CanJam New York 2024 Impressions Thread (March 9-10, 2024)
- Thread starter AxelCloris
- Start date
adydula
Headphoneus Supremus
- Joined
- Dec 14, 2010
- Posts
- 5,022
- Likes
- 12,729
https://www.head-fi.org/showcase/schiit-vali-3-hybrid-headphone-amplifier.27148/reviews
Jason was supposed to be there but according to his statements on the main Schiit thread explained why he had to cancel due to many business / life decisions. However the Vali 3 has been released for several weeks now. Great little hybrid tube amp in the $150 price range. Going to do a 9 tube 12AU7A shoot out via an adapter.
Alex
MY CANJAM NYC 2024 OVERVIEW
In New York City, where everything is bigger, so was CanJam NYC 2024. In fact, it was so big this year. the seminars were held on a separate floor. Drawing many vendors and a bevy of enthusiastic members from across the globe, the energy was electrifying. What a memorable weekend!
Coming into this show with a hauntingly long demo list, I had the chance to discover a lot of exciting new gear.
My show highlights this year included:
Left to right: @HF_Ryan @bigquery @joe @HiFiHawaii808 @third_eye @NovaFlyer @tjzurlaaa @buke9 @warrenpchi @Rockwell75 @Frankie D @bigbeans @stephenkostas @jude @goldwerger @Visceral @BooUrns @emdeevee @Andrew DiMarcangelo @Zachik @RTodd @Chang @Jack Vang @Sifo @wazzupi @twister6 @bogdan belonozhko @UniqueMelody
Per usual, a quick index so you may skip and skim to your heart’s content:
PREGAME
.
.......Audio46
DAY 1
DAY 2
NEW denotes products released in the last 3 months (approx.)
Since all my experiences were based on listening sessions in show conditions, none of the following are product reviews; rather they are my story of the show as I have experienced it.
PREGAME
In what is now an annual tradition, some of the Watercooler group kicked off the weekend a day earlier, starting with an early morning stop at the Audio46 store in midtown Manhattan. By starting early, we took advantage of a quiet opportunity to demo some of the gear that Audio46 brought to the show for the following day. In addition, you can always expect more community members to converge on that spot, creating fun and unexpected reunions.
I was keen to try two newly released closed-back headphones. I first tried the new Meze Liric II. Beautifully crafted, like all Meze headphones, they are similar in build to the original Liric with two notable changes: the black cups have been tastefully replaced with Macassar ebony wood, and the pads can now be instantly removed and replaced magnetically (similarly to the Elite/Empyrean system). The headphones are comfortable; the cups are a bit small but deep enough for average ears. The overall presentation of the Liric II is warmer than its antecedent. Bass extends deep, but attack is soft for my taste. I also heard some sibilance when playing “Train out of Hollywood” by Judith Owen (the aspiration of female vocal “s” on this track is telling). These closed-back headphones offer an unparalleled form factor for mobile use, for which they are particularly well suited. For home use, there are probably better-tuned options at their $2,000 price point.
I next tried the Dan Clark Audio E3. Identically priced as the Liric II, these headphones have a sensitivity of 90 dB/mW, requiring serious amplification and are ideally suited for home use. These headphones are really well built. They did have a notable clamp out of the box but, with very plush pads, the overall experience is a comfortable one. Full disclosure, I am one of those rare breed of users who found the Stealth and Expanse too sterile for enjoyment. In contrast, I liked the E3 much better and found much more emotional engagement with them. I mostly enjoyed their bass and fast attack (“Mozart” by Jacques Loussier was a real dynamic treat on these headphones). However, timbre was a hit-and-miss for me; I noted this mostly in the upper mids with female vocals, which sounded thin (test tracks: (“I wish I could be traveling again” by Stacey Kent, and “Prelude to Coup de Foudre” by Brandi Disterheft). This was less pronounced with male vocals, but they were still less than perfectly natural (e.g. “Hey Laura” by Gregory Porter). The E3 would be great headphones for those who listen to mostly rhythmic genres, but less ideal for acoustic and vocals with upper mid emphasis.
The recently released iBasso DC Elite, a mobile DAC/Amp, was at hand. It is insanely good for its diminutive form factor. I stress-tested it with the above E3 headphones, a demanding load, and it performed at the level of a very good DAP. The only drawback for the DC Elite was an annoying noise when adjusting volume level (however, once set, it was dead quiet). At $500, it is an easy buy.
I wanted to revisit Austrian Audio The Composer headphones, which I first tried at CanJam SoCal when they were first launched. These headphones are very light, well built, and really comfortable. My only gripe here is the use of a new proprietary cable termination (why, oh why?
); the stock cable supplied is reasonably serviceable. Sonically, these $2,700 headphones have some great technicalities. Bass is very accurate, and timbre across the bass and lower mids is just fantastic (male vocals on “These Bones” by The Fairfield Four was a wonderful listen). Upper mids may get a touch sibilant, but timbre is otherwise natural (Till Brönner’s trumpet on “A Thousand Kisses Deep” is accurately rendered). However, I did find the treble elevation exaggerated; I imagine this may be an issue for some users that are treble sensitive. Soundstage and instrument separation where both good (in “Hotel California (Live On MTV 1994)” by the Eagles, there is a great feel of the venue, with great clarity of the drums, bass, amplified acoustic guitars, and vocals). Austrian Audio was started by the original Austrian engineers of AKG headphones. If you like AKG headphones, you would love The Composer.
It was time to say goodbye to our generous Audio46 hosts, @Terco and Tony K. Picking up a small posse on the way uptown, we headed out for our next event of the day..
Left to right: @HiFiHawaii808 @NovaFlyer @goldwerger @Zachik
Over time, CanJams have become, first and foremost, a social event and an opportunity to connect with dear friends. Now a tradition, I hosted many Head-Fi friends Friday afternoon in what has bow been amusing dubbed “EyalJam”
. To be sure, music and gear were plenty afoot, but we mostly just wiled the time enjoying each other’s company as early afternoon delightfully stretched into evening..
Clockwise from top left: @RTodd @bigbeans @Frankie D @bigquery @NovaFlyer @buke9 @Zachik @L0rdGwyn Sam @HiFiHawaii808 @zach915m @goldwerger @Tulon @cangle
For dinner, we headed for some great Italian food at Becco. En route, we picked up some of Watercooler bodies who just arrived in town. With pasta refills flowing, spirits where at an ultimate high (as much as our centers of gravity where at an ultimate low):
Left to right: @Rockwell75 @RTodd @Frankie D @HiFiHawaii808 @emdeevee @Zachik @goldwerger
@emdeevee brought his A game
We’ve already jam-packed a glorious full day and CanJam hasn’t even started. With such a kickoff, I woke up Saturday morning on a high, ready to concur the day!
DAY 1
Of all CanJams, NYC tends to have the most new product releases, and this show was no exception. With a long list of gear to demo, I was super excited for the day!
My first appointment was off the show floor. I headed up to Audio-Technica’s private suite to demo their new $108,000 (not a typo!) Audio-Technica HPA-KG NARU headphone amplifier along with their new Audio-Technica ATH-AWKG headphones, priced at $4,200 (when bundled with the amp, the headphone model is called AW-KG NARU; more details below).
Both the amplifier and headphones are made of the precious Kurogaki wood, aka black persimmon. This exceedingly rare wood is highly prized in Japan and is sourced and processed at great expense. Given the scarcity of wood, these limited-edition models are expected to be available in limited supply. Approximately 100 headphones were sold worldwide (15 of which in the US). Moving forward, their availability will be based on limited runs based on whether/when Kurogaki wood could become available. Of the tube amplifier, a stratospheric mouthwatering masterpiece, only 15 units were made to date, and all were sold (excepting the unit on demo). This will be made-to-order moving forward.
As preface, a little side story of how I got to know the Audio-Technica ATH-AWKG headphones and their current pad configuration. My first encounter was at CanJam SoCal last year, when Audio-Technica brought the announced, but not yet released, AWKG headphones to demo. When I first tried them, they were lacking in bass and were overly bright. It immediately triggered an idea. I own the Audio-Technica L5000, which originally exhibited the same issues until I modded them with a very satisfying pad replacement. I asked permission to borrow the AWKG headphones for moment and went over to the ZMF room and asked Zach to borrow a pair of ZMF Solid Universe Hybrid pads. Refitted with those, the AWKG transformed and offered a wonderfully full and lush presentation with a great mid bass. The reaction of everyone on the spot at the moment was memorable. I was later delighted to learn that Audio-Technica decided to include these ZMF pads as a bundled addition with the AWKG headphones. I loved this combo so much that I ended up purchasing a set for myself.
