sounds out of your headphones. The only thing I would like to see Zach explore in the future is a magnetic attachment system, similar to the Abyss or Meze Empyrean. This might raise costs to prohibitive levels however? I’m not sure.

Build quality: The build quality of the Verite is great, but I would like to get one nit pick out of the way. The sliders! Argh! I slowly got better at using these over time, but they are still fiddly, and could be better. Apart from that, the build quality seemed rock solid. I didn’t have any problems with squeaking, creaking, and nothing fell apart. I know that Zach offers a lifetime warranty on his headphones drivers, to the original owner, which is comforting. This is something to consider should you be looking at purchasing a pair of ZMFs on the used market, the warranty is non-transferable, which is a shame. However, I remember reading a figure for repair costs on Head-Fi (which I can’t find now of course) and it was reasonable. Again, Zach really seems to care about his customers and his product, and I would guess that he will take care of you very well should something go wrong with any of his headphones you purchase.


They Also Pair Well With The Pro iDSD from iFi

Conclusion

All in all, the ZMF Verite is a very special headphone. It may not be the very last word in technical capability, but its tuning, and overall extremely pleasing listening experience is what make it one of the best headphones I have used. The bass is just at the right levels for my preferences, and hits hard. The mids are warm, but not too warm and “gooey” sounding. The treble is a bit sparkly but never wanders in to being harsh and sibilant. The soundstaging is very realistic sounding, and I would challenge any audiophile to find fault with the levels of details it brings to the table. I mean, yes, the Susvara is a technically better headphone, but it also costs over double what the Verite does!


Pretty!
The Verite is a very special piece of audio equipment and I absolutely loved the time I got to spend with it. Thank you Zach!

- ZMF All In the Family-
I may not be able to explain the headphones to Meathead, but Ill try my best explaining them to you! Slowly but surely I will try to point out the differences in sound, and I hope it helps you readers in determining the differences of the new ZMF’s!


I was sent out the Aeolus and Verite on loan from ZMF to give an honest review of them. I thought that since I already owned the Auteur that I would throw that guy into the mix of the review as well! I wanted to share the journey I took through the three newest headphones from ZMF. It was not only surprising but also gave me deeper insight on these three unique headphones.

Disclaimer: Aeolus and Vérité were pre production pieces, and the Verite I received is an unreleased wood. Zach, the owner of ZMF states that even though the woods have changed since then, the internals have remained the same. The performance of each is what production will sound like, give or take the nuances of the wood.

The Aeolus- In sapele wood- “medium density for a nice fast sound”- (ZMF website)


The Auteur- In cocobolo wood- “Cocobolo is a denser wood, not quite as dense as African Blackwood, but harder than most rosewoods. It has a quick speed, but possesses an inviting romance more-so than Blackwood and other dense woods. The utmost of speed, musicality and technicalities are combined for what is one of our favorite tonewoods.” - (ZMF website)


The Vérité- In mahogany wood- finding more information online I found that this wood should share similar sonic characteristics to the stock silk wood Vérité. Silkwood is described as “...ultra light weight, adds nice decay to the super fast Vérité driver, and shows a glowing iridescence that plays with any luminescence bestowed upon it.” - (ZMF website)


What DAC?

The DAC that I used during the time of listening is the M2tech Young DAC. This is the DAC that I use daily and have easily kept the longest. Here is an article about my DAC if you’re interested. https://www.stereophile.com/content...amp-palmer-power-station-battery-power-supply. I find it to be fairly neutral sounding and also the music seems to be more upfront then compared to other R2R dacs that I have owned. Speaking of, here us a link to what I have owned in the past. I feel this might shed insight into my tastes when it comes to headphones and also gear if your curious. https://www.head-fi.org/members/bunnynamedcraig.401250/

What amp?

There's no denying that ZMF headphones mate well with tube amps. Due to their 300 ohm impedance, something like an OTL “Output Transformer-Less” tube amp can really push them in the right direction, with great synergy. The body of my listening was done with the Glenn OTL amp (https://www.head-fi.org/threads/2359glenn-studio.600110/).


Since switching tubes can greatly affect the sonic characteristics of any headphone, I wanted to share what each tube roll was being used at each time of listening. The next section is a general description of each tube, described by my fellow respected headfi’ers. Please feel free to skip the section if you like, but I just felt it necessary to share how each roll can perpetuate the strengths and weaknesses of each headphone. I hope by doing so this can shed light on what I am describing and also be of help to fellow tube enthusiasts!


(GZ32, 2, Chatham 6as7g, Ken Rad VT231)

“Romantic Warrior” by Return to Forever. This is one of my all time favorite test tracks…

So I pretty much couldn't take the Vérité off my head when I started this 11 minute track. I had the intention of directly AB’ing the Vérité to the Auteur but this song was so engaging I just let it ride. After listening the whole time with the Vérité, I put the Auteur on. After four minutes, a couple things stood out to me. The Auteur is more neutral and I noticed this by the piano being less recessed compared to the other instruments. With the Vérité I felt the piano was there but just recessed comparatively.

The big differences to me is that there is an immediacy to every note with the Vérité. The piano strikes feel like strikes… The separation of instruments and their notes are more defined with the Vérité. The Auteur on the flip-side has such a delicacy of the mids and treble that I really ended up appreciating, and finding different about the track. The sound of the piano came off with such elegance, something I did not get from the Vérité. I am defining elegance by smoother overall sound with less separation. Since the transients are slower, the piano segments flowed instead of making me take note of the precision and performers (which are exceptional performers!). I was able to enjoy it on more of an artistic level with the Auteur.

Something that surprised me about the Auteur was the bass. I really expected the Auteur be bass light compared to the Vérité. The bass was totally present and I got feeling out of it , but it did not have the tightness that the Vérité shows off. The bass guitar in particular to this song still had a good separation from the other instruments though. The attack in general of the auteur isn’t as fast, and the decay seems longer. Separation in general is a key proponent of the Vérité while a cohesion of the sounds are what embodies the auteur more. I don't think I am capable of hearing the sound as a whole as easily with the Vérité as I do the Auteur. These are things to consider when thinking about either one. For this track the Auteur truly made it Romantic, while the Vérité showed that behind the elegance and grace there lies top-notch instrumentation.

