CanJam Dallas 2023 Impressions Thread (November 11-12, 2023)
- Thread starter AxelCloris
- Start date
misterpumpy
100+ Head-Fier
*immediately checks my work calendar to see if this overlaps with spring break*
Even if it doesn't, using up one vacation day for Friday travel - combined with a red-eye return on Sunday night - will get the job done!Get the rope.
Looking at the CanJam 2024 schedule, are the five shows listed going to be the only ones? Specifically curious about Chicago.
It's a partial listing. Our published schedules only reflect shows that we are absolutely certain of at any given moment. It does not reflect any/all shows that we're still in the midst of considering/developing.
My husband has the Atrium Closed in olive wood, and they are so good! I tried to listen to the Caldera, but the internet was cutting in and out. It was basically impossible to get a feel for them. I was able to move stations allowing me to use my cell phone as my source, and at that point my husband distracted me with the Auteur Classic. It was a done deal from there.
There are a number of rigs that do that, contrary to popular opinion. Price is the only blocker, but when I hear people say all dacs sound the same...So... the best I've ever heard STAX headphones sound was with an MSB rig (MSB Select DAC and their reference stat amp). I won't mention prices here, but let's just say that it makes an HE-1 seem mid-fi.
There are a number of rigs that do that, contrary to popular opinion. Price is the only blocker, but when I hear people say all dacs sound the same...
I see your Rossini + clock there!
I haven't heard them yet, but I have it on good authority that there are a number of Linn pieces that I should hear some time.
AudioDuck
Headphoneus Supremus
“All DACs sound the same” is a statement that is easily disproven, frankly.There are a number of rigs that do that, contrary to popular opinion. Price is the only blocker, but when I hear people say all dacs sound the same...
MY CANJAM DALLAS 2023 OVERVIEW
This year’s CanJam Dallas was special. The first-ever CanJam in the Southern part of the US. Alongside many veterans who excitedly flew in, the event drew a very significant local crowd, for many of whom this was an opportunity to attend CanJam for the first time. It was a joyful mix! Based on foot traffic, it was definitely a big success.
This was my fourth CanJam this year (following NYC, Chicago, and SoCal) and, by this point, I have demo-ed most of everything I wanted to test this year. Unusually, I had no real checklist to tick off and I therefore arrived in Dallas with a very simple agenda: reconnect with my friends, make new ones, and let eureka guide me. It made for a very relaxing event, which was as rich and filled with audio discovery as any CanJam I have previously attended.
As always, my notes are subjective and reflect my personal taste. If you can come to a CanJam to demo gear for yourself, I can’t recommend it enough. If you cannot, here is what I found out in Dallas..
Some of my show highlights:
To this show, I brought with me 3 headphones: my ZMF Atrium Closed (offering a familiar reference with good isolation for show conditions), Modhouse Tungsten (for my friends to demo), and Victor HA-WM90-B (IEM-level sensitive headphones, useful to stress-test amplifiers’ noise floor). I carried with me my trusted AK SP2000 DAP, which I connected directly to amps, enabling me to use a consistent source for a common baseline.
Per usual, a quick index so you may skip and skim to your heart’s content:
DAY 1
DAY 1
I kicked off the show at Noble Audio to see my friends Fumie and Jim.
This company innovates at a breathtaking pace, putting more exciting new products into the market each year than any I can think of. I knew I would find something new, and I have. The XM-1 is a new type of IEM with a USB-C terminated cable. Say what? Yup. These IEMs plug directly into your iPhone 15, Android, iPad, or any other device with a USB-C output.
The innovation of the XM-1 extends to its unique driver set up: one is based on the new xMEMS technology, used for mids and highs; the other, a 8.3mm dynamic driver, is used for bass frequencies. Normally, an xMEMS driver requires a high-biased amplifier to drive it. Noble Audio looked initially at integrating an amp into the cable, but ultimately decided that a 4-pin USB-C with amps integrated into the IEM shells would be the best solution.
The overall result is super-fast and well-resolving IEMs with an organic timbre. Good mid-bass punch coupled with fast treble. Me like it.
Plugging cabled IEMs directly into my iPhone was a moment of cognitive dissonance. No portable amp? Not even a dongle? It was quite liberating. What will they do next, go wireless?
The USB-C cable is soft and ergonomic, as all Noble stock cables tend to be. A small USB-C plug extension is included in case you use a phone cover (works very well).
At $699 these very ergonomic IEMs (which are substantially an IEM/DAC/Amp system in an IEM form-factor) offer excellent performance-to-value, and a use case for mobility that I am genuinely excited about. The XM-1 is expected to launch in a couple of weeks. I am getting a pair.
Noble Audio has several more products in the works. Expect some more news in the next 2-4 months…
I next headed to Bloom Audio, which always has a very wide selection of products, as well as one of the friendliest crews around. @stephenkostas handed me the new Meze Empyrean II that has been widely reviewed at launch (Meze ought to give a marketing masterclass, they always come out swinging!). First, a quick confession: the tuning of the original Empyrean was never right up my alley. I found its bass bloated and bleeding into the mids and its overall presentation a bit dark. The new revision is a dramatic improvement which offers a very enjoyable, and tonally balanced, presentation. I have seen reviewers exclaiming the Empyrean II as the best current headphones. I disagree. I also think that, at $3k, they are not as technically complete as some other headphones in this zip code. But they have earned a seat at the table.
Moving on to pads. I set out to demo the Empyrean II with both its new Duo stock pads (combining Alcantara and leather) and with the new Angled Alcantara pads that Meze released earlier this year. Side-by-side, I demo-ed the Meze Elite, with both the Hybrid stock pads (leather exterior and outer rims with perforated Alcantara interior) and with the Angled Alcantara pads. Stephen was super helpful in setting this up. I noted again the incredible user-experience of switching pads on Meze headphones. The instant magnetic snapping on and off is a pure delight. It’s also very conducive for A/B testing.
I found that the Empyrean II with Duo pads offers a good bass coupled with a more intimate presentation. Switching to the Angled pads, I got an excellent expansion of soundstage but traded off lower bass beyond my preference.
Switching to the Meze Elite, it was an instant improvement in technicalities. The change wasn’t subtle. The Elite (priced at $4k) dramatically outperformed the Empyrean II ($3k). The Elite is much faster and offers a tighter bass. Personally, I much preferred the Elite with the Angled Alcantara pads, which, in this case, open up the soundstage without a notable tradeoff compared to the stock Hybrid pads. Elite + Angled Pads is the winning combo for me from all these options.
I spotted the Meze booth right behind Noble and headed over to chat with Alexandru Grigoras, the audio engineer who worked on the Empyrean II as well as the Meze 109. I learned that, while Empyrean II and Elite share the same magnets and frame, the Elite’s diaphragm is made of a thinner and lighter polymer which gives the Elite their superior speed and better transient response. In addition, the Empyrean II resonant frequency is 60 Hz lower than the Elite, which is somewhere in the 100+ Hz range. I think that, possibly, the Elite’s tighter bass compared to the Empyrean II may be related to its higher resonant frequency and, mostly, how well it damps it (without affecting the rest of its FR).