As to the spectacular new Audio-Technica HPA-KG NARU, the AT team offered an exquisite listening experience. As far as build and design, it surpasses any superlative. No picture can fully capture its astounding craftsmanship. The NARU amp is a transformer-coupled push-pull amplifier based on 4 x Takatsuki TA-300B output tubes, 2 x JJ ECC83S gain tubes, and 2 x GZ34S rectifier tubes.
In Japanese mythology, NARU is short for Narukami, the god of lightning, thunder, and storms. I first tried this heavenly amp with the Kurogaki headphones I was now well-familiar with. When one buys this amplifier, the headphones are included (it’s a steal!) and are designated “AW-KG NARU”. The only difference between the standalone headphone model and the bundled model is a change in impedance, increased from 48 to 60 ohm for an ideal damping ratio in use with this specific amplifier.
Needless to say, this pairing was great. In “Blind-Hearted” by Sara K., the double bass was rendered with beautiful resonance and a very wide soundstage.
But I wanted to focus on the amplifier, so I pulled out my Susvara headphones and tried them with it. The NARU amp may be the only amplifier that have inched past what, for me, is the ultimate Susvara complement, the Riviera AIC10. It exhibited superb control of the Susvara’s drivers, along with a wonderful resonance which offers richness and texture.
A tidbit of unrelated industry news:
Chatting with the AT team, I learned that they will be launching two new higher-end headphone models later this year around SoCal 2024: one of which will be positioned above, and one below, the current ADX5000.
The demo was over. It was time to hit the show floor!
Right at the entrance, Qobuz had a table with the Manley Labs Absolute amplifier, which I’ve always been curious to try. A transformer-coupled tube amp, it has a unique vertical form factor that can also double as a headphone stand; a creative solution for anyone who is looking for tube amping in a limited desktop footprint. It includes single-ended preamp out and an RF remote control. The headphone ports are inconveniently placed in the back, a curious design choice.
The amp has some h cool and unusual features to let one shape sound, including switching between single-ended and push-pull topology, a feedback knob that lets you control how much negative feedback is applied (from 0 to 10 dB), and an old-school bass and treble EQ knobs (which can be bypassed). There is also a mono switch button for anyone who uses LP mono records. However, it is a rather weak amplifier. It cannot drive the Susvara (practically inaudible), and nearly maxes out with the Atrium Close, which is not a hard load. I would therefore recommend this for use only with sensitive headphones.
With the AC, the amp was a little harsh and sibilant in the upper mids. At $5,500 it faced stiff competition. It is best suited for those who value its small form factor and great functionality, use more sensitive headphones and, perhaps, lean toward music that is less acoustic or mid centric.
As I walked off, I bumped into @skeeb23 and Bri who were just entering the show floor. It was nice to reconnect with Ryan and very nice to meet his partner. What a rare sight in our hobby to see a couple who are both enthusiasts. May there be more!
Next stop was Dunu. I first tried their new Dunu Arashi headphones at CanJam Dallas where they were presented in their near final form. I was quite impressed with Dunu’s first foray into headphones and was happy to now demo their release version at the show. Priced at $1,399, these new planar-magnetic headphones are going after an increasingly competitive market segment. The headphones weigh 500 grams and are supremely comfortable; with a Hifiman like headband and a wide suede strap, the headphones feel weightless. At an impedance of 26 ohm and sensitivity of 95 dB/mW (110 dB/V), they are rather easy to drive. Their presentation is very holographic. In “Blind-Hearted” by Sara K., the acoustic double-bass and guitar mids had a beautiful resonance and were emotionally engaging. In “My One And Only Love” by Myrczek & Tomaszewski, soundstage was wonderfully laid out, with an organic and analog-like timbre. As an aside, it has a lovely accompanying wood stand (I am not sure whether it will be sold separately). Public release is expected shortly. I will be keeping an eye out for this one.
One of my show highlights came next. I spotted Danny McKinney from Raal and came by to say hello and to check the much-anticipated brand-new ribbon headphones, the Raal 1995 Immanis and Raal 1995 Magna. I am very happy to report that this is a case where hype and reality are wonderfully aligned. Such a spectacular achievement. I have always been appreciative of, but was never a fan, of any prior Raal headphones. The SR-1b form factor wasn’t for me, and the CA-1a didn’t stand unique enough. In contrast, these new ribbon headphones have simply blown me away. Holy s%^t, these just sound awesome!
The Magma, priced at $6,400, sport a dual ribbon; The Immanis, at $9,300, are triple ribbon. The two models are built and look quite similarly; the Magna has a somewhat smaller aural circumference and a silver-colored grill, whereas the slightly larger Immanis is gold colored. The new Raal headphones have a most welcome “normal” headphone build. Their headband could perhaps offer more cushioning, but I foresee no problem wearing them for long listening sessions.
As ribbon headphones, they have extremely low impedance (approximately 0.2 ohm) and therefore require a transformer that will provide an impedance load that your headphone amplifier expects to see and can handle. Conveniently, Raal is offering the Immanis and Magna with a converter that is conveniently placed in the base of a matching headphone stand. A cable from your amp will connect to a 4-pin XLR input on the back of the stand, and the ribbon headphones then connect to a 4-pin XLR port on its front. These converters are available at either 32 ohm load (for connecting to most common headphone amplifier) or 8 ohm load (for connecting to a speaker amp). Alternately, you can use one of Raal’s own dedicated ribbon amplifiers, such as the VM-1a, which I used on the show floor.
Both sets offer a best-in-class resolution; I suspect it may best many current TOTL headphones. Their imaging is stellar. The Immanis offers a notably more open and bigger soundstage, while the Magna has a more intimate presentation. Interestingly, Danny prefers the Magna; I prefer the Immanis. The choice is really clear along this dimension.
Given the level at which these headphones perform, and the need for a serious demo in good conditions, I arranged with Danny to get a demo unit to test it in my home chain. I hope to receive it soon and post more detailed impressions in the near future.
My next stop was ZMF. If there is one certainty at any CanJam, it is that a visit to ZMF would offer an endless selection of headphones and amplifiers, a dizzying display of craftsmanship, and new product releases. This show, ZMF showcased no less than three new products!
I first beelined toward the new ZMF Aegis amplifier. For those who aren’t aware of the back story, this wonderful amp was designed by @L0rdGwyn, an uber-talented amp designer and a great community member. Keenan has previously designed other headphone amplifiers, which he built to order in limited quantities. Those are rare in the wild these days (if you own one of his precious few Airmid OTL amps, please Imk if you ever need help taking it off your hands..). Last year, @L0rdGwyn did something exceptional. He designed a unique transformer-couple cathode follower amplifier called Aegis; and then, he not only released its design specs to the community but wrote a detailed manual how to build it and where to source all its components. He also provided ongoing help to DIY builders through the Aegis DIY thread. If you head over to that thread, you will see the immense popularity and adoption it has garnered in a span of a short year. I am a lucky owner of one of those amp (in fact, the first one which @L0rdGwyn originally built for himself). This Aegis excels in driving the Tungsten (see my review), a uniquely demanding load. It has a uniquely expansive soundstage and a very refined presentation.
It was therefore exciting to learn that Keenan teamed up with Zach to launch a commercial version of the Aegis. This excellent amplifier deserves to be enjoyed by many. Designed by @L0rdGwyn, manufactured by Cayin, and branded and sold by ZMF.. enough said. As I as demoing it, I felt at tap on my shoulder. It was nice to reconnect with @AcousticMatt and meet fellow DIY Aegis owner @mattiastomas . We were all there for to give the ZMF Aegis a spin…
The commercial Aegis has two gains tubes, two output tubes, and a rectifier tube. The gain tubes are 6SL7 type, while the output tubes include many options from the broad EL34/KT66/KT77/KT88 and 6V6/6L6 and families. A wide array of 2A rectifier tubes are compatible (GZ34/GZ32/5R4/274B) as well as some 3A rectifier (the DIY version which works only with 2A tubes). Stock tubes are Electro-Harmonix EL34 and 6SL7, and Sovtek 5AR4. Other variations from the DIY version are the inclusion of XLR and 4.4mm headphone outputs (in addition to 1/4"), and 3 output impedance options (vs. 2). The output impedance coming out of the XLR headphone out is higher than that that of the 1/4" output, yet one more dimension for fine-tune damping ratio with your headphones.
The circuit design of the DYI and commercial Aegis versions is identical, but the commercial Aegis will sport different transformers (Cayin made vs. Lundahl) and capacitors. However, they sound remarkably similar; changing tube rolling will likely be a more notable sonically than any difference the commercial and DIY versions may otherwise have.
Please note that the amp topology is single ended; however, the XLR/4.4 outputs are designed to provide more power. The ZMF Aegis will supply between 1.5 – 2.8 Watts, depending on load and headphone out used. It can drive both Tungsten and Susvara well (approx. 2W and 1.75W at their respective loads, out of the 1/4" and XLR outs, respectively).