After this comparison I put the Aeolus on my head for a round three of listening to Romantic warrior in its entirety. First thing comes to mind is “wow”. The Aeolus took me by surprise on this track. I just got enjoyment from the song in two separate times and now I'm getting a third crack at it in a unique way. First things first, the elevated midbass is present, but it’s tastefully done IMO that it never made me feel like it distracted me from the mids and treble. I hate wanting to call this headphone the most fun of the three for romantic warrior, but I will explain how I view it and then you can then decide. I got less separation than the Auteur and the music sounded slightly closer to me. This headphone had me analyzing the sound less, and just moving and grooving with it. Normally fast transients are the bees knees for me to enjoy something (like with the Vérité). Even without the blistering speed,the mid bass bump coupled with the better cohesion of the sound as a whole, the Aeuolus really took me for a ride…. I got to 7:39 of Romantic Warrior and that was the point that I could collect my thoughts and finally say “wait a minute! I see now what you did there…” The realization was that the song was engaging because the Aeolus is constructed in a way to try and stop you from analyzing the music. It just puts the song out there with the right amount of speed, bass boost to get you moving, and enough detail but not to the extent of beating you over the the head with it like “look and focus on me!”. I have listened to enough “bass” headphones that have not/could not achieve what the Aeolus is capable of doing in this regard. Its pretty interesting to me.

In regards to detail retrial though, I believe it is is slightly under the Auteur. But it's just slight enough that I don't notice it immediately. When I listened to the Atticus after owning the auteur for a while it was totally apparent to me that there was a drop in detail. This headphone does not do that to me at all. It's tuning kept the music flowing and you’re just along for the ride. The piano is present with good strikes but it's not too hot or too sharp. With that said I don't feel that it’s rolled off either. Its always impressive to me when a headphone can find that balance with the treble. I feel like the transient response of the Aeolus is faster than the Auteur btw but this might just be my perception of it.

“Burn the Witch” by Radiohead. With the Aeolus this track let me detect how the mid bass affects the mids and treble, compared to the Auteur. The Auteur presents sounds more neutral and almost a sense of “cleaner” to my ears. In other words, this track can breathe a little freer and I could make out every sound easier. Listening to different Radiohead tracks off of the album “heart shaped Pool”, I have to give male vocals to the Auteur. They are the most clear to me, where as the Aeolus mid bass stops me from being able to focus on what he is saying. This is the first time that I found that the mid bass might overshadow the mids depending on how the song was mixed. The Vérité once again pulls me into what sounds like violins in the beginning. To me they sound like they have better depth then the auteur and Aeolus and definitely makes them stand out!

(GZ 32, 4 6bx7’s, Haltron 13d1)

“Salt Shaker” by the Yin Yang Twins. Due to this songs excellent use of alliteration and gerunds, if not only keeps the listener affixed but also deeply seized by every word… OK I just made that all up. But seriously I think this is one of the greatest club songs of all time!! HA

Aeolus- I put this on first, because I was curious how much difference in detail I would hear when switching to the Vérité and the Auteur. That thought went straight out of my head close to when the beat dropped HA! The added sub bass mixing with the quick pick up of the treble made me get into this song really quickly. Once again the Aeolus takes me for a ride and doesn't want me to pick the song apart, but instead enjoy it as a whole. Putting the Vérité on revealed separation of everything a lot more and really great definition to the electronic drum “cracks” in the beginning. The sub bass rumble that happens at .03 seconds sounds sharper treble wise and definitely sounds faster from the Vérité. The Aeolus in comparison sounds warmer and looser. The sound of the Aeolus from direct A/B as well lets me realize the sub bass fills in the gaps of the treble and mids creating a fuller sound. This is not to be confused with saying the Vérité is thin sounding. Neither Vérité or Auteur ever come off as thin to me really (maybe in part by owning the HD800 for years?). Speaking of the Auteur- when I put them on I hear the bass come down some dB’s and everything is more neutral sounding. The mids are easier to discern, as if to bring them into focus. It takes me a minute to stop thinking about it and at that point I was engaged in the music again. It amazes me how all three once again have their perceived strengths and weaknesses. What is too much bass for one person will be perfect to another. A headphone thats too warm to one person is just right to someone else…

“Cloud Busting” by Kate Bush. So other than the fact that I have a real emotional connection to this track, I chose it because I was curious to hear how Kate Bush's voice came across an all three cans. I was also curious to find out if the added bass would be too much from Aulous.

Vérité- I am immediately impressed by the detail of her voice. I am able to make out her mouth noises with the “s”’s lol. By curiosity’s sake the Aeulous is capable of showing this detail as well, but not to the point of the Vérité. I was happy to find out that the Aeolus was not too warm or bassy to be able to flesh out that detail.

In regards to the cello, the Vérité lets me define the instrument a lot better in the track, where as the bass of the Aeolus almost pushes it back in the soundstage, rendering it a little more difficult to make out. The bass of this song through the Aeolus is definitely meatier and more present, almost to the point of punch! I never heard the song sound like this and it almost deters my focus from her vocals. With this said it adds drama to the track which I didn't get with the other two cans, but this is one instance where the Aeolus doesn’t make me view the song as a whole. I found this to be really interesting given that my other listening periods with it showed otherwise. Listening to this track with the Auteur gave it a different feel then with the Vérité or Aeolus. It sounds like it “flows” more between her vocals and also the instrumentation, developing a very engrossing emotional connection with her lyrics and the sound.