Leaving aside perhaps some unrealistic expectations around this launch, I do think that this is a dramatically improved version of the original Empyrean and a very aptly designed V2. It shares the DNA of the OG model, offering a material improvement in clarity in the mids and high frequencies, along with a clean bass that doesn’t bleed. If you were a fan of the original, you would love this upgrade. If you were not, you should try these new headphones!
I never got to try the Meze 109 PRO and, as they were lying just in front of me, it seemed like a good opportunity to fill this gap. The 109 is another incredibly comfortable Meze, with plush and pampering velour pads and a great build quality. Sonically, I found the bass a little fuzzy, lower mids (male vocals) recessed, and upper mids (female vocals) forward. Testing them right after the Elite and Empyrean II may have been a little backward in order. However, at $799 they are a compelling proposition for anyone shopping for new headphones at this price. With a sensitivity of 112 dB/mW at 40 ohm, the 109 is supremely easy to drive off any DAP or dongle.
In the show floor’s center sitting area, many of the Watercooler folks were demo-ing IEMs. I headed over to check what’s new, and was handed the new FiR Audio Electron 12 (stylized “e12”) to try. These IEMs have a fantastic tremble resolution and extend very low without elevation. I was surprised when I found out that this was a single dynamic driver. Now that’s a real feat. The only drawback I found was in the mids’ timbre which, to my subjective taste, had a touch of metallic shin. It is worth noting that most of my buddies, all more knowledgeable than I, did not share my view on this. Either way, this new entrant is a true top performer. At $1.8k, it offers exceptional performance, competing far above its price point.
The new xMEMS driver technology was also featured in the new ANC wireless earbuds, the Creative Aurvana ACE 2. These earbuds offer superb noise-cancelling (dead silent in the midst of the crowded show floor). Tuning wise, in comparison to the AirPods Pro, they are bassy and dark. I found the elevated bass is a little bloated. There is a mobile app to match, which I haven’t looked into. Assuming it includes EQ, tuning may be adjustable to taste. Touch controls aren’t great. At $150, though, the price is! If you’re roaming the NYC subways or walking noisy streets like a I do, at $150 this may be a steal.
Speaking of value.. I sauntered toward the dCS room to demo some exquisitely expensive gear I would never get to own. dCS has dedicated listening stations, friendly and knowledgeable staff, and overall quiet settings. They really know how to set up a demo experience! I headed right to the Rossini Apex DAC, which was set up with a Lina Clock and Amp. The DAC alone is $32,800. Add $17,500 for the Lina Clock and Amp and let’s round it off and call it a $50k system. Honestly, it sounded great. I’ve demo-ed the Lina stack in the past. I think the star of this show was the Rossini Apex DAC. This set up offers an expansive soundstage and a refined presentation that is both delicate and organic. In a word, it feels “effortless”. I used my ZMF Atrium Closed headphones, which I've heard in countless chains. I admit, this was a memorable listen. CanJams are such a delightful opportunity to get access to unusual gear. What a privilege. Another great experience added to my audio memory banks.
Since it wouldn’t come, I had to go and visit the Mountain. It was time to head to Mecca and pay my respects. I humbly bowed my head and entered the headphone shrine, aka ZMF. The cornucopia of headphones, a sparkling galore of wooden craftsmanship and audio nirvana, never fails to inspire. The ZMF room is a delightful stop at any CanJam. If you haven’t experienced it, make it a priority. Along with a dizzying array of headphones, you will find an equally impressive selection of amplifiers to test them with. @zach915m and @BooUrns offer a welcoming experience, happy to advice and help any visitor. You can see they enjoy connecting with the community.
The new Bokeh was featured, now in its final form after final subtle tuning changes, ready for its release next month. The Bokeh was available to demo with all the configurations in which it will be offered. These include 3 types of pads. The pads are based on the Caldera pad design, in this case with perforated top and solid interior and exterior. The pads offered will be: (1) Protein, (2) Hybrid, and (3) Suede. In addition, 3 mesh options will be available: (A) Perforated, (B) Solid Titan, or (C) none.
The default stock model will come with Protein pads and have Perforated mesh installed. The stock wood is a beautifully stained Limba.
There is a clear trickle-down effect from ZMF’s more expensive lineup. Build wise, the Bokeh feels ZMF through and through. On the engineering side, the headphones include a version of the Atrium Damping System.
If I’d describe the Bokeh in a punchline, they are a “mini–Atrium Closed”. They offer a big soundstage for closed-back headphones, a touch of decay with lush voicing, an organic timbre, and a surprisingly holographic presentation that surrounds your head.
The Bokeh’s expected price will be $1,100. If you are looking for a relatively affordable entry to the ZMF house sound, consider getting a pair. As a plus, the Bokeh will offer easier portability for on-the-go, being easier to drive (103 dB/mW at 80 ohm), and expected to come with a compact carrying case.
It is a rare pleasure to welcome a new member to the Watercoolers. I really cannot divulge much about the highly selective and occult initiation process, but welcoming a new member to the fold is a truly unique moment of exhilaration. I hurried excitedly to what I knew would be a special moment. The induction of @jude (or as @warrenpchi aptly called it, “The Juduction”). @HiFiHawaii808 prevailed as the master of ceremonies and I officiated. Jude’s expression of momentary shock can only be summarized as “Me? Really?”
My next stop transcends normal categorization. What Metaxas & Sins offers defies known conventions of product classification. I can only describe it as esoteria. Straddling the whimsical and wholehearted, its products are quixotic. The man behind the products, Kostas Metaxas, is apparently a prolific recording engineer who is also a recognized product designer. His brand is a marriage of both, resulting in weirdly fascinating amplifiers, shaped with a tremendous sense of humor coupled with immaculate design. If one can tell the character of a person by the products they design, Mr. Metaxas would probably be a lot of fun to hang out with.
Two amplifiers were showcased. First, the Marquis, an amplifier for dynamic and planar magnetic headphones. Shaped as a bespectacled skull, lighted dials dance in its eye sockets as VU meters. Sound wise, with the ZMF Caldera offered for demo, the amp quickly distorted. I can’t recall the exact price of this amp, but I think it was something in the $6-8k neighborhood. You are definitely buying it as a show piece and not as an audiophile. The build craftsmanship is out of this world. If you are looking for a party conversation starter, start here.
Next came the star of the show, an upcoming electrostatic amplifier called the Ethereal. This little baby will set you off some $30k and change. And “baby” it is. Designed as a woman’s bust, it is a remarkable piece of design that includes an elaborate Swiss mechanical clock built into its head. The designer’s sense of humor is on literal display with two strategically located volume knobs, one for L and one for R channels. One must rotate them simultaneously to adjust the volume, as demonstrated by @jude (what happens in Dallas, stays in Dallas!). Sonically, this amp is more successful and provides a worthy electrostatic amplification. It was offered for demo with the STAX SR-X9000 (which I own and am well familiar with). The Ethereal offers a pleasantly warm presentation with a good center image, but with a narrow soundstage. It is an audio experience commensurate with a capable STAX amp, priced with one decimal point to the left; but I assure you that, if you can afford it, you know why you are getting it..