The ZMF Aegis will launch on 5/10 and will be priced at $3,500, with early release units available at $3,200.
The new ZMF Caldera Closed (CC) is the closed-backed sibling of the beloved ZMF Caldera (open) headphones. Its launch, also on 5/10, has been highly anticipated for a long time by the ZMF community.
I tried the CC first with the Caldera Closed hybrid pads (solid suede inner rim, solid leather outer rim, and perforated leather upper rim). However, Zach has has continued to tweak these pads. The final version of the Caldera Closed pads will be similar to the Bokeh pads but thicker. I should get a demo unit shortly, so I will provide updated impressions on that separately.
After listening to the protype pads and having a chat with Zach, we did some real-time experimenting and I ended up trying the Bokeh Protein Hybrid pads, a nice discovery. If I understand correctly, these may now be offered as secondary “Caldera Closed Protein” pads. The protein pads had a kick to them, offering a hard-hitting bassy presentation along with a satisfying sub-bass rumble for those that crave it. Upper mids are more forward with these pads, which some users will find exciting. I often find Piano timbre hard to produce and a great test for timbre; I tried “Spot Fighting” by Matthew Whitaker and found it really well rendered.
I can’t wait to spend more time with these headphones soon. Even with recent releases, great closed-back planar-magnetic headphones remain an elusive pursuit.
The Caldera Closed will be priced similarly to the Caldera Open at $3,500 and will be offered with a time-limited discount at the time of release.
The last stop at ZMF was the upcoming ZMF Bokeh Open headphones. These are ZMF’s new entry-level dynamic open-back headphones. They are expected to launch late summer. At 80 ohms and 103 dB/mW sensitivity, they are very easy to drive and should be great for both home and mobile use.
I must say that I found their new design and new grill strikingly beautiful. In the words of George Takei: “Ohhh Myyy!”
I really loved them. Great sense of dynamics with an overall open feel; a bit less weight and a faster decay then ZMF average tuning, which in turn feels more airy and faster than I expected. Bass is excellent, with a punchy and fast attack. Sub-bass is less present. Upper mids are forward with engaging female vocals, such as Sinne Egg in “Talking To Myself” or Dinna Kral in “California Dreamin’”. Treble is gently rolled off in line with ZMF house sound. I found good instrument separation on complex tracks such as Terri Lyne Carrington and Natalie Cole’s beautiful cover of “Come Sunday”, and “Tank!” from the Cowboy Beppo original soundtrack, performed by The Seatbelts.
I would some these headphones in one word: fun.
I ambled out of the ZMF room back onto the main showroom and headed to Astell&Kern. I loved their prior IEM collaboration, the Vision Ear Aura, which I purchased on the spot after hearing them at CanJam Dallas. I was curious to try their new collab, the Astell&Kern x Empire Ears Novus, I demo-ed them with my SP2000 DAP, as well as with the new SP3000T. The Novus has a warmer sound signature with more of a soft decay than a hard attack. To my ears, their bass bloated and lacking in speed and definition. They simply didn’t work for me.
I shifted focus to the new Astell&Kern SP3000T DAP. I love the sound signature of my SP2000 but dislike its old and clunky UI; it’s a love/hate relationship. Every time AK has come up with a new model, I hurried to try it out, but haven’t found a worthy successor. Until now.
The SP3000T includes both a tube amp (based on a pair of Raytheon JAN6418 NOS tubes) and an op amp; it also lets the user control their mix to taste. In addition, one can control how much current flows to the tube. I quickly settled on tube amp only with high current as my preferred setting, and I was rewarded with a warm and analog sound what was both textured and refined. I loved it so much that I pre-ordered one right after the show. A new era!
I headed over to the Mimic/Viva room. It was nice to see Chris from Mimic Audio. Mimic always has some great gear. This time, the Hifiman Shangri-La Sr. headphones were available to demo. A real treat. If you ever get a chance to demo these exquisite $18,000 electrostatic headphones, I recommend doing so. They make rare appearances at shows. In a relatively quiet room, it was a great chance to revisit them. Astonishingly resolving, with great technicalities across the board, I simply let myself enjoy the moment without over analyzing it. I will just say that the Shang Sr. are wonderful. My overall experience can be summed up in: Wow.
The Shang were driven by the Viva Egoista STX electrostatic amp, with the Emm Labs DV2 DAC. The total chain has gone well into the upper 5-figure territory. Another CanJam demo moment. Viva amps always come in bold race car colors, a treat for the ears and a feast for the eyes…
It was time to visit my friend @RTodd who was manning the @MusicTeck desk for the entire show in place of Andrew who couldn’t make it. Now that’s a mensch! While we were catching up, I saw the new Canpur CP622B IEMs and gave them a spin. I found them well resolving, but the bass was a bit too light for my taste (though I didn’t find them bright by any means). I didn’t spend much time tip rolling and may need to revisit them in the future.
The day was winding down and it was time for a palate cleanser. I headed to the seminar floor to catch the final session of the day, “How To Start A Headphone Company,” by Zach and Bevin from ZMF Headphones. @zach915m and @BooUrns shared their uplifting story of ZMF’s history, and the lessons learned along the way. It was a packed room with a highly engaged audience. We left energized and inspired. And we were also hungry..
A bunch of have been planning this dinner since December. As the local resident, I recommended my personal favorite local steakhouse, Keens Steakhouse, which we reserved many weeks in advance. It was a truly magical evening filled with deep camaraderie, laughter, and joy. The incredible food and atmosphere were only bested by some belly-aching laughter when @Frankie D refused to accept @emdeevee as a Jewish Indian (not a typo), declaring him an Italian compatriot. The ROFL abbreviation was born in a moment like this (Millennials, look it up).
Clockwise left to right: @Rockwell75 @emdeevee @Zachik @goldwerger @HiFiHawaii808 @Frankie D @bigquery @bigbeans @RTodd @buke9 @wazzupi @NovaFlyer
Left to right: @bigquery @bigbeans
DAY 2
Half down, half to go, and so much more I still wanted to listen to!
I kicked the day off at Headamp. I was eager check with @justin w. on his upcoming commercial release of the CFA3. I am a former CFA3 owner (mine was built by @Dukei) and a fan of this great Kevin Gilmore circuit design. Justin had showcased previous prototypes in past CanJams. Per his latest update, it is now expected to be available in early summer.
Th Headamp CFA3 is a very powerful solid-state amplifier. It will come in two models: the base model priced at $4,000, and the Deluxe priced at $5,000. The Deluxe, which I demo-ed, has a larger transformer, two voltage regulators (vs. a single shared one), and a remote.
Housed in a compact single chassis, it can lie flat or stand vertical on its side. This class A amplifier packs a serious punch. It will provide “up to 15W @ 50 ohm”. It does get hot but not exceedingly so; a 2-3” clearance would work just fine. You can connect up to three input sources (2 XLR, 1 RCA). There is no pre out; it is designed use exclusively as a headphone amplifier. A switch up front toggles between Super Symmetry (SS) and Zero Feedback (ZF) modes (TLDR; SS is a type of negative feedback where the plus output is fed back to the negative input and the negative output is fed back to the positive input).
I gave it a listen with my Susvara. Personally, I much preferred the ZF mode with it. The Headamp CFA3 drives it beautifully; a clean and powerful amplification coupled with a lush presentation. It does not sound as aggressive as some powerful solid-stage amps may. It just sounds effortlessly pleasant.
Where my old CFA3 amp was notable for its great resolution of upper frequencies and open soundstage, the latest iteration of the Headamp CFA3 seemed to offer a more textured and weight presentation. This comparison is based on an increasing distant time interval, so take it with a nice chunky grain of salt; those were my subjective impressions at that moment.
If you are looking for a very compact and very powerful solid-state amplifier, this amp is a fantastic option that will drive anything you may ever desire.
The Spirit Torino Valkyria were at hand, so I plugged them into the amp next. Many users swear by the magic of these pricy $12,000 headphones. I have previously failed to find that magic and committed to trying again afresh. The Valkyria are exquisitely built headphones. Comfort for me is mixed, as the drivers touched my ears (not common for me) and I found them rather heavy. They sport a fixed cable, which I find a very limiting design choice; however, that irremovable cable is truly beautiful and ergonomic.
To my ears, upper mids were rendered really well, with female vocals especially enjoyable. However, I found the tuning of lower mids and bass rather wonky and unpredictable. Resolution isn’t on par with other TOTL headphones and veiled compared to the Susvara. Soundstage also felt a little diffused and lacking definition due to what felt like excessive reverb. Several community members whose ears I trust and whose taste otherwise align with mine hear the Valkyria differently. I do suspect choice of genre may play a big part. I haven’t spent enough time with them to determine that conclusively. At this point, I was eager to move on.