-To sum it up / random last take aways-

Vérité

• Very fast… The speed is definitely reminiscent of electrostatic speed.
• Treble to die for.Hyper detail with realism. Sparkle where there needs to be, without being sharp. I found this to be such a stand out area of the headphone.
• Tone seems to be warm and slightly dark to my ears.
• I love how it responds to tubes… Tubes can really manipulate how this headphone sounds. It can either make it punchy and bassy as hell or dial that way back and make it a more causal listen. The other headphones were less responsive by comparatives sake.
• Mids are slightly recessed and becomes apparent when you listen to the quality of the bass and treble. With tubes I am trying to do a “natural” EQ of sorts to try and pull them forward a bit for my own tastes.
• Great depth of the soundstage! The width of the stage is narrow by comparisons sake to the other two.
• One genre of music that it’s superb with- Electronica

Aeolus

• Impressive mix of “fun” and “analytical” sound.
• Transients seem faster then the Auteur but below the Vérité.
• Less separation then the Auteur and Vérité but the Aeolus shows thats nots always a bad thing…
• Most mid bass quantity of all three. Bass raised over the treble and mids.
• One genre of music that it’s superb with - Rock

Auteur

• Capable of being the most neutral of the three but still engaging.
• Separation is below the Vérité and above the Aeolus.
• Truly a jack of all trades music wise, making it the easiest to mate to any genre you throw at it.
• Smoothness to it that I didn’t get from the other two. Beautiful mids because of it.
• One genre of music that its superb with- Jazz

That’s a wrap, my brain needs a break!

I want to thank ZMF for giving me an opportunity to spend ample time with the Aeolus and Vérité. After going round and round with all three, Its apparent to me that all were engaging in unique ways. I was able to listen to the same song three separate times in a row and enjoy it for very different reasons. Due to their unique characteristics, I found that they can compliment each other very well… Since everyone has different tastes (even at different times of the day!) I cannot recommend one as “the best”. It truly comes down to what is important to you. I hope that I shed some light on their key characteristics without confusing you more!

If I were to try and describe ZMF house sound I would say that no matter which of their headphones it is, I am always engaged in the sound. I never feel like I am just analyzing the gear/sound instead of listening to the music. In the end thats what I think keeps all three of these headphones "all in the family" .

(If anyone reading would like more info about my review or even my opinion on the tubes I used, feel free to hit me up in a PM!)

Thanks,
-BNC

Disclaimer: Zach temporarily loaned me a review pair of the Verite with no stipulation I write a review. My preferences lean just slightly warmer than neutral. My reference chain of gear consists of: Arcam CD Player -> Yggdrasil A2 -> ZDS -> Auteur / Atticus / HD800S / HD6x0 family.

ZMF Verite Review



Intro

ZMF Headphones is a small shop, boutique headphone manufacturer. Every headphone is made by hand by Zach himself and a few associates under his employ. The ZMF Verite is the 5th design created entirely in house (his earlier planar designs were extensive modifications using the Fostex T50rp driver). It is released alongside the ZMF Aeolus, the much rumored open back version of the ZMF Atticus. The Verite uses an entirely new driver made from beryllium, not seen in any of Zachs past headphones. Unlike some other headphones that uses a beryllium design, the Verite uses a beryllium coated PEN driver. He felt this made for more natural tonality over a pure beryllium design. At $2,500, this is ZMF's most expensive headphone to date. Lets see if it can live up to its lofty price.

Build/Comfort

Every one of Zachs dynamic headphones from the $999 Atticus to the $2,500 Verite exudes quality. From the all metal and leather frame to the plush leather earpads to the exotic wood cups. You know that a considerable amount of the money spent is going towards a genuinely well made and beautiful product. While in the end it is the sound that matters most, it is nice to be able to have the brains and beauty we should expect at these price ranges. Specific to the Verite, it comes in a magnesium chassis to help save on weight (It seems this can be an option on the Aeolus for an extra cost). It also looks nicer than what I assume is aluminum on the other models. The stock wood is Silk Wood, while the current limited edition wood on offer is Pheasantwood for an extra cost (these limited woods cycle out as Zach gets special wood stock in). The Verite I have for review is made of Mahogany, which I am told sounds almost indistinguishable from the stock Silk Wood.

Comfort is excellent. At 430g the Verite is the lightest ZMF to date. While 430g can still be heavy compared to lightweight headphones like the HD800 (330g), it wears its weight very well thanks to the suspension headband design. I can wear these for hours without discomfort or hotspots.

Sound

The overall tonality of the Verite leans on the warmer side. It has a very slight W shaped response. Close enough to warmish/neutral that I think most will find agreeable. While this is definitely a colored headphone, do not mistake that for a lack of detail. This is clearly a reference headphone. It can easily compete with the HD800S and even the Utopia. It is a well rounded headphone, usable for a multitude of different genres. Below I go into more detail as well as include some comparisons to other headphones.

Bass

Deep, powerful and well controlled. Sub bass on the Verite extends quite a bit for an open headphone. I have heard closed back headphones that had bass rolloff before the Verite. The bass as a whole is fast and tight, not unlike a planar. It is slightly elevated from the upper mids and peaks in the lower mid bass/upper sub bass. Usable bass response down to 20hz. The bass drops in Doin it Right by Daft Punk hits with authority. Very little to no bass bleed into the lower mids.

VS

Compared to the Auteur, the Verite is faster, deeper and better controlled. Quantity is about the same. I can say almost the same compared to the HD800S (much faster, deeper, about the same with control). The Verite also has noticeably more in overall bass quantity than the HD800S.

Mids

Linear and revealing up until the upper mids, which is slightly recessed. I must emphasize slightly. This is nothing like the deep crevice that is the Focal Elear or many Audeze LCD models. I think this may actually give the soundstage just a bit more depth than it would otherwise. It does take away a small amount of guitar crunch for you metal heads like myself. Not enough that makes this a poor choice for metal, but it is noticeable when comparing to something like the Aeolus or Atticus (the definitive headphones for metal imo). Mids overall have excellent clarity just slightly on the lush side. Full and dynamic. Vocals sound natural, neither forward or recessed.

VS

Compared to the Auteur, the Verite mids as a whole are slightly less lush, but more revealing with better micro dynamics and more noticeable changes in volume rises and falls in the music. The Auteur is a bit more lively in the upper mids. Compared to the HD800S, the Verite is fuller, less lean and more engaging. Micro dynamics are about equal, the slight graduations in volume easily heard on both. These are two very highly competent headphones on a technical level.

Treble

Treble extension is impressive to say the least. The Verite manages to capture air while simultaneously staving off fatigue. The highs are more present than any of Zachs previous headphones, which is quite a departure, even more so than the Auteur which I considered a departure when it released last year. There is a slight peak around the mid treble but it is masked well, especially with the Universe Pads. Treble is smooth, despite it having a little more quantity than previous ZMFs. Some people may find it to be too much, but this will come down to preferences. The Verite is NOT a bright headphone by any means. Unlike some other beryllium headphones I have heard, there is no metallic sheen to the treble. Likely due to Zachs use of using a PEN driver coated in beryllium, rather than using pure beryllium.