I shook off the cobwebs of reverie, leaving surrealism behind. I stopped by Spirit Torino to say hello to the smiling duo of Andrea Ricci, who develops the brand’s products, and his business partner Giordano Zacchini. I was curious to try the succinctly dubbed IEM Twin Pulse Beryllium, Spirit Torino’s new and first IEMs. As the first IEMs released by a headphone development house, they are quite worthy, offering a fair performance to value at $1.1k. This model is based off two 10mm beryllium dynamic drivers in isobaric configuration. Three filters are offered for neutral, +3dB, and -3dB attenuation of the bass region (somewhat similar conceptually to 64 Audio’s approach).
I found good resolution, with a somewhat rolled off bass and almost no sub-bass. However, I might have benefited from better fitting tips which could positively impact this region. The foam tips available were uncomfortable for me and the tips I had were not ideal. The Twin Pulse IEMs have an unusual form factor. I have a hunch it would be worth spending more time finding the right tips for a proper seal to realize their potential.
My next stop was at Mimic-Audio, another vendor with a plethora of product offerings. I first tried the Abyss Diana MR at CanJam Chicago and was eager to try them again. I find these headphones quite comfortable compared to the Diana’s prior revisions. The headband flexibility and pad design changes are welcome. The pair available was fitted with vegan pads. This is the first Abyss headphones that work for me. These headphones have an overall warm presentation, with a touch of elevation in the lower frequencies. With a sensitivity of 93 dB/mW at 30 ohm, this model is easier to drive than other Abyss headphones and can credibly be used on-the-go with a competent portable amplifier (though not off a typical DAP).
Back at Bloom Audio, I tried the newly released Vision Ears x Astell&Kern Aura and was blown away. It was instant audio love. It offered for me the kind of connection to music where I instantly know I love a sound signature. The Aura offers an excellent lower frequency extension with a great sub-bass quality that is clearly present but not overdone. At the same time, the Aura has an extended treble that is crystal clear. Midbass is outstanding, with a snappy and fast attack. Resolution and imaging are exceptional. Most importantly (to me), timbre is natural.
Jumping a day into the future, I woke up the following morning with a lingering mental image of the prior day’s demo, and ended up at Bloom for a second audition that immediately reminded me why I came back. These IEMs are limited to 650 units worldwide. At $4,200, they compete with the very best. In my mind, exceedingly well.
I made (an expensive) instant impulse purchase and nabbed a pair before these became unobtanium. I have since listened to them at home and love them as much as I did the first time I laid ears on them. This was definitely one of my show highlights.
The biggest highlight of the show, however, was reconnecting with old friends and making new ones. We put on our Texas BBQ training wheels and headed to “OAK’D BBQ” for dinner:
DAY 2
The second day started with a visit to Woo Audio and STAX’s shared room.
For some reason, I missed the Woo Audio TUBE Mini at SoCal and was eager to make up for my oversight. This is an interesting product, another one which doesn’t fall cleanly into any existing product category, but which dares to create one for itself. A dongle tube DAC/Amplifier (a first I know off), it has two miniature tubes for gain stage coupled with a solid-state output stage. It sounds pretty great in the right conditions, offering a very sweet and rich presentation.
It is worth elaborating what the right conditions may be. I discovered some use case limitations in my testing (all the scenarios discussed below had the TUBE Mini stationary on a desk). I first tried the TUBE Mini with my iPhone and encountered significant FR noise which made music listening impractical. I was offered a longer USB cable to further remove my iPhone from the TUBE Mini, but this had no impact. However, when I put my iPhone in Airplane Mode, things became immediately quiet. Ergo, a cell-enabled source may be a bad choice. I then tried the iPad available for demo, which wasn’t cell-enabled, and it worked equally well.
While this TUBE Mini has been described as a mobile solution (for when you reach a destination, as tube amps aren’t meant to be moved around), I suspect its most likely use case may prove to be for home use for anyone looking for a streamlined system. An iPad with WiFi + TUBE Mini makes for a minimalist, yet complete, audio streaming system.
I think Woo Audio may be of the same mind, as they showcased at the show a prototype for a desktop stand to house the TUBE Mini. The stand has cable connections, one for external power, and a USB-C cable for the music source.
Moving from use case to headphone synergy. I first tried the Diana MR, which worked very well. The slightly more sensitive Atrium Closed had a bit of a hiss, a noise floor which some may consider acceptable. I then tried my very sensitive Victor HA-WM90-B headphones (designed for mobile use), and the noise floor became unlistenable. My impression was that the TUBE Mini will likely work best with medium sensitivity headphones (which would also line up with the outline home-based use case above). With the Diana MR, the TUBE Mini sounded pretty awesome. As a combined DAC/hybrid tube amp, it offers an incredible performance at $500 and a very accessible entry point to some beautiful tube voicing. Used well, this product is awesome.
I spent way more time on this little dongle than I expected. This was a fun discovery.
To the other side of the room was STAX. I struck up a conversation with Douglas Ip, their friendly sale rep. I found that in his bag he had a prototype of an upcoming revision of the SRM-D10, STAX’s portable electrostatic DAC/Amp. A new version was announced in Japan a couple of weeks ago, the SRM-D10 mk2 (not yet released). With the current SRM-D10 set up for demo, I proceeded to compare the new prototype to the current model side-by-side. Per Douglas, the prototype was 95% done, but the internal circuitry was complete. So, sonically, it reflected the final audio quality expected to be offered.
Housed in a practically identical casing to the existing model (and, alas, with an identically limited 4 hr battery listening time), the most notable and positive change is a welcome switch from a micro-USB to a modern USB-C digital connection. DC power is now also offered via a (separate) USB-C port. A most welcome change (Chord Electronics, ahem, cough cough). The biggest change to sound quality, as far as I understood, would come from an improved power supply. The unit can work as a pure headphone amplifier (with a line-in connection) or as a DAC/Amp (with a USB-C digital connection).
I gave the unit a demanding test with the SR-X9000. It sounded good but had limited headroom and the soundstage was too intimate. I then added a Chord Hugo 2 as an external DAC and pre-amp, which materially improved headroom. After some fiddling with the volume levels of both the Hugo 2 and D10, I settled on a sweet spot (D10 volume at 80-100% of max, the Hugo 2 attenuating as desired; at lower volume setting on the STAX, the Hugo's higher output voltage overwhelmed it, resulting in distortion). Staging and imaging are quite improved in this set up. This combo is an overall great electrostatic mobile option (though I wonder how many estat owners take their cans on the road).
It was time for the Sennheiser HE 1 demo, a once-in-a-lifetime experience I was having a third time this year. Now a routine CanJam experience, it remains a delight and an instant highlight (when one remembers to sign up early for one of the limited demo slots offered each CanJam). @HiFiHawaii808 , @Zachik , and I managed to secure a slot together and share this experience again among friends. @ericpalonen from Sennheiser was a great host, as always. It is now becoming a reunion of sorts (thanks, Eric!).
The HE 1 always wows and moves me. Since I’ve had the good fortune of an extended demo session earlier this year (see my notes from CanJam Chicago), I indulged in selecting three tracks to which I took my sweet time listening to end-to-end. No analyzing, no leaning in. Just sitting back and kicking my (proverbial!