I headed over to Bloom Audio. It is always great to see @Andrew DiMarcangelo @stephenkostas and Matthew. It was time to try several IEMs that were my long wish list.
I started with the Campfire Audio Trifecta, which I’ve heard so much about from my Watercooler friends. I found their smaller form factor comfortable. These IEMs are very well-resolving. On “Vibin’ Out” by FKJ, I could hear the soft breaths and smack of lips of female vocalist June Marieezy. Mids are sweet and smooth. Karen Carpenter’s voice in “(They Long To Be) Close To You” was beautiful rendered. Bass was extended and a little too elevated for my taste. In “Birds” by Dominique Fils Aimé, I found the bass notes somewhat overwhelming. At the same time, treble extension is fantastic, but at times I heard a hint of a metallic tinge. Overall, for me, the Trifecta are flawed yet deliciously enjoyable IEMs. Spacious, lush, and engaging, I found them highly situational rather than a one-and-done, and likely a great addition to any collection. In my limited demo time, I found them most enjoyable with rock and funk tracks.
Next was a wonderful discovery. I tried the new Campfire Audio Fathom, of which I knew nothing. Sometimes, when you put something on, you just love it from first note. The Fathom did this for me. It’s been a long time since I’ve heard my old Andromeda 2020, which I gifted to a friend a long time ago; it’s the first CFA release that for some reason reminded me of them. Similarly, these IEMs are quite sensitive and very easy to drive. What struck me on first listen was the Fathom’s sweet and natural timbre. Even if resolution isn’t top end, it simply sounds great. Mids are gorgeous. In particular, I loved male vocals with the Fathom. Allan Taylor’s vocals on “For Those We knew” just sounded wonderful. The Fathom’s fast, crisp attack, and good dynamics, were impactfully showcased in “Lowdown” by Bozz Scaggs. That same track also showcased the Fathom’s great treble extension and instrument separation, with the high hats layered distinctly in contrast to the textured bass. I found the overall presentation sweet, rounded, a touch intimate but natural sounding. I demo-ed the Fathom without asking their price and was pleasantly surprised they were $1,050. I ended up buying a set from Bloom right after the show. It was a no-brainer impulse purchase.
As I mentioned earlier, I love the Astell&Kern x Vision Ears Aura. I was therefore curious to compare them to the Vision Ears VE10 and did so next. The Aura and VE10 are quite similar in sound (though very different in design esthetics; I prefer the Aura’s beautifully patterned gold shells). I found the VE10 to be a slightly more bassy version of the Aura, while the Aura had a slightly more neutral tuning. If you like one, you will like the other; I like them both.
FiR Audio was sharing a room with Bloom. I borrowed a couple units from @bogdan belonozhko that I was eager to demo. I started with the FiR Audio Radon 6. The Rn6 offered a cohesive presentation coupled with very good instrument separation. In “Hunting Wabbits” by Gordon Goodwin’s Big Phat Band, the numerous brass instruments were distinct and well layered. Bass sounded natural and organic. Excellent treble resolution, though slightly elevated. Switching to the FiR Audio Xenon 6, I found the Xn6 colored in an enjoyable way. A little warmer and darker, with a somewhat smaller soundstage than the Rn6, the Xn6 were quite enjoyable. It is easy to see why Fir Audio has a big following.
I headed over to the Abyss Headphones room. They brought the Riviera Labs AIC10-Bal amp. I have written about this amp in my Tungsten Review. After hearing the AIC at CanJam SoCal with both the Susvara and Tungsten, I was so blown away by this amp that I ended up buying one (something I’d never have thought was in my future a few months earlier). I’ve discovered since that the AIC10 dramatically scales the performance of many headphones, and I was especially curious to try the Abyss AB1266 Phi TC with it. I am one of those users who find the 1266’s form factor unwieldy and never managed to enjoy them properly, despite many of my good friends’ attempts to convert me. Knowing I will have a chance to potentially hear them at their amplified best was a unique opportunity. The form factor and comfort remained an issue but, for the first time, I really enjoyed listening to the 1266. They offer a truly outstanding and impactful bass. It is exaggerated, but when it hits you, you really don’t care about neutral any more. I still do find the mids a bit thin for my taste. I think the 1266/AIC10 is a killer combo for rock lovers. Probably less so for folks who have jazz and vocals higher up in their rotation. At least, that is how my preference swung.
Sunday afternoon was arriving fast, and I wanted to wrap up the show at MusicTeck with my friend Watercooler friends. @RTodd was reliably there and, sooner or later, @Rockwell75 @Frankie D and @HiFiHawaii808 converged. I leisured about, listening to a variety of wonderful IEMs, some more casually, some more attentively, while shooting the breeze with my friends and sharing our show impressions.
While at it, Todd grabbed a couple of Unique Melody sets for me from the nearby UM desk. I tried the UM Mason FS Soleil Tombé first. Very resolving and balanced tuning with an organic timbre. These are really just excellent. The UM Mason Fabled Sound followed. A bit brighter and more open than the Soleil, but the Soleil was sweeter and more textured my ears, which I preferred. Next up was the Dita Perpetua. That was another wonderful case for me of love at first sight. These single dynamic-driver IEMs just have the most gorgeous timbre. So natural. A truly organic and cohesive presentation. I didn’t plan to get a pair; but I did. They were just too good! This show was getting expensive; per my golden rule, some rigorous gear sale ensued post show to balance things out. In hindsight, my only critic for the Perpetua was its plasticky stock cable (which I since replaced with an Eletech Victoria cable; I’m very happy with that).
Oriolus Monachaa next. On the plus side, they had a very open soundstage, with a super-fast attack and great treble resolution. They really sounded great on those accounts. However, to my ears, the upper mids/presence region sounded metallic with sibilant female vocals. These were not for me. Then came the bird. We had on hand both the OG Oriolus Traillii JP as well as the new Oriolus Traillii Ti. What can I say about the bird that wasn’t already said in rivers of reviews? Nothing much. It’s amazing, a great balance of technicalities with a very natural presentation. In comparison, the new Ti is quite similar but with a touch of elevated bass to my ears. It was an adjustment that didn’t detract from anything else, but also wasn’t necessary for me. My vote goes to the OG. I guess I roll behind the times..
My last stop was at Headphones.com. I was curious to try @GoldenSound's new DAC collaboration with Ferrum, the Ferrum Wandla GoldenSound Edition. The DAC was connected to the Zähl HM1, one of the most pristine sounding amps, which is notable in getting itself out of the way, a very smart pairing. I had my Atrium Closed headphones with me for a more isolated (and familiar) listen in show conditions. Still, DACs require attentive listening over time in a quiet setting to properly be appreciate. The noisy showfloor was admittedly challenging. This DAC has several cool features that are nicely implemented. A “Tube Mode” intends to emulate the effect of tube amplification by purposefully creating even-order harmonics. When toggling this feature, my subjective impression was of a very subtle “softening” in the sound. It requires self-restraint in introducing such a feature to make it impart a touch of impact without becoming overtly notable; nicely done. The “Special Enhancement” feature allows one to select a “Headphone Mode” or “Speaker Mode” to improve special representation (which is quite different between these listening environments). I did not have speakers on hand to compare to but toggling to “HP Mode” provided a nice spatial enhancement. Last was the “Impact+” that intends to offer a more dynamic and elevated punch; ambient noise levels were too challenging for me to discern the quality of this feature, but I can see its usefulness.
The show room was closing up and folks started saying their goodbyes. A few of us who didn’t get the memo stuck around for A Last Hurrah. We headed off for one last dinner together and spent the rest of the evening concluding CanJam exactly as we started it, with laughter and camaraderie. Three days, packed full of shared experiences to feed our minds and hearts for weeks to come, yet we were getting busy planning our next get-together.. I am grateful for all my friends here in the Head-Fi community, old and new, and I can’t wait to meet you all again soon!
Left to right: @goldwerger @HiFiHawaii808 @Zachik @Frankie D
In New York City, where everything is bigger, so was CanJam NYC 2024. In fact, it was so big this year. the seminars were held on a separate floor. Drawing many vendors and a bevy of enthusiastic members from across the globe, the energy was electrifying. What a memorable weekend!
Coming into this show with a hauntingly long demo list, I had the chance to discover a lot of exciting new gear.
My show highlights this year included:
- A demo of the new, stratospherically priced and sounding Audio-Technica HPA-KG NARU headphone amplifier.
- The amazing new ribbon headphones: Raal Immanis.
- Two new releases from ZMF: Caldera Closed, the highly anticipated new closed planar headphones, and exciting new entry-level dynamic headphones, the Bokeh Open.
- The beloved Aegis DIY amplifier is launching as the new commercial model: the ZMF Aegis.
- Finally, a worthy upgrade from Astell&Kern: the new SP3000T.