VS

Compared to the Auteur, the Verite has more quantity, but is smoother overall. The Auteur could sound just a smidge rough depending on gear. Treble extension is superior on the Verite. Compared to the HD800S, the Verite is also smoother, with quantity being about on par. The peak at 6k on the HD800S is still quite noticeable. Combined with the thin sounding mids which play a contributing factor, the HD800S on a whole just sounds brighter.

Soundstage/Imaging

For a headphone, the soundstage is good. About as good as it can get before you get to ultra wide, defuse soundstages like those seen in the HD800S. So while the HD800S may be wider and deeper, the Verite sounds a bit more natural for a headphone, which I think the wood may play a factor in. About on par with the Auteur, maybe just a little wider. Imaging is precise and pin-point on all three of these headphones.

Utopia

I know many (including myself) were curious to know how these compared to the Utopia. Both are statement products and the top of their respective lineups. I didn't include the Utopia in the main comparisons because I didn't have one on hand at the time I had the Verite to do direct A/B comparisons (so take the following with a grain of salt). I still wanted to say a little something though since I did have a Utopia for an extended loan awhile back. In short, I prefer the Verite. I don't think it is an overall better headphone, but is an overall better headphone for me. They are about equal when it comes to technicalities and micro dynamics, which is an impressive feat considering the price difference. The main difference being in the tonality of the two headphones. While the Verite leans a little to the warm side, the Utopia leans just a smidge to the brighter side. The Utopia also has a slight metallic sheen to it that some (including myself) find annoying. I think this is a huge advantage to Zach using a PEN driver coated in beryllium vs a pure beryllium design. Preferring one over the other is going to be a personal decision based on each individual listener.



Auteur

I want to single out the Auteur for a brief moment. Many are asking if the Verite replaces or is better than the Auteur, which only came out a year ago. Zachs official stance is that it does not. I was a bit skeptical of his answer until I heard the Verite myself, which I now agree with. To expand on the comparisons I made earlier in this review, the Auteur, while not as technically proficient does lend itself to a more linear sound. It is still a warm headphone (probably even more so than the Verite even) but rather than a slight W shaped FR, it is a bit more linear throughout. It also has a bit more addictive, lush sound that some may prefer. Personally, I will not be selling my Auteur. It is one of my favorite headphones I've owned and the Verite doesn't change that. I am seriously considering buying a Verite to add to my collection, rather than replace any one headphone (if it does replace anything, it will be my HD800S).

Universe VS Verite earpads

Up until now, all my impressions are with using the Universe Pads, which Zach prefers and may be even shipping as the stock pads. The Verite pad tips the overall FR balance and elevates the treble. The mild mid treble peak becomes not so mild and the headphone overall is a bit brighter and forward sounding. I did not care too much for the Verite pads. I think people coming from the HD800 and Utopia may enjoy it a little more. I've become acclimated to the warmer sounding Auteur over the last year and prefer the Universe Pads. Bass and mids remain largely the same except the very mild upper mids recession is a little less recessed.

Gear Pairing

More than any other ZMF headphone, the Verite scales like mad with higher end gear. Do not take this to mean you need to spend big bucks on gear to get a good sound. The Verite sounds great, even from the $99 Fulla 2 or my Vali 2/Modi 2 stack. Moving up to my Yggdrasil and Eddie Current ZDS is a noticeable change though. Increased dynamics, clarity and plankton across the board. The Verite is a headphone you can buy for your entry level gear and get great enjoyment from it, then have some fun building your dream system around it. ALWAYS buy the headphone you want first. Don't worry too much about the gear you have at this exact moment.

Personally I have always preferred tube gear. I think they provide better dynamics, micro detail and more realistic sounding highs. However the Verite will of course sound great from solid state gear as well. I'd just urge those who are curious, if you are going to buy a new amp, look at some tube gear. I particularly like Schiit on the cheap end (Vali 2 is ridiculous value at $150 and pairs great with the Verite), and Eddie Current and Donald North Audio on the higher end. I have also heard a couple Amp and Sound amps with Zachs dynamics and liked the pairing as well. I know Zach now has his own Amp and Sound collaboration amp called the Pendant that may be worth checking out. As always with these super expensive amps (and headphones for that matter), try making it to a local meet to hear these for yourself if you can, I know that may not always be possible for some depending on your location though.



Value

I think at this point, value as in price/performance is out the window. Normally I would balk at a headphone breaking the $2k mark. I was disappointed in the new HD820 pricing and Hifiman continues to dupe its customers into buying headphones made of $100 in materials for thousands of dollars. The later headphones I mentioned however are mass produced in a factory. Some using cheap plastic parts even. ZMF headphones are boutique, hand crafted headphones using very high quality (and sometimes exotic) materials. These are not mass produced on an assembly line. ZMF is a small business run by Zach and his wife Bevin along with a few helpers. From a financial standpoint, these headphones cost so much likely because they HAVE to cost this much. A bunch of shareholders didn't just slap a random price on there to get as much as they think someone would pay for them. The Verite is an excellent headphone that matches and sometimes exceeds headphones in its price range and above. Zach also has many cheaper headphones. His ZMF Classic is an excellent price/performance value at $299 for example. The Verite is expensive, an understandable reality of economy of scale.

Conclusion

The Verite marks a milestone for ZMF as a brand and is a worthy statement product. I think fans of ZMFs house sound and newcomers alike will be in for a pleasant surprise. It uses a new driver tech for the ZMF lineup, offering a new take on the ZMF sound. Well rounded sound for just about any genre. Priced at $2,500 it is expensive, but it does really feel like we are getting a great product for our money. Just don't sell your car or go into credit card debt to buy one, some things are more important than headphones (blasphemous I know).