) feet up. I played “Blind-Hearted” by Sara K. and was mesmerized by the beautiful timbre of the acoustic guitar. I then played “Hotel California (Live on MTV, 1994)” by the Eagles, and felt like I was part of the live audience in the recording, hearing the concert with them. Finally, “Come Sunday (fear. Natalie Cole)” by wonderful drummer Terri Lyne Carrington, were I was wowed by the fast and organic beat of her drums, beautifully rendered. What a treat!
Eric had another treat for us in his suite. While Zachi and Jim were enjoying their turns, I got an opportunity to listen to the Sennheiser HD 414, the world’s first open back headphones, introduced in 1967. These super lightweight, on-ear headphones (I’d estimate less than 100g) were connected to the modern Sennheiser HDV 820 amplifier. With a surprisingly nice soundstage, timbre was thin but rather accurate. Some sibilance was present. This was a real walk down history lane. Sennheiser has certainly covered some serious ground in their journey from the HD 414 to the HE 1.
It was time to try the Warwick Acoustics electrostatic systems. In previous shows, the lines to their listening booth were always too long, but my timing was fortuitous, so I beelined toward the free booth to finally hear the famous Aperio. Instead, I found the Bravura therein. Apparently, a logistical issue with a larger listening booth, required to fit the larger Aperio, meant that only the Bravura got the a quiet booth at this CanJam. So, I started with it. I found the Bravura headset to be a bit too clampy. The Bravura headphones are connected (via a proprietary cable and connector) to a compact DAC/Amp matching unit, making it a very desktop-friendly and cool looking set up. Their timbre is organic and accurate. However, relative to most electrostatic headphones I am familiar with, the Bravura felt comparatively slower and less resolving. Drumbeats where more of a thud than a hard punch, and imaging was less accurate than, for example, that of the STAX SR-X9000. My biggest issue was that I found the overall presentation fatiguing.
I stepped out and went over to the Warwick desk nearby, where the Aperio was set up. The Aperio is a significant step up from the Bravura, in both price and performance. Build wise, the headset had a little too much clamp and, similarly, it came with a matching DAC/Amp unit, though much wider (approx. full-rack width). The unit maintains a low height profile and is striking beautiful. It is offered in silver, black, and gold (on demo), which are priced at $32k, $36k, and $45k, respectively. Yes, you want some gold bling? You will pay for it, darn it.
Since the Aperio headphones are very open, it was hard to properly test them in the show floor conditions. I made the best of it, but I will definitely have to try it again in the future. Meantime, my inputs here are subject to that limitation.
I liked the overall warm and sweet presentation of the Aperio. It presents the music with rounded edges to the notes, which isn’t a typical estat voicing. On the flip side, I did not find the Aperio as technically complete as the HE 1. I used the same tracks from my HE 1 demo. On Blind-Hearted, I found the double bass to be less resolved. The stage of the live recording venue on Hotel California was comparatively smaller. And the fast drums on Come Sunday had a slower attack here, comparatively. One more surprise was an unexpected sibilance. I also tried Michael Frank’s “Now That The Summer’s Here”, and found the “S’s” sibilant. It is a track I am very familiar with and never experienced this before. I am suspicious of my conclusions, and look forward to rewriting these impressions when I properly demo the Aperio in a quiet setting.
I saw my friends sitting in their semi-permanent perch, geeking out over IEMs. I felt the pull. My friend @HiFiHawaii808 brought with him his UM Amber Pearl and found his ideal tuning with a PWAudio 1950s Shielding copper cable and an iBasso DX320 DAP. He gave me a listen and it was marvelous. To my ears, it sounded like the IEM equivalent of “ZMF neutral”, with a highly resolving, yet warm and organic, presentation. Good treble that is completely non-fatiguing, great imaging, and a natural soundstage. Nice, Jim!
I walked by the Fostex desk and new headphones caught my eye. The Fostex TH616 is the open back version of the TH610, introduced in celebration of Fostex’s 50th anniversary, and will be offered in a limited quantity. Their cups are made of a beautiful black walnut wood. These are dynamic drive headphones, with a 96 dB/mW sensitivity at 25 ohm. I gave them a spin. The headphones were connected to the very capable Niimbus US 5 amplifier. Resolution was ok. Bass presentation was good and punchy in the lower bass and a recessed in the higher bass. The set is priced at $899 and probably should go on any Fostex collector’s radar.
The final moments of the show were at hand as I walked by the Dunu desk and saw headphones. I had a moment of cognitive dissonance. I double checked to see where these headphones belonged. Well, they were right where they were meant to be. On display was a prototype of the Dunu Arashi, Dunu’s first foray into full-sized headphones. I wanted to demo them, but the very nice Dunu rep, clearly distraught, mentioned that the amp that was supposed to come to the show never made it. And, so, these headphones were left unheard. Such a lovely looking set. A last demo beckoned. I asked permission to take them with me and walked over to the ZMF room where Zach graciously let me use one of his many amps. These headphones are very comfortable. The headset is a (very) Hifiman-like design, with a metal outer headband and soft leather-ish band for your head below it. On the acoustic engineering side, these are planar magnetic headphones, and they exhibited great extension into both lower bass and treble. Timbre sounded quite good. At their planned $1,500 retail price, the Arashi is positioned to compete in what is becoming a quickly competitive planar magnetic market segment, with some other great recent entrants (including the recently launched Modhouse Tungsten). My listening was brief, as were my impressions. I made a mental note to try to demo them more thoroughly in the future.
It was time for the final seminar session of CanJam Dallas, titled Ask The Community AMA, “for an open and entertaining discussion of all things related to head-fi, audio, and music!”. I joined the panel, along with @warrenpchi , @HiFiHawaii808 , @Zachik , and @NovaFlyer . Zach from ZMF moderated, adding the audience’s questions for the panel to his own. With all the personalities involved, it was a truly fun and engaging way to wrap up this incredible CanJam.
Perhaps not quite yet.. It was time to climb up the Texas BBQ ladder. For our last night out on the town, we headed to “Hard Eight BBQ”. Now that’s how you do it in Texas (or so I’m told)!
And, we were still not done.. Our days always ended with an after-hours meetup. We would congregate in @Marshallfest ’s room. John brought some spectacular gear, we brought some of our own headphones, and we all continued to party well into the nights, wrapping up each day among friends, listening to great music. I feel blessed to have both in my life.
EPILOGUE
The very first question that Zach asked each of us on the “Ask The Community AMA” panel was: “What is your personal story and how did you get into audio” (paraphrased). For my part, I shared my earliest memories from age 3, listening to my father’s stereo system with a headphone set. When I returned home, I called my mother and asked her if she still had any photos from that time with me and those headphones. She did. The year was 1972. Nixon was the President. “The Godfather” was released to the movie theaters, and I had hair. These headphones are old enough to be lost to memory. With the community spirit of our panel extending into this chronicle, in conclusion, I invite you to help solve a riddle: perhaps one of you knows what is the model of these headphones, the very first with which I started my journey into Head-Fi?
This year’s CanJam Dallas was special. The first-ever CanJam in the Southern part of the US. Alongside many veterans who excitedly flew in, the event drew a very significant local crowd, for many of whom this was an opportunity to attend CanJam for the first time. It was a joyful mix! Based on foot traffic, it was definitely a big success.
This was my fourth CanJam this year (following NYC, Chicago, and SoCal) and, by this point, I have demo-ed most of everything I wanted to test this year. Unusually, I had no real checklist to tick off and I therefore arrived in Dallas with a very simple agenda: reconnect with my friends, make new ones, and let eureka guide me. It made for a very relaxing event, which was as rich and filled with audio discovery as any CanJam I have previously attended.
As always, my notes are subjective and reflect my personal taste. If you can come to a CanJam to demo gear for yourself, I can’t recommend it enough. If you cannot, here is what I found out in Dallas..
Some of my show highlights:
- IEMs: the stellar VE x AK Aura, the impressive FiR e12, and the innovative Noble XM-1.
- Headphone releases: the awesome ZMF Bokeh, and the improved Meze Empyrean II.
- Unobtainium (aka demo-ing gear beyond budget reach): Sennheiser HE-1, Warwick Aperio, and the dCS Rossini Apex DAC.
- Private meetups: wonderful after-hours meetups with friends, sharing meals, gear, laughter, and music.
To this show, I brought with me 3 headphones: my ZMF Atrium Closed (offering a familiar reference with good isolation for show conditions), Modhouse Tungsten (for my friends to demo), and Victor HA-WM90-B (IEM-level sensitive headphones, useful to stress-test amplifiers’ noise floor). I carried with me my trusted AK SP2000 DAP, which I connected directly to amps, enabling me to use a consistent source for a common baseline.
Per usual, a quick index so you may skip and skim to your heart’s content:
DAY 1
- Noble Audio XM-1 (USB-wired IEMs – NEW)
- Meze Empyrean II (headphones – NEW)
- Meze 109 PRO (headphones)
- FiR Audio Electron 12 (IEMs – NEW)
- Creative Aurvana ACE 2 (TWS – NEW)
- dCS Rossini Apex (DAC)
- ZMF Bokeh (headphones – NEW)
- The “Juduction” (Jude’s induction into the Watercooler society)
- Metaxas & Sins Marquis (amp)
- Metaxas & Sins Ethereal (electrostatic amp – NEW)
- Spirit Torino IEM Twin Pulse Beryllium (IEMs)
- Abyss Diana MR (headphones – NEW)
- Vision Ears x Astell&Kern Aura (IEMs – NEW)
- Woo Audio TUBE Mini (portable amp – NEW)
- STAX SRM-D10 mk2 (electrostatic portable DAC/AMP – PROTOTYPE)
- Sennheiser HE 1 (system)
- Sennheiser HD 414 (headphones- VINTAGE)
- Warwick Acoustics Bravura (system)
- Warwick Acoustics Aperio (system)
- UM Amber Pearl (IEMs)
- Fostex TH616 (headphones – NEW)
- Dunu Arashi (headphones – PROTOTYPE)
- “Ask The Community AMA” (discussion panel)
- After-hours meetup
- A riddle
DAY 1
I kicked off the show at Noble Audio to see my friends Fumie and Jim.
This company innovates at a breathtaking pace, putting more exciting new products into the market each year than any I can think of. I knew I would find something new, and I have. The XM-1 is a new type of IEM with a USB-C terminated cable. Say what? Yup. These IEMs plug directly into your iPhone 15, Android, iPad, or any other device with a USB-C output.
The innovation of the XM-1 extends to its unique driver set up: one is based on the new xMEMS technology, used for mids and highs; the other, a 8.3mm dynamic driver, is used for bass frequencies. Normally, an xMEMS driver requires a high-biased amplifier to drive it. Noble Audio looked initially at integrating an amp into the cable, but ultimately decided that a 4-pin USB-C with amps integrated into the IEM shells would be the best solution.
The overall result is super-fast and well-resolving IEMs with an organic timbre. Good mid-bass punch coupled with fast treble. Me like it.
Plugging cabled IEMs directly into my iPhone was a moment of cognitive dissonance. No portable amp? Not even a dongle? It was quite liberating. What will they do next, go wireless?
The USB-C cable is soft and ergonomic, as all Noble stock cables tend to be. A small USB-C plug extension is included in case you use a phone cover (works very well).At $699 these very ergonomic IEMs (which are substantially an IEM/DAC/Amp system in an IEM form-factor) offer excellent performance-to-value, and a use case for mobility that I am genuinely excited about. The XM-1 is expected to launch in a couple of weeks. I am getting a pair.
Noble Audio has several more products in the works. Expect some more news in the next 2-4 months…
I next headed to Bloom Audio, which always has a very wide selection of products, as well as one of the friendliest crews around. @stephenkostas handed me the new Meze Empyrean II that has been widely reviewed at launch (Meze ought to give a marketing masterclass, they always come out swinging!). First, a quick confession: the tuning of the original Empyrean was never right up my alley. I found its bass bloated and bleeding into the mids and its overall presentation a bit dark. The new revision is a dramatic improvement which offers a very enjoyable, and tonally balanced, presentation. I have seen reviewers exclaiming the Empyrean II as the best current headphones. I disagree. I also think that, at $3k, they are not as technically complete as some other headphones in this zip code. But they have earned a seat at the table.
Moving on to pads. I set out to demo the Empyrean II with both its new Duo stock pads (combining Alcantara and leather) and with the new Angled Alcantara pads that Meze released earlier this year. Side-by-side, I demo-ed the Meze Elite, with both the Hybrid stock pads (leather exterior and outer rims with perforated Alcantara interior) and with the Angled Alcantara pads. Stephen was super helpful in setting this up. I noted again the incredible user-experience of switching pads on Meze headphones. The instant magnetic snapping on and off is a pure delight. It’s also very conducive for A/B testing.
I found that the Empyrean II with Duo pads offers a good bass coupled with a more intimate presentation. Switching to the Angled pads, I got an excellent expansion of soundstage but traded off lower bass beyond my preference.
Switching to the Meze Elite, it was an instant improvement in technicalities. The change wasn’t subtle. The Elite (priced at $4k) dramatically outperformed the Empyrean II ($3k). The Elite is much faster and offers a tighter bass. Personally, I much preferred the Elite with the Angled Alcantara pads, which, in this case, open up the soundstage without a notable tradeoff compared to the stock Hybrid pads. Elite + Angled Pads is the winning combo for me from all these options.
I spotted the Meze booth right behind Noble and headed over to chat with Alexandru Grigoras, the audio engineer who worked on the Empyrean II as well as the Meze 109. I learned that, while Empyrean II and Elite share the same magnets and frame, the Elite’s diaphragm is made of a thinner and lighter polymer which gives the Elite their superior speed and better transient response. In addition, the Empyrean II resonant frequency is 60 Hz lower than the Elite, which is somewhere in the 100+ Hz range. I think that, possibly, the Elite’s tighter bass compared to the Empyrean II may be related to its higher resonant frequency and, mostly, how well it damps it (without affecting the rest of its FR).