- Dita Perpetua, a late yet a truly wonderful IEM discovery for me.
Left to right: @HF_Ryan @bigquery @joe @HiFiHawaii808 @third_eye @NovaFlyer @tjzurlaaa @buke9 @warrenpchi @Rockwell75 @Frankie D @bigbeans @stephenkostas @jude @goldwerger @Visceral @BooUrns @emdeevee @Andrew DiMarcangelo @Zachik @RTodd @Chang @Jack Vang @Sifo @wazzupi @twister6 @bogdan belonozhko @UniqueMelody
Per usual, a quick index so you may skip and skim to your heart’s content:
PREGAME
.
.......Audio46
- Meze Liric II (headphones – NEW)
- Dan Clark Audio E3 (headphones – NEW)
- iBasso DC Elite (mobile DAC/amp – NEW)
- Austrian Audio The Composer (headphones)
DAY 1
- Audio-Technica HPA-KG NARU (amp – NEW)
- Audio-Technica ATH-AWKG (headphones - NEW)
- Manley Labs Absolute (amp)
- Dunu Arashi (headphones - NEW)
- Raal 1995 Immanis & Magma (ribbon headphones – NEW)
- ZMF Aegis (amp – NEW)
- ZMF Caldera Closed (headphones – NEW)
- ZMF Bokeh Open (headphones – prototype)
- Astell&Kern x Empire Ears Novus (IEMs – NEW)
- Astell&Kern SP3000T (DAP – NEW)
- Hifiman Shangri-La Sr. (electrostatic headphones)
- Viva Egoista STX (electrostatic amp)
- Canpur CP622B (IEMs)
DAY 2
- Headamp CFA3 (amp – NEW)
- Spirit Torino Valkyria (headphones)
- Campfire Audio Trifecta (IEMs)
- Campfire Audio Fathom (IEMs – NEW)
- Vision Ears VE10 (IEMs – NEW)
- FiR Audio Radon 6 (IEMs)
- FiR Audio Xenon 6 (IEMs)
- Abyss AB1266 Phi TC (headphones)
- UM Mason FS Soleil Tombé (IEMs – NEW)
- UM Mason Fabled Sound (IEMs)
- Dita Perpetua (IEMs)
- Oriolus Monachaa (IEMs – NEW)
- Oriolus Traillii JP (IEMs)
- Oriolus Traillii Ti (IEMs – NEW)
- Ferrum Wandla GoldenSound Edition (DAC – NEW)
NEW denotes products released in the last 3 months (approx.)
Since all my experiences were based on listening sessions in show conditions, none of the following are product reviews; rather they are my story of the show as I have experienced it.
PREGAME
In what is now an annual tradition, some of the Watercooler group kicked off the weekend a day earlier, starting with an early morning stop at the Audio46 store in midtown Manhattan. By starting early, we took advantage of a quiet opportunity to demo some of the gear that Audio46 brought to the show for the following day. In addition, you can always expect more community members to converge on that spot, creating fun and unexpected reunions.
I was keen to try two newly released closed-back headphones. I first tried the new Meze Liric II. Beautifully crafted, like all Meze headphones, they are similar in build to the original Liric with two notable changes: the black cups have been tastefully replaced with Macassar ebony wood, and the pads can now be instantly removed and replaced magnetically (similarly to the Elite/Empyrean system). The headphones are comfortable; the cups are a bit small but deep enough for average ears. The overall presentation of the Liric II is warmer than its antecedent. Bass extends deep, but attack is soft for my taste. I also heard some sibilance when playing “Train out of Hollywood” by Judith Owen (the aspiration of female vocal “s” on this track is telling). These closed-back headphones offer an unparalleled form factor for mobile use, for which they are particularly well suited. For home use, there are probably better-tuned options at their $2,000 price point.
I next tried the Dan Clark Audio E3. Identically priced as the Liric II, these headphones have a sensitivity of 90 dB/mW, requiring serious amplification and are ideally suited for home use. These headphones are really well built. They did have a notable clamp out of the box but, with very plush pads, the overall experience is a comfortable one. Full disclosure, I am one of those rare breed of users who found the Stealth and Expanse too sterile for enjoyment. In contrast, I liked the E3 much better and found much more emotional engagement with them. I mostly enjoyed their bass and fast attack (“Mozart” by Jacques Loussier was a real dynamic treat on these headphones). However, timbre was a hit-and-miss for me; I noted this mostly in the upper mids with female vocals, which sounded thin (test tracks: (“I wish I could be traveling again” by Stacey Kent, and “Prelude to Coup de Foudre” by Brandi Disterheft). This was less pronounced with male vocals, but they were still less than perfectly natural (e.g. “Hey Laura” by Gregory Porter). The E3 would be great headphones for those who listen to mostly rhythmic genres, but less ideal for acoustic and vocals with upper mid emphasis.
The recently released iBasso DC Elite, a mobile DAC/Amp, was at hand. It is insanely good for its diminutive form factor. I stress-tested it with the above E3 headphones, a demanding load, and it performed at the level of a very good DAP. The only drawback for the DC Elite was an annoying noise when adjusting volume level (however, once set, it was dead quiet). At $500, it is an easy buy.
I wanted to revisit Austrian Audio The Composer headphones, which I first tried at CanJam SoCal when they were first launched. These headphones are very light, well built, and really comfortable. My only gripe here is the use of a new proprietary cable termination (why, oh why?
); the stock cable supplied is reasonably serviceable. Sonically, these $2,700 headphones have some great technicalities. Bass is very accurate, and timbre across the bass and lower mids is just fantastic (male vocals on “These Bones” by The Fairfield Four was a wonderful listen). Upper mids may get a touch sibilant, but timbre is otherwise natural (Till Brönner’s trumpet on “A Thousand Kisses Deep” is accurately rendered). However, I did find the treble elevation exaggerated; I imagine this may be an issue for some users that are treble sensitive. Soundstage and instrument separation where both good (in “Hotel California (Live On MTV 1994)” by the Eagles, there is a great feel of the venue, with great clarity of the drums, bass, amplified acoustic guitars, and vocals). Austrian Audio was started by the original Austrian engineers of AKG headphones. If you like AKG headphones, you would love The Composer.
It was time to say goodbye to our generous Audio46 hosts, @Terco and Tony K. Picking up a small posse on the way uptown, we headed out for our next event of the day..
Left to right: @HiFiHawaii808 @NovaFlyer @goldwerger @Zachik
Over time, CanJams have become, first and foremost, a social event and an opportunity to connect with dear friends. Now a tradition, I hosted many Head-Fi friends Friday afternoon in what has bow been amusing dubbed “EyalJam”
. To be sure, music and gear were plenty afoot, but we mostly just wiled the time enjoying each other’s company as early afternoon delightfully stretched into evening..
Clockwise from top left: @RTodd @bigbeans @Frankie D @bigquery @NovaFlyer @buke9 @Zachik @L0rdGwyn Sam @HiFiHawaii808 @zach915m @goldwerger @Tulon @cangle
For dinner, we headed for some great Italian food at Becco. En route, we picked up some of Watercooler bodies who just arrived in town. With pasta refills flowing, spirits where at an ultimate high (as much as our centers of gravity where at an ultimate low):
Left to right: @Rockwell75 @RTodd @Frankie D @HiFiHawaii808 @emdeevee @Zachik @goldwerger
@emdeevee brought his A game
We’ve already jam-packed a glorious full day and CanJam hasn’t even started. With such a kickoff, I woke up Saturday morning on a high, ready to concur the day!
DAY 1
Of all CanJams, NYC tends to have the most new product releases, and this show was no exception. With a long list of gear to demo, I was super excited for the day!
My first appointment was off the show floor. I headed up to Audio-Technica’s private suite to demo their new $108,000 (not a typo!) Audio-Technica HPA-KG NARU headphone amplifier along with their new Audio-Technica ATH-AWKG headphones, priced at $4,200 (when bundled with the amp, the headphone model is called AW-KG NARU; more details below).
Both the amplifier and headphones are made of the precious Kurogaki wood, aka black persimmon. This exceedingly rare wood is highly prized in Japan and is sourced and processed at great expense. Given the scarcity of wood, these limited-edition models are expected to be available in limited supply. Approximately 100 headphones were sold worldwide (15 of which in the US). Moving forward, their availability will be based on limited runs based on whether/when Kurogaki wood could become available. Of the tube amplifier, a stratospheric mouthwatering masterpiece, only 15 units were made to date, and all were sold (excepting the unit on demo). This will be made-to-order moving forward.