ZMF Verite Information Page: http://www.zmfheadphones.com/verite/

Vérité Review

Truth in Music:

The Vérité is the new ZMF flagship, and is being released as one of two new entrants into the company’s open-backed, over-ear dynamic lineup. The Vérité brings several technical firsts to ZMF’s headphones, perhaps most excitingly, an entirely new driver material, comprised of beryllium deposed onto a polyethylene naphthalate dome. Other improvements include a magnesium chassis, a stiffer surround, porting along the edges of the cups, and a 50 gauss magnet. These changes are all in service of two goals: absolute control over the driver’s behavior, and comfort.

As the new top offering, the Vérité has a tall mountain of previous ZMF successes to climb. To be clear, however, Zach has stated that the Vérité is not meant to overshadow the Auteur as the “best” ZMF open-back headphone, but represent a new level of technical refinement, transparency, and detail, with its own take on the ZMF house sound.

Bearing all of this in mind, I was very excited to get my hands on a Vérité for review, and hope to provide useful information for the community, especially given the current pre-order period.

My Setup:

For this review, I will be running all headphones through my Oppo HA-1, serving both as a DAC and as a headphone amplifier. Music will be run to the HA-1 via USB out of my custom-built PC, through Spotify Premium. I don’t listen to FLAC for the bulk of my music, and I am most familiar with the tracks to be mentioned, so they will be my reference. The highest quality in Spotify was selected, and volume normalization was turned off (the settings I always use). Volume across headphone comparisons was matched as much as possible during pink noise playback, with a BFX digital sound meter sealed to the headphone cups in a cardboard enclosure. All headphone cables used were OFC 4-pin XLR, plugged into the balanced output of the HA-1. I listened to the Vérité with the Universe pads for the bulk of this review, but switched in the Vérité pads as well. My impressions of the Universe pads versus the Vérité pads can be found in their own section.

Comparisons:

I will be comparing the Verite to the ZMF Auteur, ZMF Aeolus, Sennheiser HD800, and Stax SR-007 mk1 (amplified by a Stax SRM-353X). All of which I own, and have listened to for a few months at the least (except the Aeolus, which is also here for review).


Test Tracks (Some of Them):

I will be comparing headphones primarily across these, but also other tracks. I don’t make mention of every track in every section where I listened to them, but instead am largely giving my high-level impressions. If you want my thoughts on any particular track or phrase, just ask! I’ve tried to select widely available songs across a spectrum of music that I like and am familiar with.


Track List:

Baralku, by Emancipator, on Baralku


Viices, by Made in Heights, on MADE IN HEIGHTS


Touch, by Daft Punk, on Random Access Memories


House of Cards, by Radiohead, on In Rainbows


Peace Train, by Cat Stevens, on Teaser and the Firecat


Hey You, by Pink Floyd, on The Wall


The Four Seasons, Violin Concerto in G Minor, Op. 8, No. 2, RV 315, Summer III, by Antonio Vivaldi, performed by Adrian Chandler, on The Four Seasons and Concertos for Bassoon and Violin “in tromba marina”


Tamacun - Remastered, by Rodrigo y Gabriela on, Rodrigo y Gabriela (Deluxe)


Warm Foothills, by Alt-J on, This is All Yours


Boomerang, by The Uncluded, on Hokey Fright


Little Sadie, by Crooked Still, on Shaken by a Low Sound


True Affection, by The Blow, on Paper Television


Second 2 None, by Mura Masa and Christine and the Queens, on Mura Masa


Acid, by Ray Barretto, on Acid


ラ・ム・ネ, by Snail’s House, on Ordinary Songs


Build and Comfort:

As anyone who has ever held a ZMF headphone can tell you, Zach’s build and design is at once robust and sculptural. The Vérité is no exception, and now takes the prize of being the lightest headphone that ZMF offers, at around 430 grams, courtesy of the acoustic porting of the cups, and new magnesium chassis. With the open-backed (read: ventilated) design, plush pads, and the double suspension system, comfort is exceptional. For those unacquainted, ZMF headphones use a spring-steel band wrapped in padded leather, with a thick leather suspension strap below, to evenly distribute pressure.

The cups on the Vérité I have with me are a striking oxidized mahogany, although I do not know if that will ever be one of the production woods. The stock Vérité will be run in silkwood, and the first limited edition in pheasantwood. The adjustment sliders on this headphone have been updated slightly from the rest of the ZMF open-backs, featuring a dished, rather than a rounded top. The grills are a beautiful addition to the presentation, and will be offered in a few finishes, depending on wood species and customer preferences. The pattern on the grills takes inspiration from the golden ratio, and along with the sloping wood cups, gives the headphone a refined and artisanal look and feel.


Listening Impressions:

Bass:
Speed and precision are the first words that come to mind when describing the technicalities of the bass I heard from the Vérité. Transient response of bass notes is among the best I’ve experienced, I believe largely due to the self-damping properties of beryllium. Moreover, when a bass-heavy phrase presents, I do not hear bloom, or just that there are some bass notes playing, but resolution of each note and beat, easily placing instruments. In Limit to Your Love, by James Blake, around the 1:50 mark, the separation between each component of the bassline proved a great example of this ability. However, it is not impact that makes this reproduction so convincing. The finesse with which the Vérité differentiated the timbre, placement, and impact of low frequency sounds was perhaps it’s greatest achievement in this area. I soon realized that if I wanted to fairly judge the bass capabilities of this headphone, that I would need to listen to a lot of different music.


The Vérité is not tuned to make your ears pulse endlessly, unless the material it is fed demands exactly that. As I spent more time with the Vérité, it became abundantly clear that songs that I had in the general mental category of “physical bass presence”, could not all be grouped together. Most songs have a bass line of course, and reproduction was adept across the board, but the Vérité helped me more precisely draw the line between songs with impactful, textured bass, versus those that just had low frequency notes. Bass extension was excellent, although there was a very gentle uptilt from the sub-bass through the mid-bass. Mid-bass does not bleed into the lower mid-range, and maintains an even hand throughout. Bass in general is slightly elevated, but it is hard to say to what extent exactly, as the increase in detail may be leading me to notice the bass as more present, and more authoritative. The tuning of the bass overall is relatively flat, given that this is a dynamic driver headphone (that is, only a gentle rise into the mid-bass). More importantly however, the tuning makes way for the technical excellence of the driver to shine through, making the bass feel much more taut and impactful than would any particular bass frequency-band emphasis.