Leaving aside perhaps some unrealistic expectations around this launch, I do think that this is a dramatically improved version of the original Empyrean and a very aptly designed V2. It shares the DNA of the OG model, offering a material improvement in clarity in the mids and high frequencies, along with a clean bass that doesn’t bleed. If you were a fan of the original, you would love this upgrade. If you were not, you should try these new headphones!
I never got to try the Meze 109 PRO and, as they were lying just in front of me, it seemed like a good opportunity to fill this gap. The 109 is another incredibly comfortable Meze, with plush and pampering velour pads and a great build quality. Sonically, I found the bass a little fuzzy, lower mids (male vocals) recessed, and upper mids (female vocals) forward. Testing them right after the Elite and Empyrean II may have been a little backward in order. However, at $799 they are a compelling proposition for anyone shopping for new headphones at this price. With a sensitivity of 112 dB/mW at 40 ohm, the 109 is supremely easy to drive off any DAP or dongle.
In the show floor’s center sitting area, many of the Watercooler folks were demo-ing IEMs. I headed over to check what’s new, and was handed the new FiR Audio Electron 12 (stylized “e12”) to try. These IEMs have a fantastic tremble resolution and extend very low without elevation. I was surprised when I found out that this was a single dynamic driver. Now that’s a real feat. The only drawback I found was in the mids’ timbre which, to my subjective taste, had a touch of metallic shin. It is worth noting that most of my buddies, all more knowledgeable than I, did not share my view on this. Either way, this new entrant is a true top performer. At $1.8k, it offers exceptional performance, competing far above its price point.
The new xMEMS driver technology was also featured in the new ANC wireless earbuds, the Creative Aurvana ACE 2. These earbuds offer superb noise-cancelling (dead silent in the midst of the crowded show floor). Tuning wise, in comparison to the AirPods Pro, they are bassy and dark. I found the elevated bass is a little bloated. There is a mobile app to match, which I haven’t looked into. Assuming it includes EQ, tuning may be adjustable to taste. Touch controls aren’t great. At $150, though, the price is! If you’re roaming the NYC subways or walking noisy streets like a I do, at $150 this may be a steal.
Speaking of value.. I sauntered toward the dCS room to demo some exquisitely expensive gear I would never get to own. dCS has dedicated listening stations, friendly and knowledgeable staff, and overall quiet settings. They really know how to set up a demo experience! I headed right to the Rossini Apex DAC, which was set up with a Lina Clock and Amp. The DAC alone is $32,800. Add $17,500 for the Lina Clock and Amp and let’s round it off and call it a $50k system. Honestly, it sounded great. I’ve demo-ed the Lina stack in the past. I think the star of this show was the Rossini Apex DAC. This set up offers an expansive soundstage and a refined presentation that is both delicate and organic. In a word, it feels “effortless”. I used my ZMF Atrium Closed headphones, which I've heard in countless chains. I admit, this was a memorable listen. CanJams are such a delightful opportunity to get access to unusual gear. What a privilege. Another great experience added to my audio memory banks.
Since it wouldn’t come, I had to go and visit the Mountain. It was time to head to Mecca and pay my respects. I humbly bowed my head and entered the headphone shrine, aka ZMF. The cornucopia of headphones, a sparkling galore of wooden craftsmanship and audio nirvana, never fails to inspire. The ZMF room is a delightful stop at any CanJam. If you haven’t experienced it, make it a priority. Along with a dizzying array of headphones, you will find an equally impressive selection of amplifiers to test them with. @zach915m and @BooUrns offer a welcoming experience, happy to advice and help any visitor. You can see they enjoy connecting with the community.
The new Bokeh was featured, now in its final form after final subtle tuning changes, ready for its release next month. The Bokeh was available to demo with all the configurations in which it will be offered. These include 3 types of pads. The pads are based on the Caldera pad design, in this case with perforated top and solid interior and exterior. The pads offered will be: (1) Protein, (2) Hybrid, and (3) Suede. In addition, 3 mesh options will be available: (A) Perforated, (B) Solid Titan, or (C) none.
The default stock model will come with Protein pads and have Perforated mesh installed. The stock wood is a beautifully stained Limba.
There is a clear trickle-down effect from ZMF’s more expensive lineup. Build wise, the Bokeh feels ZMF through and through. On the engineering side, the headphones include a version of the Atrium Damping System.
If I’d describe the Bokeh in a punchline, they are a “mini–Atrium Closed”. They offer a big soundstage for closed-back headphones, a touch of decay with lush voicing, an organic timbre, and a surprisingly holographic presentation that surrounds your head.
The Bokeh’s expected price will be $1,100. If you are looking for a relatively affordable entry to the ZMF house sound, consider getting a pair. As a plus, the Bokeh will offer easier portability for on-the-go, being easier to drive (103 dB/mW at 80 ohm), and expected to come with a compact carrying case.
It is a rare pleasure to welcome a new member to the Watercoolers. I really cannot divulge much about the highly selective and occult initiation process, but welcoming a new member to the fold is a truly unique moment of exhilaration. I hurried excitedly to what I knew would be a special moment. The induction of @jude (or as @warrenpchi aptly called it, “The Juduction”). @HiFiHawaii808 prevailed as the master of ceremonies and I officiated. Jude’s expression of momentary shock can only be summarized as “Me? Really?”
My next stop transcends normal categorization. What Metaxas & Sins offers defies known conventions of product classification. I can only describe it as esoteria. Straddling the whimsical and wholehearted, its products are quixotic. The man behind the products, Kostas Metaxas, is apparently a prolific recording engineer who is also a recognized product designer. His brand is a marriage of both, resulting in weirdly fascinating amplifiers, shaped with a tremendous sense of humor coupled with immaculate design. If one can tell the character of a person by the products they design, Mr. Metaxas would probably be a lot of fun to hang out with.
Two amplifiers were showcased. First, the Marquis, an amplifier for dynamic and planar magnetic headphones. Shaped as a bespectacled skull, lighted dials dance in its eye sockets as VU meters. Sound wise, with the ZMF Caldera offered for demo, the amp quickly distorted. I can’t recall the exact price of this amp, but I think it was something in the $6-8k neighborhood. You are definitely buying it as a show piece and not as an audiophile. The build craftsmanship is out of this world. If you are looking for a party conversation starter, start here.
Next came the star of the show, an upcoming electrostatic amplifier called the Ethereal. This little baby will set you off some $30k and change. And “baby” it is. Designed as a woman’s bust, it is a remarkable piece of design that includes an elaborate Swiss mechanical clock built into its head. The designer’s sense of humor is on literal display with two strategically located volume knobs, one for L and one for R channels. One must rotate them simultaneously to adjust the volume, as demonstrated by @jude (what happens in Dallas, stays in Dallas!). Sonically, this amp is more successful and provides a worthy electrostatic amplification. It was offered for demo with the STAX SR-X9000 (which I own and am well familiar with). The Ethereal offers a pleasantly warm presentation with a good center image, but with a narrow soundstage. It is an audio experience commensurate with a capable STAX amp, priced with one decimal point to the left; but I assure you that, if you can afford it, you know why you are getting it..
I shook off the cobwebs of reverie, leaving surrealism behind. I stopped by Spirit Torino to say hello to the smiling duo of Andrea Ricci, who develops the brand’s products, and his business partner Giordano Zacchini. I was curious to try the succinctly dubbed IEM Twin Pulse Beryllium, Spirit Torino’s new and first IEMs. As the first IEMs released by a headphone development house, they are quite worthy, offering a fair performance to value at $1.1k. This model is based off two 10mm beryllium dynamic drivers in isobaric configuration. Three filters are offered for neutral, +3dB, and -3dB attenuation of the bass region (somewhat similar conceptually to 64 Audio’s approach).
I found good resolution, with a somewhat rolled off bass and almost no sub-bass. However, I might have benefited from better fitting tips which could positively impact this region. The foam tips available were uncomfortable for me and the tips I had were not ideal. The Twin Pulse IEMs have an unusual form factor. I have a hunch it would be worth spending more time finding the right tips for a proper seal to realize their potential.
My next stop was at Mimic-Audio, another vendor with a plethora of product offerings. I first tried the Abyss Diana MR at CanJam Chicago and was eager to try them again. I find these headphones quite comfortable compared to the Diana’s prior revisions. The headband flexibility and pad design changes are welcome. The pair available was fitted with vegan pads. This is the first Abyss headphones that work for me. These headphones have an overall warm presentation, with a touch of elevation in the lower frequencies. With a sensitivity of 93 dB/mW at 30 ohm, this model is easier to drive than other Abyss headphones and can credibly be used on-the-go with a competent portable amplifier (though not off a typical DAP).
Back at Bloom Audio, I tried the newly released Vision Ears x Astell&Kern Aura and was blown away. It was instant audio love. It offered for me the kind of connection to music where I instantly know I love a sound signature. The Aura offers an excellent lower frequency extension with a great sub-bass quality that is clearly present but not overdone. At the same time, the Aura has an extended treble that is crystal clear. Midbass is outstanding, with a snappy and fast attack. Resolution and imaging are exceptional. Most importantly (to me), timbre is natural.
Jumping a day into the future, I woke up the following morning with a lingering mental image of the prior day’s demo, and ended up at Bloom for a second audition that immediately reminded me why I came back. These IEMs are limited to 650 units worldwide. At $4,200, they compete with the very best. In my mind, exceedingly well.
I made (an expensive) instant impulse purchase and nabbed a pair before these became unobtanium. I have since listened to them at home and love them as much as I did the first time I laid ears on them. This was definitely one of my show highlights.
The biggest highlight of the show, however, was reconnecting with old friends and making new ones. We put on our Texas BBQ training wheels and headed to “OAK’D BBQ” for dinner:
DAY 2
The second day started with a visit to Woo Audio and STAX’s shared room.
For some reason, I missed the Woo Audio TUBE Mini at SoCal and was eager to make up for my oversight. This is an interesting product, another one which doesn’t fall cleanly into any existing product category, but which dares to create one for itself. A dongle tube DAC/Amplifier (a first I know off), it has two miniature tubes for gain stage coupled with a solid-state output stage. It sounds pretty great in the right conditions, offering a very sweet and rich presentation.
It is worth elaborating what the right conditions may be. I discovered some use case limitations in my testing (all the scenarios discussed below had the TUBE Mini stationary on a desk). I first tried the TUBE Mini with my iPhone and encountered significant FR noise which made music listening impractical. I was offered a longer USB cable to further remove my iPhone from the TUBE Mini, but this had no impact. However, when I put my iPhone in Airplane Mode, things became immediately quiet. Ergo, a cell-enabled source may be a bad choice. I then tried the iPad available for demo, which wasn’t cell-enabled, and it worked equally well.
While this TUBE Mini has been described as a mobile solution (for when you reach a destination, as tube amps aren’t meant to be moved around), I suspect its most likely use case may prove to be for home use for anyone looking for a streamlined system. An iPad with WiFi + TUBE Mini makes for a minimalist, yet complete, audio streaming system.
I think Woo Audio may be of the same mind, as they showcased at the show a prototype for a desktop stand to house the TUBE Mini. The stand has cable connections, one for external power, and a USB-C cable for the music source.
Moving from use case to headphone synergy. I first tried the Diana MR, which worked very well. The slightly more sensitive Atrium Closed had a bit of a hiss, a noise floor which some may consider acceptable. I then tried my very sensitive Victor HA-WM90-B headphones (designed for mobile use), and the noise floor became unlistenable. My impression was that the TUBE Mini will likely work best with medium sensitivity headphones (which would also line up with the outline home-based use case above). With the Diana MR, the TUBE Mini sounded pretty awesome. As a combined DAC/hybrid tube amp, it offers an incredible performance at $500 and a very accessible entry point to some beautiful tube voicing. Used well, this product is awesome.
I spent way more time on this little dongle than I expected. This was a fun discovery.
To the other side of the room was STAX. I struck up a conversation with Douglas Ip, their friendly sale rep. I found that in his bag he had a prototype of an upcoming revision of the SRM-D10, STAX’s portable electrostatic DAC/Amp. A new version was announced in Japan a couple of weeks ago, the SRM-D10 mk2 (not yet released). With the current SRM-D10 set up for demo, I proceeded to compare the new prototype to the current model side-by-side. Per Douglas, the prototype was 95% done, but the internal circuitry was complete. So, sonically, it reflected the final audio quality expected to be offered.
Housed in a practically identical casing to the existing model (and, alas, with an identically limited 4 hr battery listening time), the most notable and positive change is a welcome switch from a micro-USB to a modern USB-C digital connection. DC power is now also offered via a (separate) USB-C port. A most welcome change (Chord Electronics, ahem, cough cough). The biggest change to sound quality, as far as I understood, would come from an improved power supply. The unit can work as a pure headphone amplifier (with a line-in connection) or as a DAC/Amp (with a USB-C digital connection).
I gave the unit a demanding test with the SR-X9000. It sounded good but had limited headroom and the soundstage was too intimate. I then added a Chord Hugo 2 as an external DAC and pre-amp, which materially improved headroom. After some fiddling with the volume levels of both the Hugo 2 and D10, I settled on a sweet spot (D10 volume at 80-100% of max, the Hugo 2 attenuating as desired; at lower volume setting on the STAX, the Hugo's higher output voltage overwhelmed it, resulting in distortion). Staging and imaging are quite improved in this set up. This combo is an overall great electrostatic mobile option (though I wonder how many estat owners take their cans on the road).
It was time for the Sennheiser HE 1 demo, a once-in-a-lifetime experience I was having a third time this year. Now a routine CanJam experience, it remains a delight and an instant highlight (when one remembers to sign up early for one of the limited demo slots offered each CanJam). @HiFiHawaii808 , @Zachik , and I managed to secure a slot together and share this experience again among friends. @ericpalonen from Sennheiser was a great host, as always. It is now becoming a reunion of sorts (thanks, Eric!).
The HE 1 always wows and moves me. Since I’ve had the good fortune of an extended demo session earlier this year (see my notes from CanJam Chicago), I indulged in selecting three tracks to which I took my sweet time listening to end-to-end. No analyzing, no leaning in. Just sitting back and kicking my (proverbial!
) feet up. I played “Blind-Hearted” by Sara K. and was mesmerized by the beautiful timbre of the acoustic guitar. I then played “Hotel California (Live on MTV, 1994)” by the Eagles, and felt like I was part of the live audience in the recording, hearing the concert with them. Finally, “Come Sunday (fear. Natalie Cole)” by wonderful drummer Terri Lyne Carrington, were I was wowed by the fast and organic beat of her drums, beautifully rendered. What a treat!
Eric had another treat for us in his suite. While Zachi and Jim were enjoying their turns, I got an opportunity to listen to the Sennheiser HD 414, the world’s first open back headphones, introduced in 1967. These super lightweight, on-ear headphones (I’d estimate less than 100g) were connected to the modern Sennheiser HDV 820 amplifier. With a surprisingly nice soundstage, timbre was thin but rather accurate. Some sibilance was present. This was a real walk down history lane. Sennheiser has certainly covered some serious ground in their journey from the HD 414 to the HE 1.
It was time to try the Warwick Acoustics electrostatic systems. In previous shows, the lines to their listening booth were always too long, but my timing was fortuitous, so I beelined toward the free booth to finally hear the famous Aperio. Instead, I found the Bravura therein. Apparently, a logistical issue with a larger listening booth, required to fit the larger Aperio, meant that only the Bravura got the a quiet booth at this CanJam. So, I started with it. I found the Bravura headset to be a bit too clampy. The Bravura headphones are connected (via a proprietary cable and connector) to a compact DAC/Amp matching unit, making it a very desktop-friendly and cool looking set up. Their timbre is organic and accurate. However, relative to most electrostatic headphones I am familiar with, the Bravura felt comparatively slower and less resolving. Drumbeats where more of a thud than a hard punch, and imaging was less accurate than, for example, that of the STAX SR-X9000. My biggest issue was that I found the overall presentation fatiguing.
I stepped out and went over to the Warwick desk nearby, where the Aperio was set up. The Aperio is a significant step up from the Bravura, in both price and performance. Build wise, the headset had a little too much clamp and, similarly, it came with a matching DAC/Amp unit, though much wider (approx. full-rack width). The unit maintains a low height profile and is striking beautiful. It is offered in silver, black, and gold (on demo), which are priced at $32k, $36k, and $45k, respectively. Yes, you want some gold bling? You will pay for it, darn it.
Since the Aperio headphones are very open, it was hard to properly test them in the show floor conditions. I made the best of it, but I will definitely have to try it again in the future. Meantime, my inputs here are subject to that limitation.
I liked the overall warm and sweet presentation of the Aperio. It presents the music with rounded edges to the notes, which isn’t a typical estat voicing. On the flip side, I did not find the Aperio as technically complete as the HE 1. I used the same tracks from my HE 1 demo. On Blind-Hearted, I found the double bass to be less resolved. The stage of the live recording venue on Hotel California was comparatively smaller. And the fast drums on Come Sunday had a slower attack here, comparatively. One more surprise was an unexpected sibilance. I also tried Michael Frank’s “Now That The Summer’s Here”, and found the “S’s” sibilant. It is a track I am very familiar with and never experienced this before. I am suspicious of my conclusions, and look forward to rewriting these impressions when I properly demo the Aperio in a quiet setting.
I saw my friends sitting in their semi-permanent perch, geeking out over IEMs. I felt the pull. My friend @HiFiHawaii808 brought with him his UM Amber Pearl and found his ideal tuning with a PWAudio 1950s Shielding copper cable and an iBasso DX320 DAP. He gave me a listen and it was marvelous. To my ears, it sounded like the IEM equivalent of “ZMF neutral”, with a highly resolving, yet warm and organic, presentation. Good treble that is completely non-fatiguing, great imaging, and a natural soundstage. Nice, Jim!
I walked by the Fostex desk and new headphones caught my eye. The Fostex TH616 is the open back version of the TH610, introduced in celebration of Fostex’s 50th anniversary, and will be offered in a limited quantity. Their cups are made of a beautiful black walnut wood. These are dynamic drive headphones, with a 96 dB/mW sensitivity at 25 ohm. I gave them a spin. The headphones were connected to the very capable Niimbus US 5 amplifier. Resolution was ok. Bass presentation was good and punchy in the lower bass and a recessed in the higher bass. The set is priced at $899 and probably should go on any Fostex collector’s radar.
The final moments of the show were at hand as I walked by the Dunu desk and saw headphones. I had a moment of cognitive dissonance. I double checked to see where these headphones belonged. Well, they were right where they were meant to be. On display was a prototype of the Dunu Arashi, Dunu’s first foray into full-sized headphones. I wanted to demo them, but the very nice Dunu rep, clearly distraught, mentioned that the amp that was supposed to come to the show never made it. And, so, these headphones were left unheard. Such a lovely looking set. A last demo beckoned. I asked permission to take them with me and walked over to the ZMF room where Zach graciously let me use one of his many amps. These headphones are very comfortable. The headset is a (very) Hifiman-like design, with a metal outer headband and soft leather-ish band for your head below it. On the acoustic engineering side, these are planar magnetic headphones, and they exhibited great extension into both lower bass and treble. Timbre sounded quite good. At their planned $1,500 retail price, the Arashi is positioned to compete in what is becoming a quickly competitive planar magnetic market segment, with some other great recent entrants (including the recently launched Modhouse Tungsten). My listening was brief, as were my impressions. I made a mental note to try to demo them more thoroughly in the future.
It was time for the final seminar session of CanJam Dallas, titled Ask The Community AMA, “for an open and entertaining discussion of all things related to head-fi, audio, and music!”. I joined the panel, along with @warrenpchi , @HiFiHawaii808 , @Zachik , and @NovaFlyer . Zach from ZMF moderated, adding the audience’s questions for the panel to his own. With all the personalities involved, it was a truly fun and engaging way to wrap up this incredible CanJam.
Perhaps not quite yet.. It was time to climb up the Texas BBQ ladder. For our last night out on the town, we headed to “Hard Eight BBQ”. Now that’s how you do it in Texas (or so I’m told
)!
And, we were still not done.. Our days always ended with an after-hours meetup. We would congregate in @Marshallfest ’s room. John brought some spectacular gear, we brought some of our own headphones, and we all continued to party well into the nights, wrapping up each day among friends, listening to great music. I feel blessed to have both in my life.
EPILOGUE
The very first question that Zach asked each of us on the “Ask The Community AMA” panel was: “What is your personal story and how did you get into audio” (paraphrased). For my part, I shared my earliest memories from age 3, listening to my father’s stereo system with a headphone set. When I returned home, I called my mother and asked her if she still had any photos from that time with me and those headphones. She did. The year was 1972. Nixon was the President. “The Godfather” was released to the movie theaters, and I had hair. These headphones are old enough to be lost to memory. With the community spirit of our panel extending into this chronicle, in conclusion, I invite you to help solve a riddle: perhaps one of you knows what is the model of these headphones, the very first with which I started my journey into Head-Fi?
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