As preface, a little side story of how I got to know the Audio-Technica ATH-AWKG headphones and their current pad configuration. My first encounter was at CanJam SoCal last year, when Audio-Technica brought the announced, but not yet released, AWKG headphones to demo. When I first tried them, they were lacking in bass and were overly bright. It immediately triggered an idea. I own the Audio-Technica L5000, which originally exhibited the same issues until I modded them with a very satisfying pad replacement. I asked permission to borrow the AWKG headphones for moment and went over to the ZMF room and asked Zach to borrow a pair of ZMF Solid Universe Hybrid pads. Refitted with those, the AWKG transformed and offered a wonderfully full and lush presentation with a great mid bass. The reaction of everyone on the spot at the moment was memorable. I was later delighted to learn that Audio-Technica decided to include these ZMF pads as a bundled addition with the AWKG headphones. I loved this combo so much that I ended up purchasing a set for myself.
As to the spectacular new Audio-Technica HPA-KG NARU, the AT team offered an exquisite listening experience. As far as build and design, it surpasses any superlative. No picture can fully capture its astounding craftsmanship. The NARU amp is a transformer-coupled push-pull amplifier based on 4 x Takatsuki TA-300B output tubes, 2 x JJ ECC83S gain tubes, and 2 x GZ34S rectifier tubes.
In Japanese mythology, NARU is short for Narukami, the god of lightning, thunder, and storms. I first tried this heavenly amp with the Kurogaki headphones I was now well-familiar with. When one buys this amplifier, the headphones are included (it’s a steal!) and are designated “AW-KG NARU”. The only difference between the standalone headphone model and the bundled model is a change in impedance, increased from 48 to 60 ohm for an ideal damping ratio in use with this specific amplifier.
Needless to say, this pairing was great. In “Blind-Hearted” by Sara K., the double bass was rendered with beautiful resonance and a very wide soundstage.
But I wanted to focus on the amplifier, so I pulled out my Susvara headphones and tried them with it. The NARU amp may be the only amplifier that have inched past what, for me, is the ultimate Susvara complement, the Riviera AIC10. It exhibited superb control of the Susvara’s drivers, along with a wonderful resonance which offers richness and texture.
A tidbit of unrelated industry news:
Chatting with the AT team, I learned that they will be launching two new higher-end headphone models later this year around SoCal 2024: one of which will be positioned above, and one below, the current ADX5000.
The demo was over. It was time to hit the show floor!
Right at the entrance, Qobuz had a table with the Manley Labs Absolute amplifier, which I’ve always been curious to try. A transformer-coupled tube amp, it has a unique vertical form factor that can also double as a headphone stand; a creative solution for anyone who is looking for tube amping in a limited desktop footprint. It includes single-ended preamp out and an RF remote control. The headphone ports are inconveniently placed in the back, a curious design choice.
The amp has some h cool and unusual features to let one shape sound, including switching between single-ended and push-pull topology, a feedback knob that lets you control how much negative feedback is applied (from 0 to 10 dB), and an old-school bass and treble EQ knobs (which can be bypassed). There is also a mono switch button for anyone who uses LP mono records. However, it is a rather weak amplifier. It cannot drive the Susvara (practically inaudible), and nearly maxes out with the Atrium Close, which is not a hard load. I would therefore recommend this for use only with sensitive headphones.
With the AC, the amp was a little harsh and sibilant in the upper mids. At $5,500 it faced stiff competition. It is best suited for those who value its small form factor and great functionality, use more sensitive headphones and, perhaps, lean toward music that is less acoustic or mid centric.
As I walked off, I bumped into @skeeb23 and Bri who were just entering the show floor. It was nice to reconnect with Ryan and very nice to meet his partner. What a rare sight in our hobby to see a couple who are both enthusiasts. May there be more!
Next stop was Dunu. I first tried their new Dunu Arashi headphones at CanJam Dallas where they were presented in their near final form. I was quite impressed with Dunu’s first foray into headphones and was happy to now demo their release version at the show. Priced at $1,399, these new planar-magnetic headphones are going after an increasingly competitive market segment. The headphones weigh 500 grams and are supremely comfortable; with a Hifiman like headband and a wide suede strap, the headphones feel weightless. At an impedance of 26 ohm and sensitivity of 95 dB/mW (110 dB/V), they are rather easy to drive. Their presentation is very holographic. In “Blind-Hearted” by Sara K., the acoustic double-bass and guitar mids had a beautiful resonance and were emotionally engaging. In “My One And Only Love” by Myrczek & Tomaszewski, soundstage was wonderfully laid out, with an organic and analog-like timbre. As an aside, it has a lovely accompanying wood stand (I am not sure whether it will be sold separately). Public release is expected shortly. I will be keeping an eye out for this one.
One of my show highlights came next. I spotted Danny McKinney from Raal and came by to say hello and to check the much-anticipated brand-new ribbon headphones, the Raal 1995 Immanis and Raal 1995 Magna. I am very happy to report that this is a case where hype and reality are wonderfully aligned. Such a spectacular achievement. I have always been appreciative of, but was never a fan, of any prior Raal headphones. The SR-1b form factor wasn’t for me, and the CA-1a didn’t stand unique enough. In contrast, these new ribbon headphones have simply blown me away. Holy s%^t, these just sound awesome!
The Magma, priced at $6,400, sport a dual ribbon; The Immanis, at $9,300, are triple ribbon. The two models are built and look quite similarly; the Magna has a somewhat smaller aural circumference and a silver-colored grill, whereas the slightly larger Immanis is gold colored. The new Raal headphones have a most welcome “normal” headphone build. Their headband could perhaps offer more cushioning, but I foresee no problem wearing them for long listening sessions.
As ribbon headphones, they have extremely low impedance (approximately 0.2 ohm) and therefore require a transformer that will provide an impedance load that your headphone amplifier expects to see and can handle. Conveniently, Raal is offering the Immanis and Magna with a converter that is conveniently placed in the base of a matching headphone stand. A cable from your amp will connect to a 4-pin XLR input on the back of the stand, and the ribbon headphones then connect to a 4-pin XLR port on its front. These converters are available at either 32 ohm load (for connecting to most common headphone amplifier) or 8 ohm load (for connecting to a speaker amp). Alternately, you can use one of Raal’s own dedicated ribbon amplifiers, such as the VM-1a, which I used on the show floor.
Both sets offer a best-in-class resolution; I suspect it may best many current TOTL headphones. Their imaging is stellar. The Immanis offers a notably more open and bigger soundstage, while the Magna has a more intimate presentation. Interestingly, Danny prefers the Magna; I prefer the Immanis. The choice is really clear along this dimension.
Given the level at which these headphones perform, and the need for a serious demo in good conditions, I arranged with Danny to get a demo unit to test it in my home chain. I hope to receive it soon and post more detailed impressions in the near future.
My next stop was ZMF. If there is one certainty at any CanJam, it is that a visit to ZMF would offer an endless selection of headphones and amplifiers, a dizzying display of craftsmanship, and new product releases. This show, ZMF showcased no less than three new products!
I first beelined toward the new ZMF Aegis amplifier. For those who aren’t aware of the back story, this wonderful amp was designed by @L0rdGwyn, an uber-talented amp designer and a great community member. Keenan has previously designed other headphone amplifiers, which he built to order in limited quantities. Those are rare in the wild these days (if you own one of his precious few Airmid OTL amps, please Imk if you ever need help taking it off your hands..
). Last year, @L0rdGwyn did something exceptional. He designed a unique transformer-couple cathode follower amplifier called Aegis; and then, he not only released its design specs to the community but wrote a detailed manual how to build it and where to source all its components. He also provided ongoing help to DIY builders through the Aegis DIY thread. If you head over to that thread, you will see the immense popularity and adoption it has garnered in a span of a short year. I am a lucky owner of one of those amp (in fact, the first one which @L0rdGwyn originally built for himself). This Aegis excels in driving the Tungsten (see my review), a uniquely demanding load. It has a uniquely expansive soundstage and a very refined presentation.It was therefore exciting to learn that Keenan teamed up with Zach to launch a commercial version of the Aegis. This excellent amplifier deserves to be enjoyed by many. Designed by @L0rdGwyn, manufactured by Cayin, and branded and sold by ZMF.. enough said. As I as demoing it, I felt at tap on my shoulder. It was nice to reconnect with @AcousticMatt and meet fellow DIY Aegis owner @mattiastomas . We were all there for to give the ZMF Aegis a spin…
The commercial Aegis has two gains tubes, two output tubes, and a rectifier tube. The gain tubes are 6SL7 type, while the output tubes include many options from the broad EL34/KT66/KT77/KT88 and 6V6/6L6 and families. A wide array of 2A rectifier tubes are compatible (GZ34/GZ32/5R4/274B) as well as some 3A rectifier (the DIY version which works only with 2A tubes). Stock tubes are Electro-Harmonix EL34 and 6SL7, and Sovtek 5AR4. Other variations from the DIY version are the inclusion of XLR and 4.4mm headphone outputs (in addition to 1/4"), and 3 output impedance options (vs. 2). The output impedance coming out of the XLR headphone out is higher than that that of the 1/4" output, yet one more dimension for fine-tune damping ratio with your headphones.