Mids:
The mid-range of the Vérité is again fast, as well as quite transparent, and on the more dry side in the lower mids, at least compared to other ZMF headphones. Depending on the song, this can come across as either an exceptionally clear window into the mix, or the realization that recordings have a bit less meat on their bones than you remember. Put another way, the mid-range, especially with the Vérité pads, focuses on textural accuracy over smoothness. I’m still unsure whether this is due to exceeding transparency, or the timbre of the Vérité, but I expect that some of each is at play. Regardless of the explanation, this specificity in reproducing the texture of notes, led me to hear many songs in a new light, demanding a fair amount of listening to better understand what I was hearing. This “newness” was not so much the experience of “I’ve never heard that rustle/instrument/fart before”, but, “I didn’t realize that there was a level of inconsistency between notes, and a texture to each that was previously just not being noticeably resolved.” This effect is not unique to the mid-range, but it is the first place I noticed it.

The upper end of the mid-range/lower treble shies away from the drier feel of the lower mids, and slopes up in perceived fullness, while maintaining exceptional clarity. In general, well-recorded music with detailed mids are masterfully rendered by the Vérité. However, as we’ll soon get to with the upper treble registers, poor quality music is not the greatest pairing with this headphone. Perhaps the most concise, and in retrospect, comically obvious way to put this, is that the Vérité tells the unapologetic truth.

Treble:
The treble reproduction of the Vérité is honestly a stroke of brilliance. I’m not saying this because of any one track, or because I think the frequency response is the closest to the Harman target, or something like that. No, the reason I think that what Zach did is so clever is because rather than create an artificial sense of clarity through peaky or broadly elevated treble, he let the timbre and speed of the driver convey a sense of treble presence. This approach avoids adding energy that can contribute to driver resonances, sibilance, and harshness, without giving up the perceptual effect of a transparent and airy high end. Treble notes are presented with immediacy and superb texture. Importantly to me, the treble lacks any perceptible veil, which I feel plagues a majority of headphones, even some of the brighter ones.

That said, there is some elevation in the upper treble that can sound a bit sharp on some lower-quality tracks. However, on well-recorded music, this tuning choice gives a sense of space and quickness to music, which I really appreciated. Listening to a few fast-paced Vivaldi pieces, for example, with violins sawing away in their upper octaves brought no pain, but presented nicely separated layers of notes. On less well-recorded music, the Vérité continues with the pattern of being fast and transparent, although sometimes to less pleasant effect. I was recently listening to the new Lil Wayne album, which, while a great throwback to his 2005 achievement, is not the most carefully recorded work. In Mona Lisa, “s”s “ch”s and “t”s from Lil Wayne’s mouth bridge that line between, “Wow, I can hear air moving past the grills on his teeth”, and “my ears do no like this, use other letters please”. At lower volumes, this wasn’t very noticeable, but I don’t often listen to his music softly in the background. After the first time listening to the album, I switched over to the Aeolus, which smoothed things out just enough for me to enjoy my guilty pleasure. All told, the treble of the Vérité is so thoughtfully crafted, but if your source material is sharp or glaring, the Vérité is not going to sand things down for you. I do expect that if I had a higher-end tube amp, that could be a big help in this regard, as the HA-1 can lean bright at times. I have a Vali 2, which I have enjoyed tube-rolling while reviewing the Vérité, but it is not an amp that can match the Vérité in resolution, to say the least.


Imaging, soundstage, transients, separation etc.:
This is the section where preference and subjectivity goes out the window as much as it can in this hobby. In the past three sections, I imagine you were reading to see if the tuning of the Vérité would be up your alley, as that matters a lot in choosing a headphone. Or maybe you're here just because this bleeding-edge gear is drool-worthy. Thanks for reading this far in either case. What I will tell you here is this: if your reference is any other ZMF headphone, or 99% of the rest of dynamic headphones in the world (definitely underestimating here, if we are talking all headphones), the Vérité is better in all, or nearly all technical regards. The Vérité has more precise imaging, a more stable stage, with a sound field that feels tailored to each song in size and dimension, and has a noticeable holographic quality...It’s just better. Unfortunately, I do not have a Utopia on hand, as another well-recognized king in these areas, but I do have some mk1 SR-007s, which I have used as a benchmark for speed and specificity (alas, no 009, either). We’ll get to that comparison in a bit. While there are certainly competitors on these fronts that mean I can’t name an absolute winner without all headphones in hand, in my opinion, the Vérité is world-class across the board in its technicalities.

To give a bit more concrete description to my experiences, in several songs, I noticed that what I had previously believed to be left-right panning of a sound actually involved a very subtle front-to-back effect, such that notes were tracing an elongated ellipse around my head, or moving along a shallow diagonal (see around 00:26 in 100 Grandkids, or the opening of Crosstown Traffic, for example). It’s not so much that these effects can’t be heard on other headphones, but that the Vérité provides the space and clarity for such details to pop. Specificity of instrument placement is very stable, as well as precise on the Vérité. Listening to Silver Droplets, by Made in Heights, each note from (what I believe is) the glockenspiel, hovers in the air above the female lead, separated from each of the other strikes. The instrument later reappears to the right, after playing center-stage in the introduction, and rotates behind the head-stage slightly over time, something that I had never before noticed, but which was glaringly obvious on the Vérité. The soundstage can grow, shrink, and change shape when called for. This point, of song-variant soundstage size and shape, is perhaps more critical to take note of than absolute stage size, which is already larger than any previous ZMF headphone. Unlike some headphones, soundstage isn’t as obviously a feature of, or constrained by the driver or enclosure, but rather is rendered as called for. The Vérité can easily project well outside of my head along all three axes, however the image that is projected tends to be larger from side-to-side, and on the front-to-back axis. The vertical presentation of space is noticeable, but extends less in absolute terms, compared to the other two dimensions, however, vertical space does scale just as dynamically. This could be a feature of common recording practices, but I am not certain. Finally, it is worth noting that when recordings are silent, either overall or in one area, the Vérité projects inky blackness that is damn satisfying, and really deserves to be heard.


Universe Pads vs. Vérité Pads:
The physical differentiator between the Universe pads and Vérité pads is a slight angle at the rear of the former. The Vérité pads lie flat against your head, presenting a few noticeable changes. First, your ear is closer to the back of the pad, or in my case, touches the back of the pad. This was not the annoying kind of occasional brush, but more just light contact with the tops of my ears, which I don’t mind, especially in open-back headphones. After switching to the Vérité pads, I also had to reduce the rod extension by one notch, as the flatter profile absorbed less of the rod height than did the angled Universe pads. The most noticeable sonic changes with the swap to the Vérité pads were a slight but inconsistent increase in energy from the middle of the mid-range through the mid-treble, more bite to the general timbre, and a bit more focus and narrowing of the soundstage. The stage did not become small by any stretch, but there was a tilt inward. Overall, I think I prefer the Vérité pads, for they support what the Vérité is best at: being incisive, resolving, and dynamic. The Universe pads are a great option, and provide a little bit of mellowing and space that would certainly pair well with some genres, and allow for more relaxed listening sessions.


Headphone Comparisons:

Vérité vs. ZMF auteur (mahogany, auteur pads):
This might be the comparison that most are curious about. Thankfully, I am also most prepared to comment here, as I’ve been listening to my auteur daily for about a year at this point. Let’s get to it

The most immediately apparent difference between these headphones is in separation and texture. The Vérité does a better job at picking apart the mix, giving space and resolution to each component, without sounding artificial. To be entirely clear, the auteur was no slouch in this department. However, the new Be driver brings a level of transparency that the auteur can’t match. The soundstage is larger, and more clearly defined as well on the Vérité, which again, is not a department where the auteur could be seriously faulted, but where there was room for improvement that the Vérité thoroughly fill out. Transient edges of notes have more texture on the Vérité, are better defined, and more tightly controlled.

Mids are the foundation of almost every ZMF headphone, so we’ll begin comparing tuning there. The mid-range, especially vocals, are smoother and sound more musical on the auteur. On the Vérité, the extreme clarity of voices makes music played in the background ask for your attention. So much detail is presented, while pulling away the veil of recorded music, that I found the auteur to be the better headphone for background listening (and the Aeolus better still). While the effect of directing my attention back to the music was not forceful, it was not easy to ignore, either. The tension between absolute transparency and musicality is an eternal struggle in high-end audio, and I believe that Zach has displayed real thoughtfulness in just where he drew the line for the Vérité. Music does not become fatiguing to listen to, as can be experienced with many “detail-head” cans, but neither did he make any appreciable compromises in resolution for the sake of easy-listening. To be fair, most people investing over $2,000 in a headphone are probably not prioritizing how easy it is to ignore, but who knows.

Again, I really think this comes down to the confluence of the measurably somewhat dark tuning of the Vérité, coupled with the absurd speed and specificity of the Be driver. Treble is more transparent and faster on the Vérité, as compared to the auteur, with effects like the vibrato of the chimes in Boomerang presenting as both richer and more apparent. The slight sheen that I sometimes felt needed to be polished off of the auteur treble is also rapidly dispensed with by the Vérité. This change brings clarity, without depending on shoutyness or glare. Despite this improvement in resolution, the more even overall tuning of the auteur’s treble conveys a sense of naturalness, which I very much appreciate. Bass is tighter and more textured on the Vérité, and a touch elevated above that of the auteur. To that final point, the auteur does have the technically more neutral tuning of the two. The Vérité does not present as distractingly colored, but compared to its sibling, which is the closest -to-neutral headphone I have spent any real amount of time with, the slightly down-sloping tuning is noticeable. To be fair, this comparison was done with the Vérité’s warmer pads, and the auteur’s more neutral, so if there is interest in me making a change in either/both directions for comparison, I would be happy to oblige.


Vérité vs. Sennheiser HD800:
If you read my auteur review, you know that I basically concluded that the auteur offered a more intimate presentation than the HD800, without giving up much in the way of detail retrieval, all while feeling dramatically less forced, and more musical. The Vérité, as you might then imagine, gives you the best of both worlds, and more. Compared to the Vérité, the HD800 feels thin, and does not achieve enough through its marginally wider soundstage to justify the victories that the Vérité wins in speed, richness of detail, bass quality and quantity, mid-range naturalness, or lack of sibilance. To be fair, the HD800 is less than ½ the price of the Vérité, and is almost a decade old, but as a stalwart of the audiophile’s stable, I believe that the comparison is warranted. In addition, the HD800 still does present a remarkable tool with which to dissect music, providing ample space, and making no attempt to distract.

The HD800 is also remarkably comfortable and light, and as one of the non-ZMF headphones in this comparison, its build is worth noting. Unfortunately, ergonomics are the only place where the HD800 challenges the Vérité, as in terms of durability, material quality, and (subjectively) aesthetics, it gets absolutely stomped (and covered in paint chips). I will probably keep my HD800 because I respect it, as a technical milestone, a point of reference, and an interesting change of pace, but I don’t see much much head-time in its future. I don’t imagine many people are deciding between these two headphones, so I will stop here.


Vérité vs. Stax SR-007 mk1:

So, this was fun. When I learned that I might be able to review a Vérité, I made sure that I would have an electrostatic headphone ready to go for comparison. I had a notion that the Beryllium driver would need a yardstick for speed and resolution, and after I sold a set of L700 last winter, I knew I needed to give another set of Stax a home.

SR-007 vs Vérité is the closest comparison I can make from my stable, when it comes to price parity, although the parity is a bit tricky to establish, due to the mk1 being discontinued. That said, at an MSRP of $2,100 for the SR-007 mk2, the 007 and the Vérité are within spitting distance of each other in terms of price. Add the cost of an energizer/electrostat amp that can drive the 007, and they land on the other side of the Vérité in the price comparison. While on non-sonic topics, let’s also discuss build. The 007 that I have are finished in a handsome champagne anodized aluminum, with plush brown leather cups and headband, and are quite light. Fit occurs via an auto-adjusting elastic strap, which some love and some hate. I am in the former camp, and find these quite comfortable. The Vérité is certainly heavier, but carries itself so well that I can’t declare a clear winner in terms of comfort. The 007 might eek out an extra 30 minutes at the end of a day of listening, but I would be more nervous about damaging them.