The circuit design of the DYI and commercial Aegis versions is identical, but the commercial Aegis will sport different transformers (Cayin made vs. Lundahl) and capacitors. However, they sound remarkably similar; changing tube rolling will likely be a more notable sonically than any difference the commercial and DIY versions may otherwise have.
Please note that the amp topology is single ended; however, the XLR/4.4 outputs are designed to provide more power. The ZMF Aegis will supply between 1.5 – 2.8 Watts, depending on load and headphone out used. It can drive both Tungsten and Susvara well (approx. 2W and 1.75W at their respective loads, out of the 1/4" and XLR outs, respectively).
The ZMF Aegis will launch on 5/10 and will be priced at $3,500, with early release units available at $3,200.
The new ZMF Caldera Closed (CC) is the closed-backed sibling of the beloved ZMF Caldera (open) headphones. Its launch, also on 5/10, has been highly anticipated for a long time by the ZMF community.
I tried the CC first with the Caldera Closed hybrid pads (solid suede inner rim, solid leather outer rim, and perforated leather upper rim). However, Zach has has continued to tweak these pads. The final version of the Caldera Closed pads will be similar to the Bokeh pads but thicker. I should get a demo unit shortly, so I will provide updated impressions on that separately.
After listening to the protype pads and having a chat with Zach, we did some real-time experimenting and I ended up trying the Bokeh Protein Hybrid pads, a nice discovery. If I understand correctly, these may now be offered as secondary “Caldera Closed Protein” pads. The protein pads had a kick to them, offering a hard-hitting bassy presentation along with a satisfying sub-bass rumble for those that crave it. Upper mids are more forward with these pads, which some users will find exciting. I often find Piano timbre hard to produce and a great test for timbre; I tried “Spot Fighting” by Matthew Whitaker and found it really well rendered.
I can’t wait to spend more time with these headphones soon. Even with recent releases, great closed-back planar-magnetic headphones remain an elusive pursuit.
The Caldera Closed will be priced similarly to the Caldera Open at $3,500 and will be offered with a time-limited discount at the time of release.
The last stop at ZMF was the upcoming ZMF Bokeh Open headphones. These are ZMF’s new entry-level dynamic open-back headphones. They are expected to launch late summer. At 80 ohms and 103 dB/mW sensitivity, they are very easy to drive and should be great for both home and mobile use.
I must say that I found their new design and new grill strikingly beautiful. In the words of George Takei: “Ohhh Myyy!”
I really loved them. Great sense of dynamics with an overall open feel; a bit less weight and a faster decay then ZMF average tuning, which in turn feels more airy and faster than I expected. Bass is excellent, with a punchy and fast attack. Sub-bass is less present. Upper mids are forward with engaging female vocals, such as Sinne Egg in “Talking To Myself” or Dinna Kral in “California Dreamin’”. Treble is gently rolled off in line with ZMF house sound. I found good instrument separation on complex tracks such as Terri Lyne Carrington and Natalie Cole’s beautiful cover of “Come Sunday”, and “Tank!” from the Cowboy Beppo original soundtrack, performed by The Seatbelts.
I would some these headphones in one word: fun.
I ambled out of the ZMF room back onto the main showroom and headed to Astell&Kern. I loved their prior IEM collaboration, the Vision Ear Aura, which I purchased on the spot after hearing them at CanJam Dallas. I was curious to try their new collab, the Astell&Kern x Empire Ears Novus, I demo-ed them with my SP2000 DAP, as well as with the new SP3000T. The Novus has a warmer sound signature with more of a soft decay than a hard attack. To my ears, their bass bloated and lacking in speed and definition. They simply didn’t work for me.
I shifted focus to the new Astell&Kern SP3000T DAP. I love the sound signature of my SP2000 but dislike its old and clunky UI; it’s a love/hate relationship. Every time AK has come up with a new model, I hurried to try it out, but haven’t found a worthy successor. Until now.
The SP3000T includes both a tube amp (based on a pair of Raytheon JAN6418 NOS tubes) and an op amp; it also lets the user control their mix to taste. In addition, one can control how much current flows to the tube. I quickly settled on tube amp only with high current as my preferred setting, and I was rewarded with a warm and analog sound what was both textured and refined. I loved it so much that I pre-ordered one right after the show. A new era!
I headed over to the Mimic/Viva room. It was nice to see Chris from Mimic Audio. Mimic always has some great gear. This time, the Hifiman Shangri-La Sr. headphones were available to demo. A real treat. If you ever get a chance to demo these exquisite $18,000 electrostatic headphones, I recommend doing so. They make rare appearances at shows. In a relatively quiet room, it was a great chance to revisit them. Astonishingly resolving, with great technicalities across the board, I simply let myself enjoy the moment without over analyzing it. I will just say that the Shang Sr. are wonderful. My overall experience can be summed up in: Wow.
The Shang were driven by the Viva Egoista STX electrostatic amp, with the Emm Labs DV2 DAC. The total chain has gone well into the upper 5-figure territory. Another CanJam demo moment. Viva amps always come in bold race car colors, a treat for the ears and a feast for the eyes…
It was time to visit my friend @RTodd who was manning the @MusicTeck desk for the entire show in place of Andrew who couldn’t make it. Now that’s a mensch! While we were catching up, I saw the new Canpur CP622B IEMs and gave them a spin. I found them well resolving, but the bass was a bit too light for my taste (though I didn’t find them bright by any means). I didn’t spend much time tip rolling and may need to revisit them in the future.
The day was winding down and it was time for a palate cleanser. I headed to the seminar floor to catch the final session of the day, “How To Start A Headphone Company,” by Zach and Bevin from ZMF Headphones. @zach915m and @BooUrns shared their uplifting story of ZMF’s history, and the lessons learned along the way. It was a packed room with a highly engaged audience. We left energized and inspired. And we were also hungry..
A bunch of have been planning this dinner since December. As the local resident, I recommended my personal favorite local steakhouse, Keens Steakhouse, which we reserved many weeks in advance. It was a truly magical evening filled with deep camaraderie, laughter, and joy. The incredible food and atmosphere were only bested by some belly-aching laughter when @Frankie D refused to accept @emdeevee as a Jewish Indian (not a typo), declaring him an Italian compatriot. The ROFL abbreviation was born in a moment like this (Millennials, look it up).
Clockwise left to right: @Rockwell75 @emdeevee @Zachik @goldwerger @HiFiHawaii808 @Frankie D @bigquery @bigbeans @RTodd @buke9 @wazzupi @NovaFlyer
Left to right: @bigquery @bigbeans
DAY 2
Half down, half to go, and so much more I still wanted to listen to!
I kicked the day off at Headamp. I was eager check with @justin w. on his upcoming commercial release of the CFA3. I am a former CFA3 owner (mine was built by @Dukei) and a fan of this great Kevin Gilmore circuit design. Justin had showcased previous prototypes in past CanJams. Per his latest update, it is now expected to be available in early summer.
Th Headamp CFA3 is a very powerful solid-state amplifier. It will come in two models: the base model priced at $4,000, and the Deluxe priced at $5,000. The Deluxe, which I demo-ed, has a larger transformer, two voltage regulators (vs. a single shared one), and a remote.
Housed in a compact single chassis, it can lie flat or stand vertical on its side. This class A amplifier packs a serious punch. It will provide “up to 15W @ 50 ohm”. It does get hot but not exceedingly so; a 2-3” clearance would work just fine. You can connect up to three input sources (2 XLR, 1 RCA). There is no pre out; it is designed use exclusively as a headphone amplifier. A switch up front toggles between Super Symmetry (SS) and Zero Feedback (ZF) modes (TLDR; SS is a type of negative feedback where the plus output is fed back to the negative input and the negative output is fed back to the positive input).
I gave it a listen with my Susvara. Personally, I much preferred the ZF mode with it. The Headamp CFA3 drives it beautifully; a clean and powerful amplification coupled with a lush presentation. It does not sound as aggressive as some powerful solid-stage amps may. It just sounds effortlessly pleasant.
Where my old CFA3 amp was notable for its great resolution of upper frequencies and open soundstage, the latest iteration of the Headamp CFA3 seemed to offer a more textured and weight presentation. This comparison is based on an increasing distant time interval, so take it with a nice chunky grain of salt; those were my subjective impressions at that moment.
If you are looking for a very compact and very powerful solid-state amplifier, this amp is a fantastic option that will drive anything you may ever desire.