Let’s get to sound. The 007 and Vérité resolve detail in very different ways. Notes from the 007 seem to coalesce from space, and effortlessly float music into your ears. By comparison, the Vérité makes clear exactly where each sound is coming from, and presents detail in a much more deliberate and dynamic fashion. Transients from the 007 are slightly more liquid than those on the Vérité, flowing between notes, while still affording precise transitions. The Vérité, on the other hand, presents sharper edges to notes, and retreats to blackness, even for fractions of a second, in these inter-note spaces. Soundstage is more physical in its portrayal on the Vérité, and slightly smaller than that of the 007, but is comparable in the precision of instrument placement, if not a bit ahead of the 007. The diffuse and ethereal character of the 007 makes the Vérité’s stage feel more like music is being played, rather than just hovering in the air. I appreciate being able to listen to each note grow and fade in this more dynamic way, as opposed to the more atmospheric presentation of the 007.

I am a bit wary of this coming across as a generic comparison of electrostatic versus dynamic headphones, so let me put it this way: The Vérité is, other than maybe the Utopia, the most macro and micro-detailed, fast, and impactful dynamic headphone that I have heard. Because of this, the Vérité stands toe-to-toe with the 007 in many of the areas that Stax usually dominate, for example, absolute speed and resolution. What is left behind in the comparison is the means and character of their resolution, rather than a major quantitative difference, as might be apparent when referencing other dynamics. In terms of frequency response, the 007 has a slightly warm tilt, as does the Vérité, but the former is flatter through the lower mid-range. Due to the airier upper-end of the Vérité, and its crisp speed, the Vérité comes across as less warm than the 007, which brings it quite close to my ideal tuning. Both are exceptional headphones, each with a different take on absurd levels of detail and transparency.

I am very grateful to have been able to make this comparison, and think that the 007 and Vérité complement each other quite well. I would be curious to get in an 009 or 009S to see how a Stax with brighter tuning might pair up with the Vérité, but that will have to wait.


Vérité vs. ZMF Aeolus (Universe pads):
The Vérité and Aeolus are certainly not in the same price category, but given that the release of two new ZMF headphones invites comparison, and that I have the Aeolus in for review as well, let’s get into it.

Build is not really a category that deserves much time. The Vérité is a bit lighter due to the Mg chassis. Both headphones are finished beautifully, and built durably. I will go into a description of the Aeolus’ build in its review, coming Soon™.

To get right to sound, the Aeolus is just a freaking fun headphone, with a nice jump in technicalities and evenness as compared to the Atticus, that makes it so easy to listen to. More than any headphone in this review, including the Vérité, I found myself bobbing my head, or up and dancing, listening to the Aeolus. It’s not as technically proficient as the Vérité, it’s not as fast, controlled, holographic, or detailed, but it is a massive contender in the ~$1,000 headphone market. The mids on the Aeolus maintain a lush and inviting character that Atticus owners will know well, with guitars and vocals coming through especially in an exceedingly natural way. However, the mids are now transitioned into from a less booming, but still punchy, bass range, and are followed by treble that I think needs just a bit more bite on some classical tracks, but which makes a lot more recordings sound good. I still need to see how the Vérité pads alter the response of the Aeolus, and have a hopeful guess that they will bring the treble to an awesome spot.

Compared to the Vérité, all of this results in a headphone that is more friendly and forgiving, but less wowing and engrossing. The Vérité can resolve to an extreme, but would not be my go-to choice for “low-fi beats to study to” (I hope for obvious reasons). Beyond the fact that I would feel a bit guilty ignoring the Vérité, it is good at being the microscope with musicality that the HD800 never was, and the headphone with slam and speed that doesn’t drill detail into your ears with its metallic tuning. The Vérité isn’t a headphone that’s easy to put on the back burner mentally, despite its somewhat down-sloping tuning. Meanwhile, the Aeolus presents a great value for the enthusiast who wants a take on the ZMF sound that is less about absolute technical proficiency, and more about fun. That said, the Aeolus does take a big step toward traditional audiophile characteristics compared to the Atticus, and I think many people will love it for that reason.


“But….Are these a straight upgrade from the Auteur??”:

Yes and no. In terms of technicalities, the Vérité is clearly superior. Transient response, separation, image size and specificity, blackness of background, and overall speed are all better on the Vérité. That said, at the level of resolution that both these headphones occupy, timbre and tuning can play at least as large a role as technicalities in guiding a purchase. These more subjective features are not somewhere that I can predict your preference. I have shared what the Vérité sounds like to me in the context of other headphones, that is, remarkable. If you enjoy both tunings equally, the Vérité is the better headphone. If you prefer the frequency response and general voicing of the Auteur, then the answer is a bit murkier.

When it comes to price-to-performance, the value of each marginal dollar can only really be decided on by you, the potential buyer. Given this, I will leave the question of “worth” without a definitive answer. I will say that the Vérité can do things the Auteur cannot, but quantifying that difference, and assigning a dollar-per-unit value, is not something I can do.


Closing Thoughts

Wheeeeew. Nine pages of writing later, I’m about ready for a conclusion. The Vérité is an exceptional headphone, built by hand in the USA, after a tradition of quality, community and artistry. I am always excited to see another ZMF headphone come out for these reasons. The Vérité is no exception, and offers the most mature sonics of any headphone ZMF has released to date. The Vérité is not remotely close to inexpensive, but you are paying for the flagship headphone from a company that focuses on handcrafting heirloom pieces, in the US, for the high-end of a niche hobby. Whether or not the cost makes sense for you is not a decision I am equipped or interested in making, but the price is not without reason.

To finish up, I will briefly summarize my impressions, in that Zach has done a masterful job balancing the tuning and the technicalities of the Vérité. Their synergy is truly something special, and neither piece tells the whole story. This achievement requires a profound understanding of how we perceive music, and speaks to both Zach and ZMF’s growth. While no headphone can be a universal crowd-pleaser, the Vérité does so much right, in such a unique way, that I can only urge that you make serious efforts to get one around your head, and give the Vérité a hearty recommendation.

Thank you to Zach and ZMF for creating these, and sending them for me to check out. I have enjoyed the Vérité a great deal, and appreciate the opportunity to review them.