The Spirit Torino Valkyria were at hand, so I plugged them into the amp next. Many users swear by the magic of these pricy $12,000 headphones. I have previously failed to find that magic and committed to trying again afresh. The Valkyria are exquisitely built headphones. Comfort for me is mixed, as the drivers touched my ears (not common for me) and I found them rather heavy. They sport a fixed cable, which I find a very limiting design choice; however, that irremovable cable is truly beautiful and ergonomic.
To my ears, upper mids were rendered really well, with female vocals especially enjoyable. However, I found the tuning of lower mids and bass rather wonky and unpredictable. Resolution isn’t on par with other TOTL headphones and veiled compared to the Susvara. Soundstage also felt a little diffused and lacking definition due to what felt like excessive reverb. Several community members whose ears I trust and whose taste otherwise align with mine hear the Valkyria differently. I do suspect choice of genre may play a big part. I haven’t spent enough time with them to determine that conclusively. At this point, I was eager to move on.
I headed over to Bloom Audio. It is always great to see @Andrew DiMarcangelo @stephenkostas and Matthew. It was time to try several IEMs that were my long wish list.
I started with the Campfire Audio Trifecta, which I’ve heard so much about from my Watercooler friends. I found their smaller form factor comfortable. These IEMs are very well-resolving. On “Vibin’ Out” by FKJ, I could hear the soft breaths and smack of lips of female vocalist June Marieezy. Mids are sweet and smooth. Karen Carpenter’s voice in “(They Long To Be) Close To You” was beautiful rendered. Bass was extended and a little too elevated for my taste. In “Birds” by Dominique Fils Aimé, I found the bass notes somewhat overwhelming. At the same time, treble extension is fantastic, but at times I heard a hint of a metallic tinge. Overall, for me, the Trifecta are flawed yet deliciously enjoyable IEMs. Spacious, lush, and engaging, I found them highly situational rather than a one-and-done, and likely a great addition to any collection. In my limited demo time, I found them most enjoyable with rock and funk tracks.
Next was a wonderful discovery. I tried the new Campfire Audio Fathom, of which I knew nothing. Sometimes, when you put something on, you just love it from first note. The Fathom did this for me. It’s been a long time since I’ve heard my old Andromeda 2020, which I gifted to a friend a long time ago; it’s the first CFA release that for some reason reminded me of them. Similarly, these IEMs are quite sensitive and very easy to drive. What struck me on first listen was the Fathom’s sweet and natural timbre. Even if resolution isn’t top end, it simply sounds great. Mids are gorgeous. In particular, I loved male vocals with the Fathom. Allan Taylor’s vocals on “For Those We knew” just sounded wonderful. The Fathom’s fast, crisp attack, and good dynamics, were impactfully showcased in “Lowdown” by Bozz Scaggs. That same track also showcased the Fathom’s great treble extension and instrument separation, with the high hats layered distinctly in contrast to the textured bass. I found the overall presentation sweet, rounded, a touch intimate but natural sounding. I demo-ed the Fathom without asking their price and was pleasantly surprised they were $1,050. I ended up buying a set from Bloom right after the show. It was a no-brainer impulse purchase.
As I mentioned earlier, I love the Astell&Kern x Vision Ears Aura. I was therefore curious to compare them to the Vision Ears VE10 and did so next. The Aura and VE10 are quite similar in sound (though very different in design esthetics; I prefer the Aura’s beautifully patterned gold shells). I found the VE10 to be a slightly more bassy version of the Aura, while the Aura had a slightly more neutral tuning. If you like one, you will like the other; I like them both.
FiR Audio was sharing a room with Bloom. I borrowed a couple units from @bogdan belonozhko that I was eager to demo. I started with the FiR Audio Radon 6. The Rn6 offered a cohesive presentation coupled with very good instrument separation. In “Hunting Wabbits” by Gordon Goodwin’s Big Phat Band, the numerous brass instruments were distinct and well layered. Bass sounded natural and organic. Excellent treble resolution, though slightly elevated. Switching to the FiR Audio Xenon 6, I found the Xn6 colored in an enjoyable way. A little warmer and darker, with a somewhat smaller soundstage than the Rn6, the Xn6 were quite enjoyable. It is easy to see why Fir Audio has a big following.
I headed over to the Abyss Headphones room. They brought the Riviera Labs AIC10-Bal amp. I have written about this amp in my Tungsten Review. After hearing the AIC at CanJam SoCal with both the Susvara and Tungsten, I was so blown away by this amp that I ended up buying one (something I’d never have thought was in my future a few months earlier). I’ve discovered since that the AIC10 dramatically scales the performance of many headphones, and I was especially curious to try the Abyss AB1266 Phi TC with it. I am one of those users who find the 1266’s form factor unwieldy and never managed to enjoy them properly, despite many of my good friends’ attempts to convert me. Knowing I will have a chance to potentially hear them at their amplified best was a unique opportunity. The form factor and comfort remained an issue but, for the first time, I really enjoyed listening to the 1266. They offer a truly outstanding and impactful bass. It is exaggerated, but when it hits you, you really don’t care about neutral any more
. I still do find the mids a bit thin for my taste. I think the 1266/AIC10 is a killer combo for rock lovers. Probably less so for folks who have jazz and vocals higher up in their rotation. At least, that is how my preference swung.
Sunday afternoon was arriving fast, and I wanted to wrap up the show at MusicTeck with my friend Watercooler friends. @RTodd was reliably there and, sooner or later, @Rockwell75 @Frankie D and @HiFiHawaii808 converged. I leisured about, listening to a variety of wonderful IEMs, some more casually, some more attentively, while shooting the breeze with my friends and sharing our show impressions.
While at it, Todd grabbed a couple of Unique Melody sets for me from the nearby UM desk. I tried the UM Mason FS Soleil Tombé first. Very resolving and balanced tuning with an organic timbre. These are really just excellent. The UM Mason Fabled Sound followed. A bit brighter and more open than the Soleil, but the Soleil was sweeter and more textured my ears, which I preferred. Next up was the Dita Perpetua. That was another wonderful case for me of love at first sight. These single dynamic-driver IEMs just have the most gorgeous timbre. So natural. A truly organic and cohesive presentation. I didn’t plan to get a pair; but I did. They were just too good! This show was getting expensive; per my golden rule, some rigorous gear sale ensued post show to balance things out. In hindsight, my only critic for the Perpetua was its plasticky stock cable (which I since replaced with an Eletech Victoria cable; I’m very happy with that).
Oriolus Monachaa next. On the plus side, they had a very open soundstage, with a super-fast attack and great treble resolution. They really sounded great on those accounts. However, to my ears, the upper mids/presence region sounded metallic with sibilant female vocals. These were not for me. Then came the bird. We had on hand both the OG Oriolus Traillii JP as well as the new Oriolus Traillii Ti. What can I say about the bird that wasn’t already said in rivers of reviews? Nothing much. It’s amazing, a great balance of technicalities with a very natural presentation. In comparison, the new Ti is quite similar but with a touch of elevated bass to my ears. It was an adjustment that didn’t detract from anything else, but also wasn’t necessary for me. My vote goes to the OG. I guess I roll behind the times..
My last stop was at Headphones.com. I was curious to try @GoldenSound's new DAC collaboration with Ferrum, the Ferrum Wandla GoldenSound Edition. The DAC was connected to the Zähl HM1, one of the most pristine sounding amps, which is notable in getting itself out of the way, a very smart pairing. I had my Atrium Closed headphones with me for a more isolated (and familiar) listen in show conditions. Still, DACs require attentive listening over time in a quiet setting to properly be appreciate. The noisy showfloor was admittedly challenging. This DAC has several cool features that are nicely implemented. A “Tube Mode” intends to emulate the effect of tube amplification by purposefully creating even-order harmonics. When toggling this feature, my subjective impression was of a very subtle “softening” in the sound. It requires self-restraint in introducing such a feature to make it impart a touch of impact without becoming overtly notable; nicely done. The “Special Enhancement” feature allows one to select a “Headphone Mode” or “Speaker Mode” to improve special representation (which is quite different between these listening environments). I did not have speakers on hand to compare to but toggling to “HP Mode” provided a nice spatial enhancement. Last was the “Impact+” that intends to offer a more dynamic and elevated punch; ambient noise levels were too challenging for me to discern the quality of this feature, but I can see its usefulness.
The show room was closing up and folks started saying their goodbyes. A few of us who didn’t get the memo stuck around for A Last Hurrah. We headed off for one last dinner together and spent the rest of the evening concluding CanJam exactly as we started it, with laughter and camaraderie. Three days, packed full of shared experiences to feed our minds and hearts for weeks to come, yet we were getting busy planning our next get-together.. I am grateful for all my friends here in the Head-Fi community, old and new, and I can’t wait to meet you all again soon!
Left to right: @goldwerger @HiFiHawaii808 @Zachik @Frankie D
Last edited: