Mad Lust Envy's Headphone Gaming Guide: (8/18/2022: iFi GO Blu Review Added)
Dec 9, 2020 at 12:55 PM Post #45,901 of 48,568
Hi everyone. Just got a PS5 and having some issues. I use the Sennheiser Game One headphones and a very old Mixamp PRO. I also have a 48 OLED CX series I just bought because I knew it would have HDMI 2.1 and optical. I ended up plugging in the mixamp to the rear USB and the optical to my TV. I initially had the PS5 in Dolby Digital but directional sound was poor. I changed it to Linear PCM and it sounded a bit more directional but not nearly as good as the PS4. Also chat sounds echoey if that makes sense. Any idea how I can get this setup to work? I would prefer not to go wireless and deal with the issues and loss of quality that presents. Thanks!
 
Dec 9, 2020 at 1:10 PM Post #45,902 of 48,568
Hi everyone. Just got a PS5 and having some issues. I use the Sennheiser Game One headphones and a very old Mixamp PRO. I also have a 48 OLED CX series I just bought because I knew it would have HDMI 2.1 and optical. I ended up plugging in the mixamp to the rear USB and the optical to my TV. I initially had the PS5 in Dolby Digital but directional sound was poor. I changed it to Linear PCM and it sounded a bit more directional but not nearly as good as the PS4. Also chat sounds echoey if that makes sense. Any idea how I can get this setup to work? I would prefer not to go wireless and deal with the issues and loss of quality that presents. Thanks!

Was the PS5 set to output to HDMI or USB? In your case I would think you need to output to HDMI. You also need to make sure your TV pass through the digital signal properly. On my Sony, I need to set the TV to output to "Audio SYstem" (and not TV speakers) else the sound comes out in stereo through the optical out.
 
Dec 9, 2020 at 1:35 PM Post #45,903 of 48,568
Hi everyone. Just got a PS5 and having some issues. I use the Sennheiser Game One headphones and a very old Mixamp PRO. I also have a 48 OLED CX series I just bought because I knew it would have HDMI 2.1 and optical. I ended up plugging in the mixamp to the rear USB and the optical to my TV. I initially had the PS5 in Dolby Digital but directional sound was poor. I changed it to Linear PCM and it sounded a bit more directional but not nearly as good as the PS4. Also chat sounds echoey if that makes sense. Any idea how I can get this setup to work? I would prefer not to go wireless and deal with the issues and loss of quality that presents. Thanks!
As the poster above has said.

You must set the PS5 to output via HDMI to the TV
You must also set the audio to bitstream Dolby on the PS5 audio settings

On the TV side of things, my CX by default was set to pcm, ensure you change this. Go into the audio settings on the LG CX firstly make sure it's set to Optical. Then make sure you have set the audio to pass-through and not PCM.

As an aside, if you decide to use 3D audio via USB remember to disable DH on mixamp

If set correctly it should sound pretty much the same as it did on PS4 - that was my experience anyway
 
Last edited:
Dec 9, 2020 at 1:38 PM Post #45,904 of 48,568
As the poster above has said.

You must set the PS5 to output via HDMI to the TV
You must also set the audio to bitstream Dolby on the PS5 audio settings

On the TV side of things, my CX by default was set to pcm, ensure you change this. Go into the audio settings on the LG CX firstly make sure it's set to Optical. Then make sure you have set the audio to pass-through and not PCM.

Also make sure the ps5 3d audio is disabled when you're using the DH function of the mixamp

If set correctly it should sound pretty much the same as it did on PS4 - that was my experience anyway
I will try all of this tonight when I get home from work, thank you!
 
Dec 9, 2020 at 1:46 PM Post #45,905 of 48,568
As the poster above has said.

You must set the PS5 to output via HDMI to the TV
You must also set the audio to bitstream Dolby on the PS5 audio settings

On the TV side of things, my CX by default was set to pcm, ensure you change this. Go into the audio settings on the LG CX firstly make sure it's set to Optical. Then make sure you have set the audio to pass-through and not PCM.

Also make sure the ps5 3d audio is disabled when you're using the DH function of the mixamp

If set correctly it should sound pretty much the same as it did on PS4 - that was my experience anyway

You don't really need to disable 3D audio since it will be disabled when you select "Output to HDMI".
 
Dec 9, 2020 at 6:21 PM Post #45,908 of 48,568
You don't really need to disable 3D audio since it will be disabled when you select "Output to HDMI".
I meant to say for USB, sorry. Via hdmi tempest is disabled -but when connected mixamp via USB you had the echoey chat sounds, it's likely double processing from tempest and then by dolby headphone.

So if you decide to use tempest audio via USB to mixamp, remember to diable DH on the amp otherwise it tends to sound rather bad
 
Dec 9, 2020 at 6:49 PM Post #45,909 of 48,568
I meant to say for USB, sorry. Via hdmi tempest is disabled -but when connected mixamp via USB you had the echoey chat sounds, it's likely double processing from tempest and then by dolby headphone.

So if you decide to use tempest audio via USB to mixamp, remember to diable DH on the amp otherwise it tends to sound rather bad

Oh ok. I didn't know the Astro MixAmp worked through USB.
 
Dec 10, 2020 at 5:57 AM Post #45,911 of 48,568
Oh ok. I didn't know the Astro MixAmp worked through USB.
That's what I use for the 3D audio atm, it's detected by the PS5. And to me it sounds better than connecting to the dualsense, which is crazy as the mixamp itself is weak

I am curious though, what volume do you set on the PS5 UI? I'm currently setting it to max and then adjusting volume on my mixamp according to my needs
 
Dec 10, 2020 at 7:57 AM Post #45,912 of 48,568
That's what I use for the 3D audio atm, it's detected by the PS5. And to me it sounds better than connecting to the dualsense, which is crazy as the mixamp itself is weak

I am curious though, what volume do you set on the PS5 UI? I'm currently setting it to max and then adjusting volume on my mixamp according to my needs

If you are referring to me using the G6, the volume on the PS5 is almost to the max and I believe the G6 is about halfway through. Its on Lo-Gain using 80ohms BeyerDynamics. It,s loud enough. I can't imagine someone playing louder than that. They will screw their hearing within 10 years. I would say it's almost as loud as a movie theater (but not a Christopher Nolan movie which are always too loud :wink:.

Note that whenever I power up the PS5, the volume of the G6 reverts to a very low volume.
 
Dec 10, 2020 at 9:42 AM Post #45,913 of 48,568
Latest Updates

12-3-3030


Audeze Penrose Review Added (CLICK HERE)

10-27-2020

Drop x HiFiMAN HE-5XX Full Review Added (CLICK HERE)

9-21-2020

Sennheiser PC38X Full Review ADDED (CLICK HERE)

8-7-2020


Sennheiser HD6XX Review added (click here for main review with all images)

3-10-2020

Ok guys, so I have made a substantial update...

Audeze LCD-1 Review (added update in the build quality/cups section. Minor entry talking about Audeze having fixed the cable entries.)

Audeze Mobius Review (added optional Cryo Pads entry in the review's accessories section. Please read, it's quite a bit.) I'll likely take some pics of the pads a little later.

Images (took me MANY HOURS TO DO THIS). Fixed all the broken image links on the first guide post, and added back many missing images, (though could not add all of them). For the more recent reviews, ALL the images are still in their respective reviews when you click on "Review First Posted Here". The extra images have been removed on the first guide post due to image limits. Also, images for old, irrelevant headphone entries that are either discontinued or impossible to get have been removed. Some still remain, and they will stay up unless I need extra image space in the future.

2-2-2020

Drop + THX Panda added (click here for main review WITH ALL IMAGES page)


12-10-2019

Schiit Gaming Dac/Amps 'Hel' and 'Fulla 3' added here
(Also added to the 3rd post of this thread, where my other non-headphone reviews are.)

11-19-2019

Audeze LCD-1 added

9-10-2019

Grado WH1 'The White Headphone' added

9-3-2019

Guide Changes (Additional Sections Moved HERE)

Due to hitting image limits on the guide, I have separated the guide between the first post, and my second post. The second post will have the sections: Virtual Surround Devices, External Amps, External Microphones, Pad Swapping. You can find the post, HERE. Hopefully this will free up some space for the first post to focus on headphones. I may have to do additional tweaking later.

8-22-2019

Audeze LCD-GX added



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ABSOLUTELY NO PRIVATE MESSAGES ASKING ME ABOUT WHAT GAMING HEADPHONES TO GET. PLEASE ASK QUESTIONS ON THE GUIDE. I WILL NOT RESPOND TO THESE MESSAGES

I NEED TO STRESS THIS. DO NOT COMPARE SCORES FROM ONE REVIEW TO ANOTHER. EACH SCORE IS REFLECTING A HEADPHONE'S OWN MERITS, AND NOT COMPARED TO ANOTHER UNLESS I SPECIFICALLY STATE SO.


The Nameless Guide To PC Gaming: For PC Gaming Audio advice, I highly recommend you guys read this guide, which is written by NamelessPFG, and specializes in the PC related side of gaming audio.
I'd consider it a great extension to my own guide for those who aren't console gamers.

If you guys want all the LATEST info on upcoming reviews, guides, and any relevant information on all things Mad Lust Envy, check out add me on these links:

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And hopefully sooner than later:
Twitch: YouTube: http://www.youtube.com/channel/UCv5zwzyOSEBk7m6u5Y6npkw?feature=watch





[/SPOILER]

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Mad Lust Envy aka. Shin CZ's Gaming Headphone/Headset Guide
Before I start, let me get a few things out of the way. Everything I say is PURELY personal opinion. I'm not a professional. I have clearly stated that is is all my opinion, with subjective preferences as well as objective ones. Okay, moving on.

Hello everyone. I wanna make an introduction on my journey into headphone gaming, and pretty much headphones in general. http://www.avsforum.com/forum/141-xbox-area/894251-what-gaming-headphones-buy-61.html#post14261629 (My beginnings as Shin CZ). I myself actually got into this audiophile hobby BECAUSE I fell in love with the sound of the AD700 when I paired it up with my Mixamp. I first started this journey when I looked for a discrete solution for gaming during the night time, where my home theater at the time (Pioneer HTS-G1) was just too much for my roomates and neighbors. Being someone who reads up on the things he buys before making purchases, I read up about how good the A40+Mixamp combo was, and that it would be all I would ever need. It was $250, which was extremely expensive for me at the time (at least I thought such a thing was too expensive back then). I caved in and went for it, as long as it delivered as promised.

Once I got it, I have to say that I was somewhat underwhelmed. I was expecting something that mimicked my surround sound. I wasn't feeling Dolby Headphone in the least. I was so underwhelmed that I barely used it, and decided to just play my games really quietly, which to me hurt, as I like to be immersed, and concentrate quite a bit when I game online. Fast forward to a few months later, where I decided to give it another try. Much to my dismay, my practically brand new A40s (very rarely touched back when I did use it) had lost the right side audio. I was so peeved that I didn't bother contacting Astro. I tossed them... just like that.

So there I was back again, with a seemingly useless Mixamp, and no headset. I went back online and read up on ACTUAL headphones that worked very well with gaming and the Mixamp in general. I, like many of you, heard how grand the AD700s were especially for games like Call of Duty 4, which was my favorite game back in the days I got into this hobby. So what the hell, I went for it. When I got it, I was somewhat turned off by the color, and they didn't exactly sit well on my head. It was slippery as hell, and it just sorta pissed me off. I then did the rubberband mod and then felt it was good enough to try.

I then hooked them up to the Mixamp, and fired up Call of Duty 4... let's just say... my mind was BLOWN. I couldn't believe what I was hearing. I was hearing EVERYTHING. Sounds were coming from all around me. I could hear exactly where people were around me. A pin drop was easily distinguishable for me. I did notice the distinct lack of bass, but for this game, I couldn't care less. I felt like I had an unfair advantage against those who DIDN'T wear a headset. Bass was the last thing on my mind. My speakers sounded like pure crap next to this ridiculous soundfield I was suddenly enveloped in. Dolby Headphone and Headphones in general showed me what a miraculous combo they could be, and I told myself I would never seriously game without either of them ever again. I had converted. This was just but the first step into this disease called upgraditis.

Since then, I have somewhat gone through seemingly countless amount of headphones, both for gaming, and for music/movies. I knew I'd have to own at least two pairs: One for direct hardcore gaming, where bass was on the lighter side so I could focus on the more important sounds like a grenade pin being released, footsteps, or claymores being placed. The other would be for more, non-competitive gaming where I could enjoy what audio as a whole has to offer. I wanted a nice boost in bass, to feel the explosions. Something to directly contrast the sound of the AD700 but still work well with the Mixamp. I was also a budget headphone hunter. I loved what cheap headphones had to offer: bang for the buck. So I have bought my share of garbage, and gems.

Enough of that, I'm now going to attempt to remember ALL the headphones I have bought and used since the beginning of my journey. One criteria HAD to be met at first: The headphones would have to work well with Dolby Headphone, or they were gonna be returned or sold. It was that simple to me.

Okay, I'm gonna list my share of WORTHY headphones, especially for gaming. By worthy, I mean worthy of being discussed (some may be added to let you know they are NO GOOD for gaming with DH). This list doesn't include headphones I bought/used that were never intended to be used for gaming (for example, my HAS700, ES7, ESW9, though I did try them with meh results, obviously). I couldn't begin to remember them all anyway. Also rating them based on how good they are for 'fun' gaming (anything not taken too seriously, where sound accuracy isn't a huge concern), and competitive gaming (where sound is incredibly important, specifically positional accuracy and ability to pick up the finer details). The scores aren't scientific. It's just MY opinion on how they score from a scale of 1-10 by their own merits, and not how they compare to other scores whether higher or lower, so don't whine about scores, lol.

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A WORD OF WARNING

I have something to say to ANY company who has products, or any reviewing company that thinks I can only say positive things.

I will NEVER, EVER go against by what I feel. This means if you send me a product that I think sucks, I WILL tell you it sucks, and I'll even give you the reasons why. I will NEVER brown nose YOU or ANY company you happen to be affiliated with. If you send me a product for IMPRESSIONS or that isn't a FINALIZED form, tell me so, and I will give you my HONEST thoughts so you can make adjustments if you'd like instead of just telling you what you want to hear. If you send me something for review, I'll give a review of the product if I feel it's worth reviewing for my viewers here. If not, I will tell you I didn't like it, and that a review wouldn't be favorable, so I would decline. That way you won't have negative press from me on said product, and you can send me something else I MIGHT see in a favorable light. I, once again would never write about something I don't like. Not in the past so many years, and never again.

Saying something sounds like a mess isn't TRASHING a product. It's me telling you honestly that it sounded like a mess to. Trashing a product would be me publicly denouncing your product in one of my reviews and telling people not to get it because it's crap. At length. Even that would fall under my opinion, but I honestly wouldn't go about doing that nowadays.

If you are ok with this, then please by all means, contact me and I'll likely check out your product. But if you get offended because I didn't like something, then work on yourselves, because the real world isn't all about kissing your arse. You'll get my honest impression or nothing at all. I'd rather write nothing at all than bend to some notion that you can only say good things to keep amicable ties with companies. I don't owe you or anyone around you a damn thing.

If this language is too strong for you, sorry not sorry. I'm not a professional ass kisser. I write reviews for the sake of helping people buying products, not for the company's sake. As I see it, I'm essentially free advertisement when I DO write a review. You'd be surprised how many people I get telling me how I helped them buy a product. I don't get anything but THAT satisfaction, while you companies reap the benefits. So to get upset that I don't like something and said so, boo freaking hoo. Tough.

My two cents. You can quote me on all of this. Don't EVER question my integrity, my bluntness, or WHY I do this. I have no problem defending my beliefs.

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INDEX
Use this for quick access to specific products

chicolom's FAQ - Frequently Asked Questions

HEADPHONES


D: $0-$50
Creative Sound Blaster JAM
Koss KSC35 / Sportapro
Koss KSC75
Koss UR40
Philips SHP2500
Sennheiser HD201
Steelseries Siberia V1 (*headset*)
Turtle Beach Z2 (*headset*)
Ultrasone HS-15 (*headset*)

C: $50-$150
Astro A30 (*headset*)
Audio-Technica AD700
Audio-Technica M50
Creative Aurvana Live! (aka "CAL")
Creative Aurvana Trio
HiFiMAN RE0 (IEM)
Nuforce HP-800
Sennheiser HD280 Pro
Skullcandy SLYR (*headset*)
Sony XB700
Tritton AX720 (*headset*)
Turtle Beach PX21 (*headset*)
Ultrasone HFI-15G

B: $150-$300
AKG K612 Pro
AKG K701 (K702)
AKG Q701
Astro A40 (*headset*)
Astro A50 (*wireless headset*)
Beyerdynamic Custom One Pro Plus / Custom Game (headset variant)
Beyerdynamic DT770 (Pro 80 ohm)
Beyerdynamic DT880 (Premium)
Beyerdynamic DT990 (Premium)
Beyerdynamic MMX300 2nd Gen (*headset*)
Beyerdynamic T51i
Creative SXFI Air
Drop x HiFiMAN HE-5XX
Monster DNA On Ear
Monster DNA Pro
Philips Fidelio X1
Philips Fidelio X2
Sennheiser GAME ONE (*headset*)
Sennheiser HD598
Sennheiser HD6XX
Sennheiser PC360 (*headset*)
Sennheiser PC38X (*headset*)
Skullcandy PLYR 1 (*wireless headset*)
Sony MA900
Tritton AX Pro (true 5.1 *headset*)
Yuin G1A

A: $300+
AKG K702 65th Anniversary Edition
AKG K712 Pro
Audeze LCD-1
Audeze LCD-2
Audeze LCD-GX
Audeze Mobius
Audeze Penrose
Beyerdynamic T70
Denon D7000
Drop + THX Panda
Fostex TH-600
Grado WH1 'The White Headphone'
HiFiMAN Ananda
HiFiMAN HE-4
HiFiMAN HE-400
Koss ESP-950
Massdrop x HiFiMAN Edition XX
MrSpeakers Alpha Dog
MrSpeakers Ether C 1.1
MrSpeakers Mad Dog v.3.2
Sennheiser HD650
Shure SRH1540
Shure SRH1840
Stax SR-407
Ultrasone Pro 2900
Ultrasone Pro 900

On my second post on this guide (CLICK HERE), you will find the sections for: Virtual Surround Devices, External Amps, External Microphones, Pad Swapping.

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Ratings
10: Legendary
9: Amazing
8. Great
7: Good
6: Fair to Decent
5: Mediocre
0-4: Bad to worthless

I NEED TO STRESS THIS. DO NOT COMPARE SCORES FROM ONE REVIEW TO ANOTHER. EACH SCORE IS REFLECTING A HEADPHONE'S OWN MERITS, AND NOT COMPARED TO ANOTHER UNLESS I SPECIFICALLY STATE SO.[/SPOILER]

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chicolom's FAQ - Frequently Asked Questions
Why are Gaming Headsets often said to be inferior to regular headphones?

In general, headphones (especially "audiophile" or "hi-fi" headphones) tend to have better sound quality than your typical gaming headsets. This is due to a number of reasons, such as: a design more focused on maximizing sound quality instead of maximizing stylish "gaming" looks, an Open Vs. Closed design (most gaming headsets are closed), and simply having more experience at designing headphones than gaming headset companies.

What about multi-driver "true surround sound" headphones? Aren't they better?

No. Multi-driver headphones make use of tiny drivers with inferior performance to larger stereo (dual driver) headphones. A better route is a good pair of stereo headphones with a good virtual surround DSP.

Do I need an amp?

That depends on your headphone. All headphones will benefit from an amp, but some benefit more. Those are usually higher ohm OR lower sensitivity headphones.

Will headphone X be a huge improvement for competitive gaming over the AD700?

Probably not. HD800s or SR009 are probably the very best headphones, but nothing is going to be that much of an improvement for competitive gaming over the AD700s.

You're NOT going to keep getting competitive improvements as you go up in price. The main improvements your going to get are a more immersive sound (fuller weightier sound, better bass). Sometimes a more immersive sound counteracts a competitive focused sound though. Part of the reason the AD700 works so well for soundwhoring is because it sounds bright and bass light (counteracts immersion though).

So if you're looking for the very best headphone for competitive gaming, just get an AD700. Or get an HD800. Everything in between the two will offer improvements to immersion, but not really improvements for simple competitive sound whoring. If you're willing to trade a little competitive ability for a more immersive and enjoyable sound (and a more audiophile headphone that will be better with music), then you should look at more immersive headphones.

What traits make for a good competitive gaming headphone?

A non-bassy heavy signature, emphasis on mids and highs to bring out details like footsteps, and a large and accurate sounding soundstage...

What traits make for a good immersive gaming headphone?

Dat Bass...

What's the difference between "Dolby Digital" and "Dolby Headphone"?

Dolby Digital surround and Dolby Headphone surround are NOT the same thing.

Dolby Digital is a compressed and encoded 5.1 channel signal which can ONLY be passed through optical or HDMI. Dolby Digital is actual surround sound (5.1 channel), NOT virtual surround sound for headphones (2 channel). You can't listen to Dolby Digital with headphones, unless your headphone has multiple drivers. To get virtual surround for your headphones you need to process that 5.1 channel into a 2 channel (stereo) signal that your stereo headphones can actually use. That's where Dolby Headphone comes in.

Dolby Headphone is a virtual surround sound DSP for headphones which takes a Dolby Digital 5.1 channel signal and downmixes and processes into a special 2 channel stereo signal that any headphone can use. Since it's just a 2 channel stereo signal, any 3.5mm jack will output it and it will work with any regular stereo headphone (although some work better than others). Even though it's only a stereo signal, it still sounds like surround sound when used with headphones because the Dolby Headphone DSP adds head related transfer function cues to the signal, which fool the brain into the hearing the same surround sound that was in the original 5.1 signal.

My PC has optical/toslink out. Will I be able to plug in a device like the Astro Mixamp or Ear Force DSS?

Maybe. It depends on whether your computer's sound card is capable of encoding games into Dolby Digital and outputting that signal through optical.

Can I have more than one DAC in the audio chain? Can I "chain" DACs together?

NO. You only convert the signal from digital to analog ONE time, so the first device in the chain that gives you an analog signal is your DAC and will be the only DAC in the chain.

Should I get a mixamp if I'm gaming on PC?

No, probably not. Devices like the Mixamp are mainly recommended for consoles. For PC's a better solution is an internal soundcard.

What's the difference between Pro Logic II and Dolby Headphone?/What is Pro Logic II?

Pro Logic II is basically a 2 channel signal upconverted to interpolated mutli-channel surround, while Dolby Headphone is basically multi-channel surround down-converted to 2 channel stereo with virtual surround from added HRTF cues.

Headphones

Tier D $0-50

Creative Sound Blaster JAM
l2IAc72dYv7Atns8MQ_-r7yvLthOk7XFl3PM6Ekd5uOj9abDl9tpvvuiwvikVfxrTlbpH8TTg0I59xS_0hZbxxX2rEjDWt6JbH_GE-B6UmGsGY6JNoaf3UeSeYDp0jQ7EMdiNb9auKhWhYNicq0Go0AQpYD_RmYy44dByH92YY1KpDcbNhNPno_RhhOYWNhkEJwPrpJFLXFewkl4S49-Xgh8hibWqSN43bW2CqKAX5XkcZL-jmV5JBvCMkr4M9CHOxJhpE860zkev3QKR2ASKNKfB_-x74Bu6M3WF67_8ofE-zA0ok-VFBNtfqFwTTjrVCGc02enL4Y-75N3tcfFek7iY2DnC3zV0FzZW91oeXqVIxflm8J3bnW2htQeHPwSceNpH4qmEeEEQPOLsVp1EzrwO6FQ3LQhPR9Run7yztF3XCpuioRV-hFKYPTzfy0ve_94ksGvzh_nSa51uaLAfr9EkpJeuZaK1BiSjCIQlcroXUDKsesOjdPVbx2JcWoLnxwEhllfzexXYd8G4u-SIIsfQXjW8YFlD8pqSdGZRlA-VGWNkRGI3nNCepofUz_AE9Kxr4fqUpBnQwI3ei7DymhZpVP-1j-WV-V7ROYMMQi2K238UvH-lb94v7Mg1ZeFyawFnDVdP0jen45BUvw1M6y9mm6WbfIrAMSC0Ja7SUTxdGz0PLYidg0=w500-h436-no

Price as of Feb 2016: $40-$50 range
The Creative Sound Blaster JAM was a personal interest of mine after a long search for something something convenient, comfortable, and budget conscious. Convenient in that it would be wireless, easy to use, and easy to transport. Comfort in that it could be worn all day with little issues, as well as my personal need to have padding that isn't leather of any kind, whether real, synthetic, etc. Budget conscious in that it wouldn't break the $100 cap I placed for budget tier headphones.

The JAM, more or less, met all of these requirements. I was also treated with a great surprise in finding out that the JAM has USB capabilities which, accompanied by the JAM software, allows users to tweak the sound to their preference with a host of presets and other sound options. The JAM feels like owning two headphones instead of one.

Build Quality

The JAM is unsurprisingly plastic all over. All matte black with the exception of the cup's exterior center surface area which are glossy black with a printed design on each cup.

From top to bottom:

Starting with the headband, it is as basic as headbands come, with a textured finish on the plastic, and absolutely no padding to speak of. It's hard to add any more about the headband, as it really is as barebones as it comes. Unfortunately, this is a detriment to its overall comfort, which would've greatly benefited from some minor padding.

The headband gives way to thin, but seemingly durable plastic extension arms that don't have notches or markers for size indication, so you'll have to look at a mirror if you absolutely must have both sides at the same length of extension.

On to the cups which each hold a long bar that connects to the extension arms and also identify the headphone as the Creative Sound Blaster JAM. Unfortunately, it keeps the cups from having any sort of swivel or collapsing mechanism, though the headphone is small enough to make this a non-issue for most practical situations.

The right cup houses all the controls:

Power: Pressing down the center for a few seconds turns the JAM on/off.

Pairing: Holding down the center while it's off until the small led flashes will put the JAM into Bluetooth pairing mode.

Volume: The volume up/down buttons are located on the back of the outer cup. They are quite responsive, with the JAM giving an audible beep once volume is maxed out.

Bass: The bass boost button is located towards the front of the cup. The button is easy to press, though there is no indicator or confirmation that the boost is on/off outside of the audible difference when listening to the JAM. The bass boost button has no function when using the JAM in USB mode. I would've liked an audio cue indicating bass boost was on/off.

NFC: The JAM has NFC capabilities, though I wasn't able to test it in time for this review.

Micro USB: On the bottom of the right cup is the micro USB input for charging (and to turn the JAM into a USB headset on PC).

Omnidirectional Microphone: Buried within the right cup is the omnidirectional microphone. Unfortunately, as a console gamer, I was unable to test the microphone/chat capabilities, as the JAM does not pair up with the PS4's bluetooth connectivity, nor does the chat function work connected through USB on PS4.

Last, are the pads which are made of circular foam reminiscent of the Koss KSC-75, Porta Pro pads, and Sennheiser PX-100II, if a bit larger overall. The pads have an extra amount of plushness to it compared to those other headphones, and are therefore a bit more comfortable for longer sessions. Unfortunately, the pads are not removable.

The Creative Soundblaster JAM is not a technical marvel in terms of ruggedness, design, or durability, but on the positive side, its basic aesthetic and matte plastic finish will curb the need to baby it with extra protection. Unless you are a monster that throws things around haphazardly, or loves to bend things the wrong way, I don't see how the JAM could break from normal use. I have tossed the JAM in my bag with wild abandon for months, and I have absolutely no fear of finding the JAM in pieces. It's biggest detriments in build quality are the lack of headband padding, and the lack of swivel/folding mechanisms. One size fits all, for better or worse.

Accessories

The JAM is devoid of any actual accessories outside of a very nice micro USB cable for charging and USB headset capabilities. While being robust, with good strain reliefs, it is fairly short at 1 meter, so I'd suggest having a longer USB cable if using the JAM as a USB headset.

Comfort

Supra-aural (on ear) headphones have always been a hit or miss endeavor when it comes to comfort. Personally, I find supra-aural designs to be the least diverse in terms of comfort. Most on ear headphones fall either on the very comfortable side, or the hideously uncomfortable side. Thankfully, the JAM sits on the comfortable side of the comfort spectrum.

Starting with weight, the JAM is decidedly on the very light side of things, to the point where I would find myself forgetting I had them on and felt like I was using my venerable Koss clip ons instead. I expected a bit of heft due to the wireless components, but was pleasantly surprised that its wireless aspects didn't become a factor in its overall weight.

The headband is essentially the only real point of discomfort due to a lack of padding. On my shaved head, I can certainly feel the plastic digging into my scalp, which had me searching for a temporary solution; a sock that I cut up and wrapped around the headband at least until a permanent fix presented itself. Once I fixed the headband issue, the JAM lept up closer to extraordinary levels of comfort, though still bested by the Ultrasone 15G's magnificent comfort in headband padding, pad plushness, weight, and overall pleasantries.

The JAM's foam ear pads start off itchy (as usual of foam pads), but after a very brief period of adjusting to the pads, they become extremely comfortable (and no longer itchy). They remain cool for long periods of time, and the subtle plushness keeps the JAM from pinching the ears.

Clamping force is moderate to slightly below moderate, keeping the JAM in place without squeezing the head uncomfortably. This is worthy of noting, as on ear headphones live or die by the level of clamp. Many great on ear headphones have lost the battle of usability due to clamp being too weak or too strong. The JAM hits a sweet spot. Fantastic for a budget headset.

Its second comfort issue after the headband (but far less of an issue) may come from the complete lack of swivel, which may cause the drivers to sit in a bad angle for certain ear shapes, though I personally didn't have any issues as I was able to find a good spot for the drivers to rest on my ears with no discomfort.

The JAM's small form factor and moderately low clamp allows it to be worn around the neck quite comfortably when not in use.

In the end, I found the JAM's comfort factor to be quite high, despite some gripes with the headband overall. Find a solution to the headband, and you're likely to find the JAM to be the best headphone in your repertoire to use for longer sessions.

Isolation/Leakage

The JAM's isolation and noise leakage are both fairly average, if slightly above. The foam pads don't exactly keep sound in/out, though the closed back design helps mitigate excess noise. While average, I wouldn't say it's anything remotely bad, and I would still be fine recommending the JAM for all but the strictest isolation/leakage demands. While jamming out to music, it isn't easy to be distracted by outside noise. Leakage fares a little worse than isolation, though I wouldn't expect the sound to travel far from one room to another. I'd have full confidence in using the JAM at night without disturbing anyone in any other room, perhaps even the same room depending on volume.

Sound

Bearing in mind that this is a budget, wireless headset, I found myself quite pleased by it's sound in general, despite the technical limitations. I had very little to no expectations on the JAM's overall sound quality. The only expectation I hoped for was for the JAM to function, and not sound like an utter failure. In this regard (and many others), the JAM exceeded my expectation.

Reviewing the JAM's aspects of sound is a bit tricky as it is a headset that basically wants you to tinker with its modes. Bass Boost on the wireless mode, and the USB mode's JAM software Control Panel with its SBX Profiles, as well as various sound enhancements: Surround, Bass Boost, Crystalizer, Bass, Smart Volume, Dialog Plus, and Equalizer.

I'll mainly focus on the Bluetooth/Wireless mode with Bass Boost ON as I assume this will be the mode that vast majority of people will use with the JAM (as well as my main method of use). I'll touch a bit on its other modes as well (wireless with no Bass Boost, and USB SBX Control Panel.)

Note: USB software requires the software to be downloaded directly from Creative at: Click Here

The SBX Control Panel only functions properly while the JAM is OFF and then plugged in via USB. If the JAM is on wireless mode and then plugged in, the software will show all the options but will not affect the wireless mode's sound in any way other than volume, as the software volume is tied to Windows volume mixer.

Bass

Quality: Decent (wireless without bass boost, USB mode), Subpar (wireless w/bass boost)
Quantity: Without bass boost - Slightly below neutral, bass boost - neutral lower to mid bass, emphasized upper bass

Without any bass boosting, the JAM is a tad bass deficient in both wireless and USB modes, though not lacking in texture. It's understandable why Creative decided on adding a bass boost option, as a subtle boost is all that would be needed to fill out the sound nicely.

The level of bass varies on a per track basis, where tracks more reliant on bass will sound just shy of bass neutral, and tracks not reliant on bass sounding more bass anemic. Depending on how much bass your source has, you may feel the JAM to sound a bit too thin, or just fine if just a hint in need of some warmth.

Wireless Bass Boost:

As you toggle the bass boost on, the sound signature immediately turns noticeably warmer/ more full. The bass boost seems to affect everything from 40hz up to 300hz, but its main range of effect is at about 80hz-200hz. I personally feel the best area to focus on bass is 30-70hz, which isn't changed much here. Upper mid bass to high bass/lower midrange is noticeably bumped, though the deeper, chest thumping bass is largely unaffected. The result of the bass boost is not so much turning the JAM into a bassy headphone, but rather a fuller, richer one.

The downside of the bass boost is that the bass becomes a bit distorted and noisy/grainy, though I expect most people would take the tradeoff of pure fidelity for an improved sound signature despite those drawbacks.

Even with the added bass and bass distortion, the bass doesn't negatively affect the JAM's overall clarity in the middle to upper ranges. There is some lower mid distortion, but that as far as its effect travels. Whereas many budget headphones sound muted, muffled, and dronish, with boomy bass that impacts the sound as a whole, the JAM remains generally even keeled.

The bass decay is on the snappy side, which I will assume is most likely due to the pad's porous nature. A lack of total seal causes bass to dissipate quickly in other headphones, and I wouldn't doubt it being the same here. A snappy, agile bass is usually reserved for higher end headphones, whereas budget headphone can either be completely bass deficient, or utterly messy and sluggish with muffled bass.

Wired USB mode:

As mentioned before, the bass boost button doesn't work in USB mode (you'll hear a brief sound as if it changed, but the sound is not affected), and you're left with the SBX Control Panel Bass slider, as well as Crystalizer and Equalizer which can affect the bass quantity and quality.

The Bass slider has a frequency crossover at 80hz, which I feel is generally the target area that Creative focused on when using the Bass Boost button in wireless mode, albeit with a much smaller range of effect. The Control Panel's bass slider is subtle at default, though I feel leaving this option off and manually adjusting the Equalizer at lower frequencies is more beneficial in the long run.

The Crystalizer has an effect on both bass and treble ranges the most, and I personally felt the 30% default setting was a very subtle, but beneficial enhancement to the sound. Just a minor change in energetic delivery. Raising this slider alters the sound and severely recessed the midrange and general details. Lowering it makes the effect utterly negligible.

The Equalizer makes a dramatic change for the JAM's bass, particularly altering the 31hz and 62hz sliders make the biggest change. These two sliders affect the main bass areas, and can easily offset the deficiencies the JAM has by default. I also found that adjusting the bass through the equalizer yields better sound quality than the bass boost button with much less distortion and grain.

Final Bass Impressions:

Without alteration, the bass is snappy, if a bit light, and low in volume next to the midrange. It is textured, and warm in tone. Wireless bass boosting trades off the quality for extra quantity and warmth. The bass boosted wirelessly is prone to distort with a bit of grain and fuzz, though I find the JAM much more enjoyable with the bass boost, as it lacks musicality otherwise.

In USB mode, I found the JAM's bass to perform its best, especially dialing the equalizer to my liking ( a 4db extension to 31hz and 3db to 62hz, leaving the rest of the frequencies alone). This more or less offset what I found lacking in the JAM's inherent sound signature,, without the added grain of the wireless mode's bass boost.

You either take the extra freedom of Bluetooth with it's grainy bass, or the tweakable control panel for some richer, more potent, and much clearer bass in USB/wired mode. Either way, I find the JAM's bass more than good enough for my various uses.

Midrange

Quality: Good without bass boost, good with bass boost (if a little less refined)
Quantity: Generally neutral forwardness to slightly recessed upper midrange

The JAM's midrange is surprisingly well behaved all the way from the lower mids up to the treble. There are some minor dips and peaks, but nothing garish and ear piercing, which can't be said about some headphones costing 10 times as much. Despite a relative safety in keeping the midrange frequencies from becoming fatiguing, there is no veil or stifling of the frequencies, keeping the JAM energetic and lively.

It's somewhat neutral in tonality throughout the full midrange, with a warm lower midrange when bass boost is on (which is the bass boost's biggest effect.).

In all cases, the midrange is enjoyably in the mix, without any truly terrible hotspots.

The upper midrange has some recession compared to the earlier sections (notable dip at 4khz), but not significantly so.

The decision to maintain the bass slightly south of neutral without bass boost pays off quite well in the midrange, keeping the bass from bleeding into and smothering the midrange. Boosting the bass distorts a bit in the lower midrange, reducing the clarity and quality a bit, but not enough to recommend turning off bass boost. It keeps the JAM musical and engaging; a tradeoff I prefer over sheer technical prowess. A reminder being that the bass boost on the JAM doesn't actually make the JAM bass heavy, but mostly adds richness in the lower midrange, with a more natural presence of bass, as compared to being a bit lean without bass boost.

Treble

Quality: Good
Quantity: strongest point at 7khz and 9khz

The JAM's treble, like the midrange is lively, without being too prominent or piercing. At it's worst is the peak at around 7khz on my pair, which is an overstatement, as it's not what I'd consider problematic, so much as identifying it as the strongest point in the JAM's treble range. The prominence at 9khz is far from problematic.

I don't hear any truly horrendous artifacts or ringing that I'd want to single out and address. Creative did a fine job in tuning the treble range overall. No extra ear shattering emphasis, nor excessive smoothing of any frequencies.

The treble range aids the JAM's tactility and impact.

Soundstage

The JAM's soundstage is one of its weaker aspects, which I assume is part of the reason why the SBX Control Panel has a surround slider option for it, despite no multi-channel benefit compared to typical SBX Control panels which allow 5.1 or 7.1 to be down mixed to surround for headphones.

In its default state without surround, the soundstage is decidedly closed and pretty much remains inside the head space. Unless I'm gaming in virtual surround, I'm not exactly critical of headphone soundstaging, especially in stereo. As long as stereo separation is good, and keeps details from blurring together, I have little to complain about. The JAM's soundstage is good enough for my simple uses of casual media use outside of gaming.

USB Mode Surround On:

With the SBX Control Panel's Surround Option enabled, the soundstage can vary significantly, at the expense of detail/imaging clarity. The soundstage opens up considerably at 100% Surround, but details become blurred and less defined. For music use, I wholeheartedly recommend leaving Surround OFF, but for other forms of media like TV shows, Youtube videos, and casual gaming, the surround option can greatly benefit immersion. I personally would only either use no surround for music, and maxed out surround for other media, as anything in between is a bit too subtle a change for my tastes.

The surround option is far from how well it works in true surround downmixing found in devices like the Creative X7, Creative Recon USB, Astrogaming Mixamp, and other popular gaming devices that downmix true surround into virtual surround for headphones. That being said, it's still a considerable benefit for the JAM if you absolutely need some space between you and the action.

Clarity

The JAM's clarity is at the mercy of the user and its various sound altering options. From the bass boost in it's wireless Bluetooth mode, to the various presets and slider options in the SBX Control Panel when using the JAM in USB mode, the JAM can more or less be slightly tailored to sound how you'd like, if kept within reason and driver abilities.

With absolute no options turned on in either wireless or USB modes, the JAM is a surprisingly competent headphone in terms of clarity at this price level, though at the expense of musicality and low range presence.

Toggling the bass boost in wireless mode will reduce low end clarity with some mild bass distortion, though the general midrange and treble remain about the same as no bass boost.

For being a wireless, budget conscious headset, I was left pleased by its clarity and generally linear tonality by default. It wouldn't be my first choice in terms of headphones I'd choose for clarity and micro detail, but for it's versatility and practicality, I honestly can't fault the JAM. It's more than a competent performer for my needs, and I don't feel Creative made sacrifices in sound just to enhance the JAM's usability.

Sound Signature

Tonality: Its raw tonality non-bass boosted tonality is a bit thin, and hint cold after it's warm, lower midrange, though not without a basic grounding of fullness in its impact and delivery. Because of this, I find it difficult to identify the JAM as either slightly warm or not in general. The Bass Boost definitely tilts the tonal balance towards the warm side, however.

Bass: Bass is the JAM's weak point with nearly non-existent sub bass to a meager mid bass section. Engaging the bass boost, immediately fills out a bit of the mid bass, and warms up the upper bass. Sub bass, while still weak, becomes present.

Midrange: The JAM's warm, lower midrange is a bit of an oasis in an otherwise thin, neutral tonal sea. Dry, and bit thin of note otherwise. Without bass boost, nearly the entirety of the midrange is pleasantly neutral to forward, with a bit of recession in the upper midrange (around 4khz). Engaging bass boost fills up the low midrange even moreso, into a more fluid, rich tone, though the emphasis down in the lower midrange causes the central to upper midrange to take a slight step back in its place.

Treble: The treble is well behaved and ever present without becoming screechy or fatiguing. There is a slight recession at the 10khz point, cutting off a potential source of sharpness (and possibly air). The 6-7khz and 9khz range is the JAM's treble points of emphasis in terms of quantity.

Soundstage: Closed, stereo linearity, decent separation

The JAM's sound signature is hard to easily identify due to its intention of being used with various sound options. I feel it can't be judged harshly at it's default state of being rather flat and not very musical, as the JAM comes alive with it's wireless bass boost option, as well as with its full suite of sound features in USB mode.

Bluetooth/Wireless

Otherwise known as wireless mode in this review, the JAM's Bluetooth (4.1) capabilities is very good. It's quick to pair and connect, and outside of some random bouts of freezing (where it feels like the audio is repeatedly being paused and then played for a few seconds), the Bluetooth does not drop or disconnect. The freezing issue is random and has nothing to do with the range from the source to the JAM. perhaps a sort of signal interference.

Bluetooth quality is very good, with no perceivable noise or hiss of any kind. The Bass Boost option is its major shortcoming in terms of clarity, as it adds some grain and distortion as the bass is stressed. Not always, but enough to note. Again, it's not bad enough to the point where I'd use the JAM without the Bass Boost engaged. The benefit of its added warmth outweighs the grain in the bass, personally.

The wireless range is quite long and generous, as I was able to listen to the JAM from one end of my house to the other, with some walls in between. No drops whatsoever.

Battery life is rated at 12 hours, and from personal experience, I wouldn't doubt realistic numbers being quite close to that. I've only made a habit of charging every few days just for the sake of it, and not because I felt I was approaching a fully drained battery. It is simply fantastic.

Sound quality is good enough in wireless mode to where I wouldn't have any real reason to change to USB mode, despite it's extra bit of refinement and additional sound options.

Note: For PS4 gamers, the JAM does not work with the PS4's bluetooth connectivity (a common issue with most non-PS4 specific bluetooth devices).

USB Mode

To clarify on the JAM's USB mode, it is essentially like turning the JAM into a whole other headset. Using the JAM in USB mode opens up JAM to a host of options in functionality and sound modifications compared to the JAM's wireless mode.

After opening the Sound Blaster JAM software, you're greeted by SBX Profile: Music, Movies, Gaming, each being presets to the software's various sound options which can be accessed by choosing one of the presets and clicking on edit in the top right corner of the window. I recommend choosing any of the three main presets and clicking on edit, to better tailor the sound to fit your needs.

Surround: this mode will reduce clarity and definition of sound effects for an extra sense of space/added stereo soundstage. I suggest leaving this off when listening to music, and using it with media like gaming and movies.

Crystalizer: will enhance the lower and upper ranges for extra dynamics, but will reduce the clarity in the general midrange spectrum. It more or less recesses the midrange the more the slider leans towards 100%. I personally like the effect for the JAM in it's default 30% setting, as it is quite subtle, and benefits musicality.

Bass: will mainly affect the 80hz range, which I feel isn't an ideal area to focus on boosting. This option by default is at 15% and is rather subtle. Instead, I recommend manually adjusting the 31hz and 62hz Equalizer settings if you want to dial in the bass.

Smart Volume: Per Creative, it adjusts the loudness audio automatically to reduce sudden/random volume changes. I personally leave this off.

Dialog Plus: Per Creative, it enhances vocal clarity in movies. Otherwise known as a way to boost the vocal midrange if you're not familiar with equalizing. I'm personally not someone who equalizes anything but the bass (I'll very rarely add if there is too little, reduce if there is too much), so I also leave this option off.

Equalizer: On the top right of the SBX Pro Studio window (with all the previous sound options), is the Equalizer button. Clicking on it opens up the Equalizer, which has various presets (Classical being the only preset with a bass emphasis, and only at the 62hz range).

Here is where I suggest tweaking the bass, instead of using the bass slider in the main Pro Studio window.

Being able to tweak the JAM's sound so heavily is the main benefit of using it in USB mode, outside of a marginal sound quality improvement. You have to decide whether you want to lose the freedom of being wireless for these benefits. I personally prefer to just use the JAM wirelessly, despite the loss of so many options.

Gaming

Personally, the JAM isn't an ideal choice for my main gaming simply due to the lack of proper virtual surround. It's strictly limited to stereo, with pseudo surround (expanded stereo), which is a far cry from proper SBX Surround, or DSPs such as Dolby Headphone.

That being said, if it's for casual use, where virtual surround is not feasible or important (such as mobile gaming, or indie games limited to stereo), I have absolutely no issues playing these types of games with the JAM. The JAM satisfies most of my needs in sound quality, from immersion, clarity, and stereo positional accuracy.

Personal Recommendations
  • Casual media (TV shows, podcasts, Youtube, etc.)
  • Bed/Late night use (great for using while laying down)
  • Portable use (great for kids/mobile games)
Outside of main/serious listening where I'd choose a more audiophile level headphone, the JAM is a neat little headset that screams versatility. It's a great beater headphone to toss in a bag and take everywhere. The freedom of wireless is a great boon that I feel needs more options today.

Final Impressions

For the very low price of admission, you get so much, from such a small package. The sound quality is good for the price, the comfort is fantastic (after finding a fix for the bare headband), the wireless freedom is a right step towards the future.

The JAM isn't a giant killer by any means, but honestly, that's far from necessary. The JAM isn't the most technically proficient, and has a few areas to improve on, but the package overall is well thought out and worthwhile.

Likes, Dislikes, Unfiltered Final Thoughts

Pros:
  • Comfort
  • Lightweight
  • Practicality
  • Simplicity/easy to use button layout
  • Versatility
  • Decent balance in sound, no major harshness, fatigue, or veil
  • Wireless
  • Low Price
Cons:
  • Grainy bass boosting option in wireless mode
  • Random interference (not a major, frequent issue)
  • Build quality design could use a few more tweaks, like headband padding and cup swivel.
Unfiltered Final Thoughts:

The JAM isn't going to win awards in sound quality, but I can, with confidence say that its sound quality is absolutely on the right side of things, with its good balance and clarity despite some roughness here and there, particularly in its bass boosting.

It works so well for casual use, it has taken over my very beloved Koss clip-ons for those uses. Those who know me well, know how much I love my Koss clip-ons. The JAM is a joy to use with all of its functions and simplicity, I often reach for the JAM over my main headphones. I value practicality, which the JAM has in spades.

It is an easy recommendation for gifting to non-audiophiles as well. Sure to be popular with kids on their mobile devices. For its price range, I honestly recommend everyone giving the JAM a try if they're in need of something for casual use, where ultimate sound quality isn't the top priority. You may be surprised to find that the JAM is a competent, fun headphone.

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Koss KSC35 / Sportapro (*clip-on*)

Sells for $45. Sportapro sells for $20-$25


My KSC clip on video on bending the clips for better sound quality)​


Okay, the more mature Koss clip-on that was discontinued and then brought back (only on the Koss website), for a pretty hefty $45. I'd say it's hefty because it honestly should cost just slightly above the KSC75 range, not 3x as much. They sound very similar to the KSC75. However, they are fuller sounding, with fuller bass approaching full-sized type bass, and the mids/vocals are very rich and forward. Treble is also quite neutral for me, not being too smooth, and not too sparkly. I actually am quite fond of their treble. The KSC75's treble is harsher, grainier, and more fatiguing. The mids on the KSC75 are slightly laid back, while the KSC35 presents them up front and more fleshed out. In all honesty, you can say the difference between the KSC75 and KSC35 is like the difference between the K701 and Q701. One is brighter, drier, and thinner sounding, while the other is more natural, and fleshed out.

How do they perform for gaming? Obviously, this is what you'd guys wanna know, and fortunately, they are pretty good performers, just the way the KSC75 is, but just a tad bit better. I played Black Ops for several hours today, and Dolby Headphone truly worked well together with the KSC35. There were sounds that would make me think were outside of the game. Soundstage with DH isn't huge, just like the KSC75, but it's not small either. It felt natural. Directional cues were quite easy to identify, so no complaints. All in all, it's a solid sounding headphone, that does work very well for gaming. Bass was strong but quick due to the open nature of the headphones, but slower than the KSC75. Based on sound alone, I'd say the KSC35 is a headphone you could use for hours without fatigue. Kind of like a smaller, more bassy PC360. Nice tonal balance that I don't think anyone would dislike.

My biggest complaint is the price. I'd put them at $25 at it's highest point. $20 would be perfect. For $45, I don't think I can recommend them since the KSC75 can be found for $15, are are just slightly inferior. However, if money is no object, and you want a great clip-on, the KSC35 is definitely worth the upgrade from the KSC75, and the difference between them with their respective stock clips is significant enough to warrant purchase.

Comfort-wise: compared to the KSC75, the KSC35 is quite noticeably lacking in comfort. The KSC75 has those very comfortable rubberized clips, that once you get used to, it's as if they weren't there. The KSC35 has some hard, slightly sharp plastic clips, that will never truly disappear off your head. At times, they can get bothersome, but with time, they're fine for several hours use.

Now, if you use the KSC75 clips on the KSC35 for comfort, you will lose a bit of SQ, and it will put them very close to KSC75 sound, with just a very slight hint of warmth (literally 90% alike). I'd say that it's worth the minor discomfort to use the stock plastic clips as it boosts SQ maybe 25% better than the KSC75, IMHO.

Update: The Koss Sportapro houses the same drivers as the KSC35, for less than half the price. You can literally buy the Sportapro, snap off the drivers, and snap the KSC75/35 clips onto the Sportapro drivers, and you have a cheaper KSC35. Ideal solution is getting the Sportapro and KSC75, putting the KSC75 clips onto the Sportapro drivers. This will save you $10, give you BOTH the KSC35 and KSC75 as a spare, and give the most comfort, IMHO. Just make sure to bend the KSC75 clips to place the drivers closer to the ears, as stock form may place the drivers too far, losing bass and overall sound quality.

Fun: 7.5/10 (Very Good)
Competitive: 7/10 (Good)
Comfort: 7.5/10 (Very Good), 9.5/10 with KSC75 clips (Amazing), 7/10 w/Sportapro headband (Good)

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Koss KSC75 (*clip-on*)

Sells for $13-$20



It belongs here. Most of you already know what a bang for the buck these are, and I'm more than happy to say that they are pretty good gaming headphones. Directionality is accurate, detail is fantastic for their price, and treble is sparkly and energetic. The bass is also no slouch, assuming you are in a decently quiet atmosphere. The KSC75 is very picky about what is around you, so the quieter the place you're in is, the better they perform. If you want to game on a budget, these should be not be taken lightly. I use them when I wanna relax and lay back, since I don't ever have to worry about them sliding off or out of position. They stay in place no matter what. I love them so much. You couldn't get me to give mine up unless it's for another pair. You get a lot of performance for the price, and everyone should pick some up.

edit (6/2/2012): Just want to add that the way to present sound is considerably different from full-sized headphones. They are like a bridge between IEM and Full-sized cans, in which they don't have a FULL sound that envelops you the way full-size cans do, but they project farther out than IEMs.

Fun: 7/10 (Good)
Competitive: 7/10 (Good)
Comfort: 9.5/10 (Amazing)

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Koss UR40

Sells for $25-30.
Tried two of these... both were so ridiculously bloated and congested in bass, and everything sounded like pure muffled nonsense. Hated EVERYTHING about them. Of course the HD650 fans actually like this thing, so I'll chalk it up to me hating that ridiculously warm/smooth sound. Still, I felt the bass was ridiculously out of proportion, more so than heavy hitters like the XB700. It was giving me headaches. I'm not gonna mod anything. If it doesn't work for me as is, then I'll look elsewhere. They may use the same drivers as the KSC75, but they sound nothing alike. We all should know by know how different a driver sounds depending on housing and other factors.

Comfort-wise: Personally, I couldn't get them to sit right on my head, as they were too short. The net style headband didn't do anything for me either. This one is for small heads.
Give you an extra point for the obscene bass... if that's a good thing...)
Competitive: 4/10 (Bad)
Comfort: 4/10 (Bad)

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Philips SHP2500

Sold for $20 (discontinued?).
Very comfortable, and has a surprising decent sized soundstage for gaming. Not bad AT ALL for gaming with Dolby Headphone. Won't top the KSC75, but if you need isolation when gaming for the least amount of cash, this is a fine choice.

Comfort-wise, they are pretty comfortable, the only issue that even with their velour padding, they quite hot due to a very good seal. No air escapes = sweat galore.

Fun: 6/10 (Decent)
Competitive: 6/10 (Decent)
Comfort: 7/10 (Good)

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Sennheiser HD201

Sells for $20.
Another budget performer. Very well balanced sound signature. Closed headphone with a sense of depth and width. Not terribly exciting, but for $20, these are a pretty good alternative to the Philips SHP2500 when it comes to budget closed cans. Id still say the Philips SHP250 performs a little better with Dolby Headphone and is more comfortable. Still, if comfort isn't a priority, these are very. very good for the price.

Comfort-wise, it's not very comfortable. The pleather is cheap and plasticky, and the seal causes discomfort quite quickly. Like bad pressure to the head. Not as bad as the HD280 pro though.
Fun: 6/10 (Decent)
Competitive: 6/10 (Decent)
Comfort: 4/10 (Bad)

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Steelseries Siberia V1 (*headset*)

Sells for around $35-50 (discontinued).
The sound... hmm... a bit on the veiled side. To be honest, they sounded better with music than they did with gaming. It wasn't even impressive with Dolby Headphone. I wouldn't look at these twice. The Siberia V2 is known to be pretty good, but sadly, I didn't get those because she didn't want pleather pads, so opted for the inferior version with tiny velours and smaller drivers.

Comfort-wise... quite possibly the most comfortable headphones I have ever worn. Seriously. The self adjusting headband is just AWESOME. Very light, and very open, so your ears breathe quite a bit. Looks like a budget Sony MDR-F1. The only area they lack in comfort-wise is that the pads are a bit too small to give them a perfect score.
Fun: 5/10 (Mediocre)
Competitive: 5/10 (Mediocre)
Comfort: 9.5/10 (Amazing)

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Turtle Beach Z2 (*headset*)

Sells for around $50.
These come with 50mm drivers, has no inline amp, and is cheaper than the PX21. These MUST be good! Okay, so when I opened the package and attempted to adjust it... the right cup snapped off. Seriously. Just snapped. That goes to show you the kind of quality to expect. I couldn't even test the sound quality properly. Not to be unfair, I asked for a replacement on Amazon, which was shipped to me within 2 days. Knowing the durability issues, I took RIDICULOUSLY special care on not snapping one of the cups off when adjusting them on my head.

The sound: Hmm... not good. Really. it's weak. Now I will tell you why I think that is: the pads. It uses neoprene pads that don't isolate, and don't form any sort of seal. I'd think that some pads that seal properly would probably make the Z2 sound a little better. I'm not a fan of the neoprene pads. They lose the isolation of pleather, and the comfort of velour. Really, no reason why I think neoprene should be used.

If you really want me to tell you how it worked with Dolby Headphone, well... not even remotely good. Lack of soundstage and positional accuracy. Actually, I think it's the very worst I have ever used with Dolby Headphone.

Comfort-wise, don't remember, but as with the PX21, the neoprene pads weren't great.
Fun: 3/10 (Really Bad)
Competitive: 3/10 (Really Bad)
Comfort: N/A

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Ultrasone HS-15 (*headset*)

Discontinued (found on Ebay for $20-$40)
Where To Buy: Ebay
Before I begin, I'd like to personally thank forum member and friend calpis for sending me the Ultrasone HS-15. It was unexpected, yet very much welcome.

The Ultrasone HS-15 headset. It is the third Ultrasone I've heard, and sounds completely different from what I have experienced with the Pro 900 and Pro 2900 (which calpis also sent to me at the time of its review). The Ultrasone HS-15 is no longer in production, and is somewhat rare and hard to find outside of the random Ebay listings. There is a semi-open variant without a microphone, the HS-15G which is unfortunately even harder to find and more expensive. I'd like to get my hands on the HS-15G at some point.

HS-15 bullet points found on Amazon:

Build Quality:
Rating: Great


The HS-15 has a retro 80's vibe to it's design, with an all black plastic frame, overly lengthy boom microphone (see here), and a cable that looks like it was taken from a home appliance. The HS-15 reminds me of the many cheap no-name headphones found in any store in terms of aesthetics. It's all function over form, substance over style, which fits it's intentions in every way.

The headband is covered in relatively cheap looking, but smooth synthetic leather. It sits perfectly on the head, and you could potentially bend and twist it in any which way without so much as even a minor scare of it breaking.

The circular cups are held by short plastic arms that would allow plenty of extension for my longish head. Update (I forgot to mention this): The HS-15 does not collapse inward or fold flat, so it limits its choices on travel pouches/bags. That being said, the headphone has a relatively small form factor, and should fit plenty of bags, cases, etc.

The foam ear pads are supra aural/on ear, reminiscent of Koss Portapro, and the Sennheiser PX-100, though larger, and considerably softer. The HS-15 pads are thicker and more plush, though you can feel a thinner circular area in the middle (which I'm sure is to not muffle up the sound before it reaches the ears).

The cable itself is incredibly long and (as mentioned earlier), looks like those found on home appliances, like 3 small cables clued together horizontally. Electrostatic headphones share this style of cable as well. The cable terminates into two 3.5mm plugs, one for audio (black), one for the microphone (gray). Strain reliefs appear perfectly functional on both ends.

Overall, while the HS-15 certainly looks cheap, I don't see any structural weaknesses anywhere on it's frame, and the plastic looks like it could take a lot of abuse. You could bend the headband and twist the cups, yet it'd go back to it's normal shape without any issue whatsoever. It's a wonder how headphones this relatively inexpensive can take any abuse short of a nuclear strike, yet headphones costing over 10x the price would crumble under any minor stress. I can safely say that these would suit anyone that needs a beater headset to toss around and abuse without any real consequences.

Accessories:
No extra accessories.

Comfort:
Rating: Great

The HS-15 is easily THE most comfortable supra aural headphone I have owned to date, outside of the Koss/Yuin clip ons (which may be on ear, but as clip ons, don't sit on the ear the same way as headphones with headbands), and Ultrasone's own 15G (which build-wise is an open, non-headset version of the HS-15).

The HS-15 is incredibly lightweight, and rests on the ears just enough to not be loose, but tight enough to stay secure. The only issue I have is that my right ear gets sore after a prolonged session, though that may be a personal sensitivity issue, as I get no discomfort on my left ear. I have to assume that if others have less sensitive ears, the HS-15 may be near perfection in comfort for them.

Again, these are arguably the most comfortable headphones I have ever worn outside of the Koss KSC75 and Yuin G1A. I'd argue that the Sony MA900 may beat it solely due to the fact that it (mostly) rests around the ears, though with it's larger frame and my inability to relax and lay down with them in the same way as the HS-15, I would honestly reach for the HS-15 over the MA900 more times than not if I were basing everything off comfort. I'm positive that some who didn't find the MA900 to be comfortable, would think otherwise of the HS-15.

Long story short, if you want excellent comfort, it simply doesn't get much better than this for an on ear headphone.

Design Issues:

Microphone:



The boom microphone is massive, and isn't as flexible/malleable as others I have owned/tested. It easily reaches the front of my mouth, and is almost always present in my peripheral vision. The only solution is to bend the microphone a bit away from the face, and even then, it's not elegant.

Microphone plug:


The plug is single pole, and doesn't exactly plug into inputs quite right. If you connect it into an input completely, you won't get any audio. The solution is to connect it partially until you get chat audio. This is a problem I have encountered with all my chat inputs, whether on my mixamp, computer, or my Mixamp female 'Y' splitter cable for audio/chat.

Isolation/Leakage:
Rating: Fair

While it's closed back, the pads allow sound to leak in and out, so it's not one of the better closed backed headphones I have used for noise control. Not as bad a fully open headphone, but it's not going to contain it's own sound all that well.

Microphone:
Rating: Good

From the brief testing I have done with the microphone, everything was heard relatively well. The only problem with the mic is that it has it's own plug, so something like a PC Y audio splitter (those that have an audio and microphone input and convert it into one plug) will be needed for most new devices that have only one input for both audio and chat. The problem here is that for some reason, the microphone plug won't pick up any audio unless I partially plug it into my devices. Perhaps someone can send me a message as to why this older looking gray plug works this way, or if this is just an issue with the HS-15.

Sound:
Rating: Decent

The HS-15 is undeniably on the warm, bassy side. It is overall a quite non-fatiguing, and relaxing sound signature, with a spike in treble for some upper range clarity, though not so much as to aid much in airiness, clarity, and detail retrieval. The mellow tone of the HS-15 is unlike what I would expect of Ultrasone, since from my experience, Ultrasones are known for their aggressive, bright, and forward sound which is the opposite of the HS-15's sound. One thing that the HS-15 shares with the other Ultrasones I have reviewed is that it yields excellent low end control despite its emphasis.

S-Logic to me is a hit or miss. The pros are that it expands the soundstage and works well with virtual surround. The downside is that it makes music sound slightly distant, and is akin to a full tonal recession. It also makes ear pad placement on the ear alter the sound quite noticeably, so it has to be placed perfectly to get the best possible sound.

The bullet point stating lower decibel output for equal clarity is somewhat true. The volume level is considerably lower than other headphones, and I find a need to use an amp for most occasions, as the HS-15 sounds distant and muted overall. To contradict it's intention, I find the HS-15 to sound it's best when played moderately high in volume, which aids in clarity and detail, which isn't hampered much by its bass due to the excellent control.

Let me clarify with some specifics...

Bass:
Rating: Great

If one thing can be said of the HS-15, is that it handles bass very well. This is a budget priced headphone that I have no shame in saying would outdo many headphones in bass control at any price range. The bass is strong and commanding, textured, and expertly controlled. Due to its emphasis, it may take some of the spotlight away from the HS-15's other frequencies, though it's more a problem of it being strong on emphasis, and not because the HS-15 lacks control or speed. The HS-15 is ideal for bassy music without any of the upper range fatigue.

The one downside I find is that some male vocals and instruments that hit in the lower depths of sound tend to sound artificially strong and boomy.

Mids:
Rating: Fair

The mids (due to S-Logic and the strong emphasis of bass) sound a bit distant/spaced further back in the mix than I'd personally like. I'm fine with mid recession as long as it's not too distant, and the HS-15 walks a fine line between being fair to being mediocre.

The upside is that due to the great control of bass, the mids aren't swallowed up or masked in general. Just...pushed back.

Treble:
Rating: Decent

There are a few areas that sound peaky, sizzly, and artificial. Thankfully, the ranges seem to be short, as the treble is generally smooth for long-term listening sessions. The detail in the treble isn't the final word on transparency or clarity, so if you're looking to analyze details and want lots of air, the HS-15 isn't a strong contender in that regard.

If you want a headphone you can listen to for hours, upon hours, and don't mind the warm, smooth presentation, the HS-15's treble range will more often than not please you.

Soundstage:
Rating: Good

For stereo/music, I find the HS-15's soundstage to be decent for a closed headphone, partly in thanks to the S-Logic. The instrument separation is very good within the head space, though it doesn't image as well as some of my favorite soundstage proficient headphones.

In virtual surround, S-Logic once again proves itself valuable, as the HS-15 throws off a nice soundstage despite it being a closed headphone, with decent depth, and tight, well defined sound placement.

Positioning:
Rating: Very Good

The HS-15's good soundstage especially in virtual surround paired up with sharp sound placement is quite beneficial to it's very good positional cues. It easily bests my Astro A30s and DNA On Ear in pinpoint accuracy, despite it's warmer, more bass driven sound and smooth tonality. While it certainly wouldn't be a top recommendation for competitive gaming due to the bassy and warm tonality, the HS-15 can stand it's own feet if you decide to use it for hardcore gaming.

Clarity:
Rating: Mediocre to Fair

The HS-15 is slightly muted and distant sounding alongside it's bass emphasis, so don't expect proficiency in clarity and detail. The warm, non-fatiguing tonality sacrifices clarity and detail, with the exception of some treble ranges which shimmer and peak above the softness of the HS-15's general sound.

As stated before, the HS-15 favors moderately high volume levels to bring out some of the detail that at low volumes can come off non-descript and veiled.

Amping:
Recommended

The HS-15 was designed with a lower volume output supposedly for equal clarity. I'd say they partially succeeded as it does make it harder to drive to satisfying volume levels. The clarity is 'equal' as stated, though I'd joke that it's more or less equally lacking.

For music, you will want at least a portable amp on the neutral to bright side to bring out more of the detail.

Personal Recommendation?
  • Movies, Music, In General? Maybe
  • Gaming? Maybe
As long as you understand it's limits, and I assure you it's not without flaws, you will be pleased by it's warm, smooth nature, and amazing comfort, which makes the HS-15 decent for all around listening, with good immersion for fun gaming, or bass driven music.

Despite it's less than stellar technicalities, I could see myself reaching for these more than many other headphones due to it's comfort and inoffensive nature.

Final Impressions:

Sound quality on the HS-15 isn't amazing overall, so if you're looking for something to be impressed by, the HS-15 will leave you longing for something objectively clearer. However, if you are looking for a beater headphone that you can wear all day, and can jam out to without over analyzing it's details, the HS-15 is a great headphone. It presents a good value at it's low street price, with excellent control of its bass and nearly perfect comfort.

While the review may sound a bit on the negative side, I have to say that the HS-15 is enjoyable and pleasing to use, enough for me to forgive its shortcomings and mark it as a decent headphone. I would simply reach for the HS-15 over many headphones mainly due to comfort and pleasing sound.
The strong, yet well controlled bass, paired up with the very good positional cues, makes for a pretty fun and immersive headphone.
While the HS-15 offers very good positional cues, it's mellow and distant sound won't hold up next to headphones more detailed, forward, and clearer. It is still quite decent for competitive gaming, with sharp positional accuracy and a good sense of space in virtual surround, just don't expect soundwhoring goodness. I'd wager that a good EQ of the mids and treble would make the HS-15 a very good competitive gaming headphone for a budget price.
Regardless of whether any other headphone is on ear or over ear, there simply isn't much out there that is as comfortable as the HS-15, though after some time, your ears may get sore.
The HS-15 makes a good backup headset, and a good, relaxing headphone due to it's warm tonality and top tier comfort.


Tier C: $50-150

Astro A30 (*headset*)
Discontinued

The Astro A30. Astrogaming's original and still current on-ear gaming headset, released after the well known Astro A40, and aimed at gamers with a need for portability and versatility which the A40s can't provide. I was able to score the A30s for a ridiculously good deal with the Mixamp Pro (2011 version).

How does the bite size Astro headset compared to the older, immensely popular, and higher priced A40 and A50? Let's find out.

Build Quality:
Rating: Great

The A30's frame consists of mainly plastic, which feels a little cheap and less prestigious than the tank-like frames of the A40 and A50s. However, the A30's plastic is flexible and feels like it'd take much abuse with nary a complaint.

The top headband portion is matte plastic, and houses ample cloth padding on the underside on headband. While the padding is thick and springy, I personally feel it puts some annoying pressure on the top of the head. I personally feel the padding could've been spread across the entire top headband piece with less thickness and yield better results in comfort and pressure distribution.

The frame on the cup side is covered in a glossy finish, which is quite the contrast compared to the headband. Not sure why Astro decided on a clashing finish to the plastic. The outer cups sport removable speaker tags, reminiscent of the A40s. Unfortunately, removing the speaker tags expose something disappointing: the A30s are closed back regardless whether the speaker tags are on or not, which is a change from the A40s. I personally like to keep the speaker tags off, as it reduces the weight by a subtle amount (I stress the word subtle). No other benefits are gained from what I could tell.

The cups are supra aural and square in shape, including the cloth ear pads which seem to have memory foam inside. Considering the overabundance of synthetic leather pads, the cloth pads are welcome, though the square shape doesn't allow the pads to sit as well as I'd like on the ear compared to traditional round-shaped ear pads. That, and the memory foam traps some heat compared to cloth pads without memory foam.

The cups swivel inward for a flat profile when placing the around your neck, with the outer cup facing outwards. I much prefer just an inward swivel like the A30 over having a fully collapsible design which may lead to more portability at the expense of more potential breaking points.

Located on the bottom of the left cup is a silver barrel that holds the cable as well as small 2.5mm input for the removable boom microphone. The cable itself is non-removable and extremely short as it simply holds the inline mic (an alternative to the boom mic), as well as the mic/mute switch, and A/B selector switch which lets you choose between A (boom mic) and B (in line mic). The cable terminates into both a 3.5mm stereo plug as well as a 2.5mm chat plug placed side by side. There is enough distance between the two plugs to attach a 3.5mm coupler or 3.5mm extension cable if you choose to use some other cable, though it will block you from using the chat plug.

The included cable (referred to as the 'Mobile QD Cable') connects to the dual plugs on the headphone end with a pair of inputs on the control 'puck', one 2.5mm (for the mic) and the 3.5mm for audio. This end is where the 'Call / Pick up / Track Control Button' is placed for Iphone/mobile phone use. The cable is of good quality, though a bit short in length. Thankfully, an extension cable is included, which fortunately retains the mic channel.

All in all, the A30 may feel like cheap plastic overall, but it looks like it can take a ton of abuse. You would really have to commit to the act of mutilating the A30s for them to break. Under normal circumstances, these look like they'll last a lifetime.

Accessories:

I can't exactly say what comes with the A30 alone as I bought it in a bundle with the Mixamp Pro (2011 version). Depending on whether you buy the A30s alone or in a bundle, you may/may not get some of these accessories:

Boom Mic: Detachable and connects to the headphone via a 2.5mm plug. It bends, but doesn't give in easily, and doesn't retain memory all too well. You'll more than likely have to readjust the boom mic every time you attach it to the A30s.

Speaker Tags: Attaches to the cups via 4 small magnets on the corners of the tags. They are customizable (other designs can be purchased on the Astrogaming website).

Mobile QD Cable: The main cable used.

Extender Cable: 1 meter extension cable for the mobile QD cable (will more than likely work for any 3.5mm terminated cable that has both audio and chat channels, which should be most headsets that don't separate the chat and regular audio into two separate plugs.)

PC Splitter cable: Separates the audio/mic channels into two plugs. I personally did not receive this cable in my package, though the quick start guide includes it in the image.

My suspicions for Mixamp related goodies:
  • Optical cable
  • Mini usb cable
  • XBOX cable
  • 3.5mm cable
Comfort:
Rating: Very Good

The Astro A30s are about as good as any on-ear headphone I've used to date in terms of comfort (with the exception of the Ultrasone HS-15, which is quite a bit more comfortable than any other on-ear I've owned). The A30s are lightweight, clamp just enough for a secure fit, and the cloth covered memory foam pads sit on the ears comfortably, though the shape of the pads make it a little harder to position properly on the ear.

The only gripes I have with the A30's comfort is the headband padding which puts some pressure on the top of the scalp, despite how well padded it is. Also, the ear pads can build up heat, though not as much as typical synthetic leather pads.

Design Issues:

Headband padding - Could stand to have been wider for better distribution of weight. The pad pushes down on the top of your head which can get a little uncomfortable.

Square ear pads - Not really an issue, but round shaped ear pads would be easier to adjust and position on the ears.

Permanently attached and incredibly short cable with inline mic and mic/mute switch - The design seems cumbersome. This could've easily been remedied by just having two detachable cables: One with the the mic and switches, and another standard cable.

Isolation/Leakage:
Rating: Decent

It's passable for a closed headset. It doesn't leak in or out a ton, but it doesn't work all that well either way. If you're using the A30s next to someone sleeping, you're sure to bother them, and in loud rooms, they won't block out outside noise as much as I'd hope.

Microphone:
Rating: Decent

The A30 comes with both a removable boom mic as well as a cable with an inline mic. I found both microphones to perform decently in personal tests. In other tests with a good friend of mine, I was told the boom mic came out clearly though came off a bit bright and artificial sounding. The inline mic sounded more natural to him at the expense of a little vocal clarity. He preferred I'd use the inline mic, due to the brightness and artificial tone of the boom mic. To compare, I was told that the V-moda BoomPro microphone blew both of the A30's mics out of the water.

Sound:
Rating: Fair

A bit thin, lacking in definition, clarity, and dimensionality. The positive aspect of it's sound is it's bass, which while a little lacking in control, is lively and quite enjoyable for music. The A30 performs at it's best for energetic, bassy music from my experience which highlight the bass and treble more so than the details in the mids. Let me explain a bit further below...

Bass:
Rating: Decent

On one hand, the A30's bass is not what I consider heavily emphasized, but on the other hand, it's rumbly, a bit loose, yet still on the dry side. It may lack control, speed, and quick decay, and can at times, creep up and rob some of the mid's clarity and presence. The A30 is a dry, somewhat thin sounding headphone which doesn't quite match up with it's rumbly bass. That type of bass doesn't usually associate itself with thin sounding headphones. When music gets busy with a lot of bass, the A30s can distort and scramble up the bass with other details. I have to say, despite it's flaws, it's still the best part of the A30s for me. The bass is enjoyable even if it doesn't maintain control like other headphones with this level of bass prominence.

Mids:
Rating: Fair

The mids are dry, thin and a bit diffused sounding which gives way to the somewhat peaky treble. I have to say it's a bit disappointing, as it comes off a bit stunted and lacking in definition, sharpness and clarity.

Dolby Headphone tends to add some warmth and smoothness to the presentation of any and every headphones, and in the case of the A30s, robs it even more of it's clarity (or lack thereof). This is but one reason why I don't find the A30s to match up well with Dolby Headphone, which is the surround processor the Mixamp uses, and is typically bundled with the A30s.

Treble:
Rating: Decent

The treble is another aspect of the A30s that I somewhat like, though at times becomes harsh/sibilant and distorts at higher volumes. It sparkles on a frequent basis lending some air to the presentation. The treble comes out as the cleanest area in the frequency response. It matches up more with the bass than the mids.

Soundstage:
Rating: Mediocre

The A30s soundstage comes off very flat and lacking in dimension, depth, and width. This is without a doubt the most disappointing aspect of it's sound to me. As usual, I don't find much to complain about in stereo, as most headphones sound a bit two dimensional/linear to me, with most sounds placed in a straight line between my ears. The problem with the A30s is that the imaging mostly comes off as 3 different points in and between the head: the left, center, right. The transition between the left/center/right seem imprecise to my ears with some gaps in between those extremes. Using virtual surround didn't help matters much. The soundstage remained fairly linear with a notable lack of depth. A lack of depth doesn't translate well for positional cues.

Positioning:
Rating: Mediocre

The soundstage and imprecise imaging did not benefit greatly from virtual surround, making positional cues a bit hard to locate. I found the A30s to be one of the hardest headphones to use for gaming, as front positional cues and rear cues were not easy to discern, and linear soundstage choked any potential possible out of the A30s for competitive gaming.

Clarity:
Rating: Fair

The slow bass, hazy mids, distorted at times treble, and non-dimensional soundstage, robbed any hopes of great clarity out of the A30s. It's not muffled sounding for music (really, the A30s can be quite enjoyable for the right kind of music). It can come off a bit energetic in the bass and treble, but as far as minute details and gaming friendliness, the A30s fall short.

Amping:
Not necessary

Personal Recommendation?
  • Movies, Music, In General? Small Maybe
  • Gaming? No
Though I try to find the good aspects of any headphone/headset I review, the Astro A30 is a headphone I find hard to recommend. The only way I'd ever recommend getting the Astro A30 is if you find the A30/Mixamp bundle for a really good deal (at the time of purchase, I got my combo for $80 which is $120 off the standard price. The Mixamp alone is worth getting for that price, so I considered the A30s as a free bonus).

Final Impressions:

I wanted to like the A30s, and give it a somewhat positive review. Really. Yet, reality proved that some headphones just don't stack up to the competition, the A30s being a forgettable headset that should be passed on by most people other than those who can score them for a very low price.
While the bass is pretty enjoyable, the lack of dimensionality and generally lackluster sound make the A30s a bit hard to enjoy for anything other than some bassy music genres, like Trap.
The lack of depth and subpar positional cues really disappointed me. If you're interested in the A30s, focus on stereo/media use, and less on competitive gaming.
One of the best on ear headphones in terms of comfort. On ear headphones will generally lose some points compared to circumaural headphones, due to the constant pressure on the ears. However, the A30s can be worn for hours on end, and the cloth padding is a much needed contrast to the copious amount of synthetic leather padded headphones in the market. If the headband padding were a little more comfortable and if the ear pads were round in shape, the comfort could've been great.
My recommendation: Only get the A30s only if you buy it in a Mixamp bundle for a very good deal. Otherwise, look elsewhere.

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Audio-Technica AD700

Update: Discontinued. The updated model is the AD700x, which I have heard from some trusted members to sound near identical to the original AD700, with worse build quality.
Spectacular for FPS games. Great detail in the mids and energetic treble. Soundstage is the biggest of any headphone I have heard in Dolby Headphone mode (including the K701). Everything sounds just so crystal clear and sparkly. Directional accuracy is just bloody fantastic (2nd only to the DT770 Pro 80s for me). If you want a headphone that just murders practically everything else for FPS games, the AD700s is that headphone. They are really bass light. That is their biggest issue. Bass is so light, it sounds like a tin can attempting to sound like a subwoofer. Just no bass, lol. So for immersive, non-competitive gaming, these aren't going to impress. The treble can also be quite grating and harsh. They also sound somewhat artificial, so don't expect accurate and realistic sounds coming from this headphone.

Comfort-wise, the pads are super comfortable, but the cans are way too loose for some people, and your ears may touch the drivers which a shock prone person like me couldn't handle anymore.
The soundstage is it's own brand of fun, but soundstage and clarity aside, they're not going to wow you.
The AD700 ditches warmth, bass, and musicality for sheer performance and detail-whoring.
Great feeling pads, though drivers press against the ears due to a lack of density and thickness in the pads. Slippery fit, due to a very severe lack of clamp and security on the head. 3d wing headband design that I personally can't stand. The comfort on the AD700 is love it or hate it.

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Audio-Technica M50

Update: I feel that because the M50s are one of my fave headphones, they deserve a bit more in the listing.
Sells for $120 (more or less).
This review is for the older ATH-M50 models which have been replaced for the M50X, which the M50x is known to be better sounding with less of a treble peak, and a warmer, fuller sound. I recommend going for the M50x (not reviewed here) instead of the older M50.

Bass: The M50's bass is emphasized, but not by a lot. It's well balanced, slightly favoring bass over mids. The bass can go pretty low, and has a good thump to it, without it being flabby. Bassheads won't appreciate the quantity, however, the M50s can handle bass boosting like a champ.

Mids: The mids are ever so slightly recessed due to slightly more prominent bass and treble. However, the mids aren't THAT recessed, and is well in line with the rest of the sound.

Treble: the treble is emphasized, energetic, and sparkly, They can get harsh, but it's nothing too worrisome, compared to other headphones on the list. The M50's treble gives you a crisp sound overall.

Comfort-wise, the M50 is the most comfortable pleather-padded headphone I have ever owned. You have to do the stretch mod, but once that is done, they are just godly in comfort.

edit: HERE is my thread with how to do the stretch mod.

As far as isolation goes, the M50's do extremely well keeping sounds from leaking out, and a great job isolating from the outside.

Gaming: the M50s don't do very well with Dolby headphone. Their issue is their soundstage, which sound congested and doesn't give you a big enough virtual space to let Dolby headphone work it's magic. I feel that even the Hifiman RE0s (the IEMs) do it better. I'd say if you want a good headphone for plain stereo gaming (like say with a Vita, DS, phones, etc), the M50s will be just fine. Just don't take them seriously for console/PC gaming.
Nicely balanced with a good emphasis on bass.
Competitive: 5.5/10 (Fair)] Small soundstage depth and width really hurts positional cues for competitive play.
After the stretch mod, the M50s are absolutely stellar in comfort, even with it's pleather pads.

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Creative Aurvana Live! (aka "CAL")

Sells for $100 (or less).
Creative and Fostex partnered up to give us the relatively inexpensive Creative Aurvana Live. It shares most of it's design with the discontinued Denon D1001, with the same bio cellulose drivers, and very few, superficial differences. From what I have personally read, the Creative Aurvana Live has been known to be the slightly superior of the two sonically, made even better at the fact that the CAL was the less expensive of the two, and is still sold today. The CAL can be considered as the baby sibling of the incredibly popular and discontinued Denon D2000, D5000, D7000 headphones, all which came with bio-cellulose Fostex drivers.

Build Quality:

The CAL is known as a small circumaural. Not as small as typical on ear headphones, but not as large as most full sized headphones. The CAL is incredibly lightweight. It has a classy piano black, glossy finish on the plastic cups with chrome accents, the only thing on the cups being Creative branding. The headband has both metal and plastic pieces, relatively thin as well. The headband padding is covered in some smooth but quality, synthetic leather.

The pads are also made up of synthetic leather/pleather, and are quite soft. The pads are on the small side for a circumaural headphone, with a lack of width and depth for bigger ears.

The CAL's cable is personally what I find to be it's worst aspect in terms of build quality. Each cup houses a thin, somewhat flimsy cable which meet just over a foot down the cable's length. The cable is quite short, terminating into a small 3.5mm plug. Good thing the CAL comes with an extension cable. The cables are rubbery and will 'grip' onto everything, which I personally find quite annoying.

Comfort:

The Creative Aurvana Live! is a rarity for me in terms of comfort. I tend to hate headphones with pleather pads, especially closed headphones. I personally find the CAL to be quite comfortable. It is odd, as not only is it pleather padded (very soft pads), but the pads aren't wide or deep, so my ears press up against the drivers and the inner walls of the pads. This is usually disastrous for a headphone's long-term wearing comfort, yet, I don't find the CAL to be problematic. Perhaps it's due to how light the CAL is, and how the CAL doesn't exactly exert a lot of clamping pressure. That being said, I do know that a lot of people have issues with these very things, so keep that in mind.

Design Issues:

As stated earlier, the pads are neither deep nor wide, so larger ears may find their ears pressing against the drivers.

Accessories:

The CAL comes with a small, cloth carrying pouch, an extension cable, and a gold-plated 6.3mm adapter. The carrying pouch won't offer any real protection from anything other than scratches/scuffs.

Isolation/Leakage:

The CAL is exactly like the other Fostex/Denon 'marriage' headphones. They do not isolate that well for a closed headphone. They DO keep from leaking internal noise out to the world quite well, but aren't the best at keeping external noise from leaking in. Better than an open headphone, but far from the best at external noise control. Long story short, if you want a headphone that keeps noise OUT, the CAL is not it. However, if you want a late night headphone that won't bother other people around you (i.e. the sleeping girlfriend), the CAL is quite proficient in noise leak.

Sound:

The Creative Aurvana Live is a wonderful sounding headphone. It's relatively warm, spacious, and detailed. It has a fantastic balance of bass, mids, and treble, not usually found in their price range. It's not a neutral headphone, but for a sub-$100 headphone, it's clearly one of the best headphones I've ever heard, if not THE best. Fostex knows their headphones. The CAL is warm, bassy (not overly so), with smooth mids, and detailed treble, without being overbearing. Mostly organic, and natural sounding, with few caveats.

Bass:

The CAL's bass is warm, full, rich, organic, and soft hitting. Not particularly quick, but well integrated with the mids, giving the CAL it's deliciously warm tonality. It's emphasized, but never truly overbearing. One of the best I've heard in terms of ambience, emphasis, and integration.

Mids:

The CAL has organic, fluid mids. Not incredibly rich or forward, but very well behaved, balanced, and again, expertly integrated. It in all honesty, the CAL puts some of the more expensive headphones to shame. Bassy headphones tend to ruin mids in some form or another. Not so with the CAL. If you like a good amount of bass, and don't want to sacrifice vocals, the CAL makes a wonderful headphone for those purposes. The only real negative aspect to the mids is that the upper mids/lower treble may at times come off just a little thin. Not recessed or lacking, but not as organic and natural.

Treble:

The treble is probably the weakest aspect of the CAL's sound. Note: I said WEAKEST. Not that it was bad in general. The treble has nice amount of presence and energy. Not particularly aggressive or sharp. It has a good mix of smoothness and sparkle. The lower treble may have just a hint of glare, but it's rarely ever problematic.

Soundstage:

In true Fostex fashion, the CAL has a truly impressive soundstage. It is a closed headphone, yet instrument separation and a virtual sense of space this big is just unheard of in most closed headphones, regardless of price range. Sure, it's not going to trump the well known open soundstages of headphones like the DT990, K70x, and X1, but even next to those, the CAL's soundstage will still impress. Not the deepest, or widest, but very good all around.

Positioning:

The CAL has very good positional cues. Positional cues are very well defined, with plenty of virtual space to maneuver. Among the best closed headphones in this regard.

Clarity:

The CAL's clarity if quite impressive, especially considering the price. Despite the CAL leaning on musicality and not neutrality, the warm, bassy nature of the CAL does not detract from it's well presented mids and good treble range. Nothing is ever truly lost, making the CAL a solid gaming headphone if you want clarity without sacrificing musicality and overall enjoyment for the sake of sound-whoring.

Amping:

The Creative Aurvana Live! is an efficient headphone, demanding minimal amping. It benefits more from a clean source, and not so much power. Mixamp owners will have no problem using the Mixamp alone to power the CAL.

Value:

At under $100, the Creative Aurvana Live is what I consider to be the epitome of bang for buck headphones. I have compared it directly to other, considerably more expensive headphones, and personally found the CAL to either meet or exceed their performance. If you want an inexpensive, efficient, and fantastic sounding headphone, the CAL is practically begging for your money.

Final Impressions:

The Creative Aurvana Live! is a not so hidden gem in the headphone community. The secret came out years ago, and with good reason. Fantastic warm tonality, good bass presence, fluid mids, with a truly spacious soundstage, all for an incredibly affordable price. Then one true drawback on the CAL may be that it's comfort level may be good for some, not for others. I believe it's truly worth checking out.
Full, warm, immersive, and entertaining.
Even for a warm and slightly reserved sound signature, the soundstage and positional cues are good for competitive play.
Even for a small circumaural, I find them to be very comfortable, with the only negatives being that the pads are shallow and small and may crush other's ears. I didn't have issues with it though.

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Creative Aurvana Trio
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$149.99 MSRP (as of Oct 2018)
Where to buy: Creative, Amazon

Review first posted on this forum page HERE.

Once again, I'd like to thank Creative for giving me the opportunity to test one of their products out.

Here is something relatively new for me. An IEM: The Creative Aurvana Trio (I'll shorten it to just calling it the Trio for the purpose of this review). A triple-driver hybrid in ear headphone, in which if you've known me long enough, you're likely aware that I'm not particularly fond of IEMs in general. Not because of any performance issues (far from it, actually), but because my sensitive ears just can't handle in ears for longer than a very brief period of time, regardless of how comfortable they are to everyone else.

Has this changed with the Trio? No, but I wanted to give the Trio a chance for those that may be used to IEMs in general, and may be looking a a great pair for their varied purposes. Thankfully, the Trio is unquestionably a solid headphone. I'm not going to pretend I know much about the technicalities of IEMs in general, or the difference between standard IEMs, and something like a triple driver hybrid.

Per Creative:

Hybrid Triple-Driver System
At the heart of the Aurvana Trio is the hybrid triple-driver system. This allows the Aurvana Trio to deliver exceptionally pristine audio across the audio spectrum.

Balanced Armature Super Tweeter
Delivers detailed highs.

Balanced Armature Mid-Range Driver
Supports natural mid-range playback.

Bio-cellulose Dynamic Woofer
Delivers rich, deep, and accurate bass.


Take that as you will. I'm here for the sheer performance of the Trio first and foremost. You can rest assured, whatever method they're using, it works exceptionally well. I can only compare it to my experience with what I'm used to, and I definitely feel that they easily stand up to full sized headphones.


Build Quality:

As I'm not very experienced with IEMs in general, I tend to view them typically as small barrels with a tip, that's about it. Contrary to that, the Trio appears considerably more premium than some nondescript standard IEM design. I certainly wouldn't mistake the Trio for any other IEMs I've ever seen.

The main body is made of a rubbery looking plastic , with some metallic silver-ish accents. The nozzle with the ear tips is placed at the far right and left of the face, and are angled to better fit your ear canals. From memory, I'd say the housing and nozzles are quite big compared to some standard fare IEMs, so make note of that, if you are used to smaller IEMs.

There is no driver flex to speak of, thankfully, so don't worry about any crackling noise coming from the Trio when inserting/removing them from your ears. There is none.

The cables are detachable via the MMCX connectors, so if you ever wanted to upgrade, it would be a pretty simple affair. The cables themselves are fully braided from the headphone to the plug. The cable is 1.2m long, and unlike my tried and tested Koss clip on headphones, the cables are long enough to put my source device in my pocket without feeling like I'm applying tension. I wish more 'portable' headphones were at least this length. They're either too short, or too long. To me, the Trio is the perfect length.

I'd say the cables are on the thin and light side, though the braiding helps them not feel fragile or flimsy. The braiding keeps them from twisting and tangling. Even bunching the cables up to fit the Trio into its small case is no issue, and the cables unwind with ease, with no 'memory' in the cable afterwards. I'm a big fan, and based on those aspects alone, I wouldn't ever feel a need to upgrade.

The 3.5mm TRRS plug is angled at 90 degrees with a thin housing and generous strain relief on the cable side. I don't see there being a problem with full insertion of the plug with most phone cases.

The right side cable is where the in-line mic is placed. It is small and unobtrusive, with a single button for answering phone calls, or pause/playing your music. It doesn't add any noticeable weight to the right side cable.

Cable noise is moderately low. It's not completely quiet when moving about, but it easily gets mostly drowned out by whatever you're listening to. I have definitely heard much worse, and don't find it an issue here.

As a final note, I don't have any problems with the build quality of the Trio. I feel the ruggedness and durability factor seem high, and are good enough to satisfy the vast majority of people interested in the Trio.


Accessories:

Small carrying case - A small, black case with a magnetic flap. I like the small size and dimensions, as it will easily fit my pockets, though I do with the inner ear was just a little bigger. I like to wind the Trio's cable and stuff it in first, followed by the Trio itself, that way I can just grab the Trio and the cable will unwind itself as I take it out of the case. Right now, the Trio sticks out a bit from the case. If it were just a little more open, it would all fit in perfectly. A minor pet peeve, nothing major. It is a great case.

Airplane adapter - Not much to say here. If you feel like listening to whatever in flight movie is playing, the adapter should allow you to plug in the Trio. Simple as that.

Ear tips - The bag has 2 extra pairs of silicone tips (small, large in addition to the medium sized tips on the Trio itself), and 1 pair of foam tips that are on the medium but long side. I would've been overjoyed if they added a smaller pair of foam tips. I greatly prefer foam tips over silicone, though in this case, the foam tips are a bit too big for my ears. Thankfully, I didn't note any sound balance differences between the silicone and foam tips.


Comfort:

This is an area I don't exactly feel comfortable in addressing, as I just don't find the vast majority of IEMs comfortable. It's hard to gauge where the Trio stands in terms of comfort, as my experiences have almost never been positive, outside of things like the JVC marshmallows, and some AKG IEMs that came with my phone.

What I will say is that for an IEMs, I can wear the Trio for a solid 30 minutes to an hour without feeling like I need a break. It's not bad in that regard. My ear canals get 'itchy' and sore after awhile, and need a considerable break, though this isn't exclusive to the Trio.

In terms of weight, I don't have much to compare it with, but I'd say the Trio is light enough to essentially feel like you're not wearing anything, compared to everything else I'm accustomed to. Certainly not heavy enough to feel like it's slipping out of my ears at any given time.

The Trio comes with silicone tips of various sizes, and I found that only the smallest size fit me well enough without too much pain. The others are simply too big for my ear canals, as are the foam tips.

Really, take my claims of comfort with a grain of salt, as IEMs just aren't in my area of expertise. You may or may not have differing opinions, especially if you're accustomed to IEMs.


Noise Control:

As an IEM, I wouldn't expect any real sound leak to the outside world, and the Trio is no exception. Anyone within a few feet from you shouldn't really hear anything other than a very, very low amount of higher frequencies. Certainly not enough to wake up a significant other if you happen to be listening to something right next to them.

As for isolating outside noises, it attenuates outside noises well enough to not be a major problem in any regard, especially if you're actually listening to something.


Sound:

IEMs typically have a considerably different presentation of sound compared to full sized headphones or even on-ears. It's not an easy comparison, due to the much tighter head space. That aside, IEMs have their own strengths. The Trio is no different. While I can't be sure what a triple driver hybrid design brings to the table compared to a more standard IEM design, I can for certain say the Trio has some excellent sonic traits.


Bass:

The bass on the Trio is what can be described as deep, enveloping, and omnipotent. It clearly tilts the Trio into a warm, bassy headphone, and as such, will favor those who prefer a tilt in that direction. It is undeniably subterranean and cavernous, easily hitting the lowest notes even at 20hz. There is a substantial amount of rumble and energy near the 40hz range (my favorite area of bass), and a good sense of impact even at 60hz and above.

The bass is woolly and thick, which I consider about average in terms of speed and clarity, so it may not suit those who prefer a more linear, more articulate, and speedy tone. It isn't one note, nor overly sloppy, but it isn't the tightest bass I've heard.

Personally, I do like the depth and enveloping nature of the Trio's bass, though I do feel it could stand to be a bit quicker and more articulate. In non-bass heavy tracks, the warmth and tonal characteristics of the bass won't intrude on the sound. On bass heavy tracks, you'll definitely note that the lead is definitely the bass, with everything else playing second fiddle. For my preference, I'd say a slight reduction in bass volume would've made it a more enticing headphone.

Is it a basshead headphone? I wouldn't say it's for bassheads only, but it's definitely leaning on romanticizing bass a bit more than those looking for detail orientation. It can still do other things well, as I'll note below, but bass is definitely here to play.

The bass energy can steer focus away from other areas of sound. Steering focus away does not mean smother, or veil. It literally means that while the midrange and upper ranges remain clear and satisfying, the bass is just more of the spotlight, if there is considerable attention placed there. Because of this, the Trio may actually make a better headphone for non-bass heavy uses rather than FOR it.


Midrange to Treble:

Second to the bass is the midrange, which is very well balanced, and tonally organic. It is smooth throughout most ranges, with plenty of presence in the lower midrange at 200hz-400hz. From then on, it remains nice and even, up to about 2khz which then starts a rapid climb up to about 4.5-5khz as the highest peak and prominence on the Trio. Past that into the treble range, it levels out and begins dipping at 6khz to about 8khz with a gentle rise to 10khz, which does not trend towards hot or sibilant. I could hear the sparkle all the way up to around 14khz.

If playing music that doesn't focus on on the lower ranges, the midrange and treble are crisp and focused, with a natural tonality.


Soundstage:

With no processing - I never truly expect any IEM to have a fantastic soundstage just from my limited experiences, and I wouldn't say the Trio is any exception. Mind you, I honestly can't gauge soundstage for IEMs with any confidence. I don't really put much stock into soundstage when listening to music or normal media use, with the exception of how well instruments and other sound cues are placed and separated within that soundstage. The imaging capabilities on the Trio are quite excellent. I have heard a few headphones that smear details and sound cues together. The Trio does a fine job in allowing sounds to have their own areas within the virtual head space.

With virtual surround processing - This is where I'm particularly blown away. Simply put, the Trio is one of the very few headphones in all my experiences where it could fool me into thinking I'm listening to speakers. Particularly with something like Sennheiser's GSX surround, I was awestruck with how well the Trio throws out a virtual surround soundstage. The Trio's imaging and separation of sounds is quite fantastic. What this means, is that simply based on that, the Trio would make a very, very solid headphone for gaming positional accuracy.


Clarity:

It's kind of a hard to talk about the Trio's clarity, because the bass isn't the type to muddy up and veil the rest of the sound. Its weakness is that the bass is potent enough to take away focus from the excellent traits the midrange and treble have. When you're listening to non-bass heavy media, the Trio is a tonally warm-natural but clear headphone. The midrange is present if a bit on the flat range in terms of forwardness, with exception to the peak at around 4.5khz which is pronounced and sharp. The treble is nice and shimmery without sibilance, hotness, or piercing nature that hurt other, very good headphones. So I'd say that clarity is a strength for the Trio particularly on non-bass heavy music genres.


Amplification:

  • No amplification needed
  • Fast, analytical solid state recommended

At the time of this review, I did not have any serious headphone amplifier, but thankfully I did not find the Trio to be anywhere near reliant of such. Even the meager amplification of the GSX1000 powered the Trio with plenty of volume headroom. The Creative G6 even more so with its vasts amounts of volume headroom for even harder to drive headphones. Even off a Nintendo Switch and a Galaxy S9, I found no issues with getting enough volume out of the Trio. Volume isn't everything, but I didn't find the Trio to sound starved for power in any occasion. If you're going to amplify the Trio, I believe that an amplifier focused on details and speed would suit the Trio.


Gaming:

As previously stated in the soundstage section, the Trio has excellent imaging and positional accuracy. Instrument separation, and sharp, concise audio cues already make it a potent headphone for gaming purposes. Thankfully, it holds up in other aspects for gaming as well. The well balanced midrange and extended treble lead to a mostly pleasant and balanced sound for most forms of gaming. The guttural growl and rumble of the bass makes casual gaming incredibly immersive and fun, and while something such as a constant drone of bass frequencies may be a slight detriment in other areas for clarity, gaming rarely has examples that mimic that issue. I can't ever say the Trio's bass truly becomes a problem in gaming for the overwhelming majority of the time.


Microphone:



From what I can hear, the mic picks up my voice just fine. The tonality is on the thicker, warmer side. There is external noise pick up as well. Nothing major for taking calls or casual chatting, though I wouldn't use it for competitive gaming or most forms of online gaming where the external noise will likely drive people crazy. The noise itself is minor, but it is constant. My recommendation is that if you're going to use the Trio to game, don't use it for chatting while online gaming. For sending messages, it's perfectly adequate.


Personal Recommendations:

It may not come as a surprise to anyone, but I do find the Trio is suited to a variety of purposes. It is an excellent headphone for portable use. I'm particularly fond of the Trio for my Nintendo Switch. While I use my Koss PortaPro wireless for phone use, I would have no problem switching it out for the Trio if I ever left the PortaPro at home. In this case, the Trio actually blocks out external noises, which may or may not be a benefit depending on situation. I personally like to be able to hear my surroundings, so the Trio isn't ideal for me. However, if you're, for example, in a train or plane, noise isolation is always beneficial.

For active on the go use like working out, I do feel the Trio is a great choice, as it's one of the very few IEMs I have used that doesn't slowly creep and fall off my ears with some minor head movement. Everyone's ears are different, but I do think this is one of the safer choices for that.

For home use, the Trio is also an excellent performer, though I personally would almost always prefer to use a full sized headphone for serious listening sessions.

As for actual media, the Trio excels for things such as movies, casual gaming, and most music. I'm at odds with myself when it comes to music genres, as the bass is quite potent and can be overly so with bass heavy music to my ears. On the other side, it makes bass heavy music even more immersive, and can inject some flavor to other genres that may benefit from it. It's a double edged sword. This isn't an exclusive problem with the Trio, but with any headphone that may have potent bass.

As stated in the gaming section, the Trio is a great choice. It's detailed, lively, and fun. It absolutely shines with virtual surround processing devices with its excellent imaging and positional accuracy.


Likes and Dislikes:

Likes:

  • Design
  • Detachable MMCX braided cable
  • Great treble range
  • Performance with virtual surround processors

Dislikes:
  • The bass could stand to be dialed back a little
  • Peaky 4.5khz range
  • In line mic button is a bit mushy (could be more clicky for a more consistent button press)


Final Impressions:

The Creative Aurvana Trio was more or less an experiment for me, seeing as I'm simply not and will never be an IEM kind of guy. That being said, I am thankful that my first IEM tested in many years ended up being a really good one, despite it perhaps being a little heavier on the bass than my typical preferences. Perhaps it's simply how much my tastes have changed throughout the years. I was a mild basshead for a very long time, and as time went on, my ears adjusted and adapted to a more warm-neutral tonal balance. I still do love a bit of emphasis in the bass, mind you, and the Trio is 9/10 of the way there. Perhaps with a successor to the Trio in the future, with a slightly mellower bass range, it could have a sound signature that would perfectly fit my tastes.

There is an excellent headphone here despite my minor complaint of its bass omnipotence. I am very, very satisfied in nearly every other regard. The tonality, the upper end extension, the engaging and fun signature for casual gaming and movies, there really isn't much to dislike here.



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HiFiMAN RE0 (IEM)

Can an IEM truly be good for gaming with Dolby Headphone? Astrogaming just released the A*Stars to use with the Mixamps, so they believe so. My experiences with the highly regarded HiFIMAN RE0s leads me to believe the same. The sound signature is like a VERY neutral to slightly bright sound, lacking a little in bass, but being incredibly analytical. That to me, sounds like a perfect headphone to test for hardcore gaming. Being an IEM, the RE0 doesn't have any worthy soundstage depth and width to speak of even with Dolby Headphone. Everything sounds pretty much close to you. What they DO however, is accurately pinpoint which direction sounds are coming from, and pick up all the detail you could possibly want for gaming. No one will be sneaking up on you with the RE0s on. Still, you will be missing the soundstage, which helps in immersion. Still, when it comes to IEMs, this is a fantastic one to use.

Comfort-wise, I'm not a huge IEM fan, and these weren't notably superior or inferior to any other IEM in comfort. The stock tips weren't great, and they would constantly fall out of my ears. I much prefer the JVC Marshmallow's tips for comfort, but not sure what they'd do to the sound, as I didn't own them at the same time.
The RE0 is pretty analytical/sterile and not exactly engaging.
Despite it being an IEM with very small soundstage, the clarity is absolutely top notch, making details pop out very easily. Positional cues don't have a lot of depth to do their work as well as they should, but they are easy to pinpoint which direction they originated from.
IEMs don't do much for me in terms of comfort.

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Nuforce HP-800
11199329_thumb.jpg

Sells for $129
I'd like to thank Wolfgang, NuForce's social marketing specialist for contacting me, and giving me the opportunity to test and review the Nuforce HP-800. Very much appreciated.

Okay, so the Nuforce HP-800. Prior to Nuforce contacting me, I must admit, I knew absolutely nothing about the HP-800. All I have known about Nuforce has been what I've read about the quite popular UDAC, UDAC2, Icon, and HDP dac/amps. I certainly had no idea that Nuforce had jumped into the headphone game. The HP-800 is Nuforce's first entry into full-sized headphones.

So the question is: How was Nuforce's first foray into full-sized headphones?

Build Quality:

Before I get into the aspects of it's design, I'd like to address one thing: I believe the HP-800 may have been designed with portable use in mind, yet the HP-800 is not portable by any conventional means. It's large, and doesn't fold up in any shape or form. This betrays it's incredibly minimal power requirements. The design will easily place the HP-800 as a home or studio headphone, not a portable one. Quite some large head bling here. The HP-800 does fit well as a transportable headphone, like office or library use with a laptop.

The HP-800 is a fully closed-back headphone which is made up almost entirely of very sturdy and solid feeling plastic (with thinly stamped aluminum cups) in a full black matte finish. That means fingerprint resistant, which is always a good thing. I grow tired of high gloss plastic that looks good as long as you have psychic powers and never physically touch the headphones. The design of the HP-800 is quite minimalistic, which would feel at home next to typical studio headphones you can purchase from the musical instrument section of any major electronics stores like Best Buy. It is almost entirely black, with the only contrasts being the driver covers being red/orange, and a golden metallic 'NU' logo on the center of each outer ear cup.

The headband is of the auto-adjusting, tension/suspension type, similar to the popular AKG K70x line, as well as the recent Philips Fidelio X1. The headband portion that rests on your head is made up of a very rubbery material that has quite a grip. This is the first time I have seen such a material being used, and I'm not sure it was the best choice. I find that this rubbery material is prone to picking up dust and dirt from the air, and is not exactly easy to wipe off.

The top portion that holds the wires that sends audio to the right driver is all plastic, and as such, I wouldn't recommend bending it if you feel like the HP-800 doesn't have enough extension, in fear of possibly snapping the plastic. This makes the HP-800 a possible problem for bigger heads, as you can't really bend the HP-800 in any way, unlike the Fidelio X1 which has a metal band that is easily bent for more extension.

The pads are synthetic leather/pleather. They're quite large, and very soft. Personally (as you may all know by now), I have a strong aversion for pleather pads, so I'm not exactly thrilled by the abundance of it on the HP-800. The pads, while big, don't have the largest openings, and they compress quite easily, so those with larger ears may find their ears pressing up against the driver covers, and inner walls of the pads.

The HP-800's left ear cup comes with a standard 3.5mm input, no locking mechanism, so cable replacement is a breeze. Speaking of the cables, the HP-800 comes with two cables: A cloth-covered long cable that terminates into a 3.5mm plug, with an attached 6.3mm adapter which screws on/off. One of the better stock cables I've ever come across. The shorter, thinner cable doesn't inspire much confidence in it's build quality, and unlike the lengthier cable, lacks proper strain reliefs. I'd stick with the longer cable, or buy a more durable short cable for portable use.

Comfort:

The comfort will be a hit or miss. The HP-800 may be problematic for larger heads, in that there may not be enough clearance, due to the lack of extension. My head fits, but the strong tension causes the cups to want to ride up my ears ever so slightly. This could've been mitigated with a longer extension. As it stands, it is a bit problematic for me personally, as the feeling of the drivers want to slide upwards never ceases.

The headband portion that rests on the top of the head is covered in very rubbery material which can and will grip onto your scalp or hair, so any small adjustments will yank a bit. This is only an issue if you're constantly shifting and readjusting.

The pads are quite soft and plentiful. Being synthetic leather (which I'm not a fan of on ANY headphone), they will heat up and get a little sticky. As mentioned before, the openings aren't the largest in diameter, so larger ears may have to struggle between pressing up to the driver covers and pinching up against the inner pad walls.

The HP-800 is quite lightweight, so they shouldn't pose much of an issue for those with neck problems. All in all, the HP-800 will cater to smaller heads and ears. Everyone else should try and demo these first.

The HP-800 doesn't exude much clamping force, and the little it does have will keep the HP-800 from sliding off the head. Needless to say, the HP-800 has an ideal amount of clamp to my ears without being too loose, or too clampy.

In terms of comfort, the HP-800 is among the better pleather-padded headphones I have reviewed on this guide. That means, that if you don't have a particular distaste for pleather, you may find the HP-800 to be relatively comfortable overall, assuming you have smaller ears. Personally, I find them okay in comfort, and mostly inoffensive, my main issue being the pad material, and the diameter of the openings. If Nuforce manages to update the pads with a bigger diameter, and possibly just a bit larger/deeper, they'd have a solid headphone in terms of comfort overall.

Design Issues:
  • Not particularly suited for portable use due to a very large frame, despite its minimal amping requirements.
  • Rubbery headband padding may grip onto the scalp/hair, potentially causing discomfort with every minor adjustment. Also picks up dirt/dust easily (the top side of the rubbery headband).
  • Pleather pads, while soft, build up heat in a hurry, and will stick to the skin. They also do not have the biggest openings, so those with large ears, take note.
  • Lack of extension for larger heads will cause the cups to pull and rise up towards the headband.
Accessories:

The HP-800 comes with:
  • One long, durable, cloth-braided cable w/3.5mm plug with an attached screwed on 6.3mm adapter.
  • One short, thin cable w/3.5mm plug
  • Carrying pouch
Isolation/Leakage:

The HP-800 as a fully closed-back headphone does incredibly well at keeping it's sound from escaping out into the world. This means that you can blast the HP-800 loudly, and very little will actually leak out, making it an ideal headphone for late night use when you're trying to keep your significant other in the same room from waking up. It's been quite some time since I've heard a headphone control noise leak as well as the HP-800, the last one being the Mad Dogs.

The HP-800 however isn't exactly great at keep external noise from leaking in, so it's not the best at passive noise-cancelling. It's not bad, but not the best.

Sound:

The HP-800 is unlike anything I've ever heard upon first listen. It's quite warm/dark most of the time, yet spacious, which I usually find to be quite a contradiction. Very much so. Coming off more neutral and brighter offerings, the HP-800 will sound stuffy and muted (it even makes the well known Creative Aurvana Live! sound bright in comparison). In fact, prior to hearing the Sennheiser HD650, my perception of it's sound just based on impressions I've read online (which didn't turn out to be true), I would've thought it'd sound something like how the HP-800 actually sounds like. Dark, creamy, and smooth, if a bit veiled. The only difference being that the HD650 is known for it's stellar and intimate mids, which the HP-800 just does not have.

Quite bassy (okay, VERY bassy), with fairly distant sounding mids, and mellow treble that sounds pretty up to par with the mids. For a closed, dark, mellow sounding headphone, I feel the soundstage to be quite spacious, more than likely due to how distant the mids sound. To be quite honest, I was thrown off by it's sound signature. However, given some time, I adapted to its tonal characteristics, and found it to have a charm I'd say is all it's own, even though it's still a bit polarizing.

It isn't the most detailed headphone by a stretch, but it is relatively enjoyable, pleasant, and fatigue free. I feel it's best suited for hip hop, and general club music with most importance in the pulse of the rhythm. For this reason, I find the HP-800 to be very genre specific.

All of that being said, the HP-800 is almost a completely different beast for virtual surround gaming use. Even though the headphone is dark and mellow, the linearity between the mids and treble makes it easy to maintain a good mix for gaming purposes. Because bass is situational in gaming and not overly dominant, you can raise volume levels to put the mids and treble into better focus (not overly so), making the HP-800 a competent, fun oriented, gaming headphone.

Bass:

Huge, dominating, impressive, and ferocious bass. It will be the first thing you immediately notice when listening to the HP-800. However, what sets itself apart, is that the bass is fairly linear (though quite emphasized from the mids and treble ranges). The sub bass is actually quite decent, and the mid bass is proficient in fullness, presence, and control. The bass is on the slower side, but doesn't creep into the mids. I expected this soft, yet full bass to swallow the mids, but the HP-800's control is pretty apparent.

Mids:

The mids are a paradox on it's own. The HP-800's bass doesn't swallow up the mids, and the treble isn't by any means bright or emphasized over the mids, yet the mids are a bit recessed to my ears. Almost undoubtedly so. The mids are warm and full-bodied, yet...distant. I'm at odds with the HP-800 because of this. It takes time to get used to.

I'm not entirely against recessed mids on a headphone (I do generally like a mild v-shaped sound signature), yet when a headphone is clearly NOT v-shaped, you'd expect mids to be either in tune with the rest of the sound, or up front and center. The HP-800's mids are a little off putting at first. Not a gaping void, but noticeably pushed back.

Treble:

The treble range is more or less in line with the mids in emphasis, meaning that they aren't in the spotlight, and are just a tad laid back, but not more so than the mids. They are in the comfortable range of being smooth, and sibilance free. Treble in instruments isn't exactly the sharpest, nor the clearest, ultimately making the HP-800 lack just a bit detail.

A bit glossed over, but completely inoffensive to the ears. I find the treble to be a strength when you play the HP-800 at a moderately loud volume, as it never gets harsh. Comparing the treble to the Creative Aurvana Live, I found the HP-800 to sound less detailed, but smoother, and less fatiguing.

Soundstage:

The soundstage is a surprisingly good thing in the HP-800. It's wide for a closed headphone, and thought not excelling in depth, there is decent amount of virtual space. I'll touch more on this in the next section.

Positioning:

Positional cues are good. Not great but good. The HP-800 has a pretty good soundstage in width, but not necessarily the best in depth. Also, positional cues in certain angles sound a bit diffused. The HP-800's positional cues take up a bit more virtual space, and aren't as precise. In the end, the HP-800 gets the job done, but there are better, and cheaper in this regard.

Clarity:

Clarity isn't exactly a strong suit in the HP-800. I do find it to be objectively clearer for gaming purposes in virtual surround gaming than it is for stereo/music use (or any non-virtual surround uses for that matter). Due to the fact that the HP-800 is pretty closely even in mids and treble, nothing is lost in between, so within a certain amount of volume, the HP-800 makes a pretty decent gaming headphone, and mitigates the overall darkness somewhat.

You do have to somewhat tune out the abundant amount of bass that leads the mix, though because the bass doesn't smother other details, it isn't that arduous a task. All in all, not the clearest headphone, but relatively stable.

Amping:

While the HP-800 isn't the most sensitive full-sized headphone I've tested, it truly demands very little amping with a maximum input power of only 30MW. This means that practically any device you hook up the HP-800 up to will drive them loudly, and with authority. As always, clean power is the best power, so while the effect may be subtle, a decent portable amp will benefit the HP-800 especially in controlling it's dominant, and somewhat slow bass. For gaming use, I found the Mixamp alone to be just fine for the HP-800. The HP-800 is already full bodied as is, even unamped.

Value:

The MSRP of the HP-800 is $129. In it's price range, it fills it's own niche, and for that reason competes well with others in it's price range, if you're looking into a somewhat unique sound signature, even amongst other dark/warm headphones. Bassheads in particular should take note.

Final Impressions:

I feel the HP-800 is a solid (though polarizing) headphone for those who'd like a closed back, pleasant, fatigue-free, warm headphone, with big bass, and solid noise leak control. I feel the HP-800 is a fairly competent closed headphone for virtual surround gaming, fun-oriented gaming in particular. Just remember, the HP-800 is bass first, everything else second. So unless you value a substantial amount of bass presence above everything else in a headphone's sound, you may want to do your homework before taking the plunge.
It's a basshead can, in every sense of the word. Paired with a surprisingly good soundstage, makes the HP-800 a fun, bass driven headphone.
Despite it's softer/veiled sound signature, it works surprisingly well for competitive gaming.
With a bigger diameter and deeper pads, the HP-800 could become a much more comfortable headphone. Could also use more extension to fit bigger heads, as well as a different material of the headband, instead of the rubber-like material used.
I personally find the HP-800 a bit polarizing with it's bassy sound and it's veiled signature, yet spacious soundstage for a closed headphone.

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Sennheiser HD280 Pro
11199332_thumb.jpg

Sells for around $100.
Needed to mention this one. Like the M50... these aren't very good for Dolby Headphone gaming. The soundstage is so miniscule, everything sounds pretty much like it's right next to you. No sense of depth or width. My RE0s were better at least.

Comfort-wise.... uhh, no. Just...no. Sennheiser loves it's clamp, and the HD280 Pro is a TORTURE device. It's a vice grip on your head, and the really 'perfect' seal adds heat and sweat on top of that painful clamp. Probably the worst I've used in terms of comfort.
The clamp is unbearable after a few minutes. The airplane cabin pressure is also incredibly uncomfortable.

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Skullcandy Slyr (*headset*)
http://www.skullcandy.com/shop/slyr-black-yellow
11199333_thumb.jpg

Sells for $79.95
Before I get started, I really want to thank Skullcandy for getting in contact with me and giving me the chance to review the SLYR, as well as the A40+Mixamp 2013 Edition, and A50s on their Astrogaming side.... They have been very communicative, and understanding. Can't thank them enough.

I'm sure that pretty much anyone interested in headphones know the Skullcandy brand. Their name is instantly recognizable, and their headphones can be found in many stores, ranging from their very entry level headphones, to their higher end Aviator and Mix Master headphones. They do not have a shortage of headphones, and as such, have been the target of a lot of criticism for not catering to audiophiles but to the domestic market. Personally, I can easily say that I do not have a lot of experience with Skullcandy products. My first pair of Skullcandy headphones were a pair of Ink'd IEMs that I bought ages ago loved. I didn't know a thing about headphones back then, but I do remember liking their sound signature, and their cheap price. The next product I had some time with was the Lowriders...a PINK pair, I had bought for my then girlfriend, hahaha. I have never been a fan of on ear headphones, and the Lowriders couldn't stay on my head. I honestly couldn't tell you if they were halfway decent or not. I have a slippery dome it seems, lol. I wasn't exactly pleased with them, and their build quality was quite lacking from what I'm used to today, but they were very inexpensive, and my girlfriend liked them well enough.

Anyways, my point is, I don't have a bias for OR against Skullcandy. What I DO know is that they have made great strides in improving their line and becoming more serious about the quality of their products. I can surely appreciate any company doing that. With the arrival of the SLYR, PLYR, and PLYR2 (with help from Astrogaming, which is well known in the gaming community, and which they now own), it's hard to not be curious about what Skullcandy has up their sleeves for us gamers.

So I'm approaching these headphones with a completely open mind. Okay, maybe not completely open. I do have ONE bias: I don't expect much from headsets. With as many headphones as I have owned and tested, gaming headsets have been, for the most part, disappointing. Save for the Sennheiser PC360 (which remains the best headset I have used, and still among the best competitively even among the amazing headphones I have owned), the next best headset for me was the Tritton AX720 which was decent, but not 'good' overall. They are excused as they come with a Dolby Headphone decoder box which more than makes up for their lack of pure sound quality. Everything else was borderline forgivable to 'blegh'. So, with that bad taste in headsets overall, the SLYR had an uphill battle, and that's before I even opened the package. Still, I was excited.

Hmm, the Skullcandy SLYR (pronounced Slayer). Upon opening the package and taking them out, I was still neutral. They were unassuming, and relatively stealthy in a dominantly matte black finish with sort of yellow/green 'windows' on the cups. From what I have seen of earlier Skullcandy designs, they tend to be fashion statements, with lots of urban/street flavors, etc. The SLYR is humble looking in comparison. I actually like this. I tend to prefer a more classy approach to my headphones, rather than ones that scream at you. The SLYR still has an edgy design to them with sharp angles, but it's not 'loud'. It's hip for the younger crowd, but still reserved enough for adults.

So that was my first impression on looks. Looks are not my top priority in a headphone. Comfort and sound first. How did they fare? Well, as soon as I put them on, I immediately thought: "Crap, these are on ear." I'm not a fan of on ears. Still, the pads were very soft, and they weren't pleather. Things I DEMAND in a headphone nowadays. I absolutely avoid pleather/leather like a plague. Then I realized, with a little bit of adjusting, the SLYR is actually circumaural/over ear! YES! Very happy about that. Certainly not the biggest cups, but they did fit my ears well enough (bigger openings than the Creative Aurvana Live, and much deeper pads). The SLYR is off too a good start, and I haven't even heard them yet.

As with every headphone I buy, my first listening test is ALWAYS music. Gaming comes later. I fired up some songs, let my ears adjust to their sound signature and soon after, I knew; Skullcandy meant business. These don't just sound like a good headset. They sound like a good headphone. PERIOD. I absolutely did not expect this sound coming from an $80 headset. The first thing that I immediately noticed was the balance between the bass, mids, and treble. I am not exaggerating in saying that headphones costing 3x the price of the SLYR can't manage to find such a great balance between fun and balance the way the SLYR does. I mean it. With the Sennheiser PC360, you get a really good and overall neutral-ish tonal balance, with not much sticking out of place, but not being exciting tonally. The SLYR on the other hand manages to sound balanced, with the right amount of bass emphasis and energy to make them exciting. They are forward sounding headphones, with not a hint of boredom in it anywhere. The Creative Aurvana Live sounds considerably more reserved in direct comparison, darker, and warmer. (which I had on hand at the time of review). While the CAL was still more refined overall, I have to say, I preferred the sonic signature of the SLYR. It was immediately more engaging and exciting. The SLYR isn't the fullest sounding headphone I've heard, nor the most refined, but they definitely got the balance right for my ears.

Bass:

To be honest, I expected to have more bass than they did. I expected bloated bass. Bass that gets in the way of detail. This is NOT what I got. Instead, I got punchy, impactful, energetic bass that is quite present, but never overwhelming. It also has good speed and decay. Quite impressed with the SLYR's bass. A very good start. If I had to give the bass a quantity, I'd give them an 8. Plenty of bass for me. Not perfectly in line with mids and treble, but it's a GOOD emphasis.

Mids:

I'm used to v-shaped curves, with bass and treble emphasis, and recessed mids. Yet, the SLYR has some pretty up front mids next to the typical v shaped can. Can't pinpoint if it's the smaller soundstage, or just the mids in general, but they certainly weren't what I consider really recessed. Maybe just slightly so next to the bass, but I'd say they're pretty in line with the treble. They are pretty forward in the sense that vocals are near you basically at all times unless a song purposely mixes them further back.

Treble:

You either expect dull, veiled treble, or treble that is too sharp, too spiky, too peaky. Again, the SLYR surprises in its sonic characteristics. The treble is energetic, but it's not harsh. It's very close in balance to the mids for me. It is RARE for treble to be in the safe zone between too soft, and too harsh. The SLYR is DEFINITELY in that safe zone. I honestly wish the DT990's treble had a similar line. That's right.

Amping:

As to be expected, the SLYR is a very efficient headphone, and I didn't feel they needed any extra amping.

Soundstage:

This is definitely the only aspect of their sound that I was personally not entirely happy with. Part of it is because I'm grown so accustomed to open headphones, with an airy, wide/deep soundstage, and going back to a closed headphone's soundstage and typical closed headphone signature is a bit jarring. After getting used to the closed headphone sound, I'd still say the SLYR's weakest aspect is the soundstage. It's relatively small even comparing other closed headphones. I have VERY little experience with closed headphones, and I feel that out of the few I have on this guide, the SLYR is near the bottom in terms of soundstage. Thankfully, everything else is so good, so this drawback doesn't hurt as much. Still, it is small, and everything sounds pretty packed together next to other headphones in direct comparison like the CAL and A40s (the two main headphones I had on hand).

Positioning:

Now that we're getting into the gaming side of this review, the first thing to discuss is positioning. Since I feel that positioning is very dependent on soundstage, I feel they did suffer just slightly compared to my faves. That is the nature of closed headphones (with the exception of the D7000, and DT770s which have some truly large soundstages for closed headphones), and the Pro 900 which, with the aid of S-Logic helps give a sense of depth not typically found on closed headphones, though not by much. The SLYR does place positional cues properly around you, though with the lack of soundstage, there isn't much space between you and the virtual space to make pinpointing easy. Still, it does a good job. Not great. I was able to dominate pretty easily in Call of Duty 4, and didn't feel like I was at all hampered by the SLYR's positional cues. I didn't feel like they gave me a huge advantage compared to some of my fave headphones, but they did their job well. Again, good. Bear in mind, the SLYR was definitely marketed as a stereo headset with a mixer that plugs into RCA cables. I'm fairly certain that those who play in stereo will have VERY little to complain about.

Clarity:

The SLYR is a warm headphone, but with enough crispness to say that they are plenty detailed for gaming. The closed design hurts clarity again only compared to open headphones like the PC360 and K701. As a closed headphone, I found them to have a nice balance between fun and detail-whoring, so I'd say that if I had to rate clarity separately, they'd get a 7 (good). I doubt there will be any complaints about clarity, especially at their price range.

Comfort:

Pads? Soft, deep, comfy velour. They could definitely be bigger as larger ears MIGHT make these on ear ear headphones. Clamp? Not too loose, not too firm. I find them just right. Weight? Very light. Check. They stay relatively in place at all times, with not a lot of readjusting needed. A huge win here.

Microphone:

The microphone is permanently affixed to the SLYR, but like the PC360, you swing it upwards. Unlike the PC360, the mic on the SLYR tucks away nicely into the cup, and is relatively well hidden when not in use. it's also small, but sensitive enough to pick up my voice quite easily. My voice came through clearly on my PS3 device settings, so I have very little to say about it, other than it does it's job well. It may be just a little too sensitive for my setup, as I have a large, noisy fan near me, and the mic picks it up unless I sit further back than what I'm used to. Still, that shouldn't be an issue for most people.

Build Quality:

The SLYR is made out of all plastic. The plastic feels sturdy enough for my taste, somewhat reminiscent of the PC360 plastic. I have more faith in tossing these around than I would the Creative Aurvana Live. Assuming you're not abusing the hell out of the SLYR, I don't see these breaking with normal use.

Accessories:

The SLYR comes with a stereo mixer. Think of it as a stereo alternative to the Mixamp, with the ability to mix voice/game audio at your desired levels, with three different EQ presets. One bass heavy, one flat, and the other treble heavy. I personally don't have much use for the Mixer since I own the Mixamp and prefer gaming in Dolby Headphone surround, but I did test the mixer and found the presets to work relatively well, and the mixer to also work pretty well in mixing game and voice without a lot of distortion. If anything, the closest alternative to this Mixer is the Steelseries Spectrum Audio Mixer, which retails for $40 and is for the 360. The SLYR's mixer works for both the 360 and PS3 (as well as PC). I didn't find a need for the EQ presets as the SLYR already has such an agreeable sound signature.

The Mixer has a very lengthy cable terminated in RCA jacks with piggyback female inputs. The Mixer is powered by a standard USB plug, and comes with a 3.5mm input for ANY headphone, as well as the 2.5mm input for the 360's controller for chat audio. The SLYR comes with a detachable 3.5mm male/male cable (a bit on the short side, IMHO) that carries chat audio. You can indeed use your own 3.5mm male/male standard audio cables, though the entry on the headset side may not accommodate thicker plugs. I found that the CAL's extension cable fit, but the first gen Astro 3.5mm cables didn't. I used the CAL's extension on the headset side, and my own 3.5mm male/male cables on the female end of the CAL's extension cable when using the SLYR for music on my main headphone setup (non-gaming). Basically, you will want cables with thin 3.5mm plugs if you want a lengthy cable for the SLYR. I don't know where to get lengthy ones that also carry voice audio, unfortunately.

Value:

$80 gets you a damn good headphone that just so happens to actually be a headset. Convenience, comfort, and a relatively forward, engaging, and still balanced tone makes the SLYR the very first headset in the sub-$100 bracket that I recommend to anyone who absolutely needs a headset.

Final Impressions:

While the SLYR isn't perfect, and aren't as refined as to what I'm personally used to (hello "Head-fi standards"), I must say that even with my higher end tastes, I really, REALLY like the SLYR from the sound, all the way to the comfort. These are great for music, pretty good for fun gaming, and good enough for competitive use. Skullcandy's first serious gaming headset gets a solid B from me, and have made me a true believer. I can't wait to see what else Skullcandy has up their sleeve. If their $80 headset is this good, I have high hopes for their higher end models. One last thing that you will want to know: I prefer the SLYR over the A50s.
They really did a great job in finding a great balance between fun and balance. Very impressive for this price.
They absolutely do their job. I'd say stereo gamers will particularly love them, kind of like how I personally see the M50s if a little better in terms of positional cues. For us virtual surround gamers, I'd still say they are worth looking into if you absolutely need a headset.
Those with larger ears may have to use them as on ear as mentioned before, though they are still comfy in that way.

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Sony XB700

Sells for just over $80.
A real guilty pleasure. I knew what I was getting into, and I LOVED it... for music that is. For gaming...well, let me give you an example. In Mass Effect 2, when you're on your ship, you CAN'T hear the dialogue, because the humming sounds the ship makes is SO pronounced, voices are pretty much completely drowned out. Needless to say, these are NOT ideal for picking up finer details. Pass for gaming. The 770 Pros do a better job at keeping mids intact, and that isn't exactly a strength for the DT770 Pro 80s.

Comfort-wise, the XB700 is a hit and a miss. The headphone is luxuriously comfortable...until all that padding makes the surface area it made contact with, incredibly hot and sticky. Then that comfort takes a large step in the wrong direction. Seriously, they get hot and sticky in a hurry. Considering how much surface area the pads take up... it's not a pleasant feeling at all. They'd be perfect for near freezing temperatures though.
The bass is something to hear once in a lifetime, though it is quite omnipotent and distracting.
While the XB700 isn't one of the most undetailed headphones I have heard, the bass is still way too strong making details hard to hear.
The comfort starts off amazing, but the large amount of pleather to skin contact is a bit too much. Causes sweating, skin reddening quite quickly.

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Tritton AX720 (*headset*)

Sells for $129 (Best Buy).
My ex-roommate purchased the AX720, and I'm happy to say that it's a pretty decent headset. I find it better than what I remember the A40s to be, but the general consensus is that the A40s are slightly better than the AX720 which is why I can't really judge the A40s. The AX720's mic works fine, the amp is comparable to the Mixamp if slightly MORE powerful and sleeker and more practical (it's a set top box, which you don't need next to you unlike the Mixamp). The headset itself is closed and comfortable, with good positional accuracy, with a small but still decently spaced out soundstage. It doesn't come close to the headphones I have mentioned, but it's a great starting headset which you can consider FREE, as what you really want is the AX720 virtual surround amp. Many people wouldn't have an issue with the AX720 headset. It doesn't do anything horribly wrong, but doesn't do anything particularly particularly well either. It's just good enough to get you going.

Comfort-wise, I didn't find them bad or great. They do their job, though for a sealed headphone, they are comfortable.
Fun: 6.5/10 (Decent)
Competitive: 7/10 (Good)
Comfort: 7/10 (Good)

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Turtle Beach PX21 (*headset*)

Sells for $80 (or less).
There is an audible hiss blanketed over the sound due to its proprietary inline amp. Yeah, if you hook this up to the Mixamp, you're getting a double dose of hiss. If you can get over the hiss, the sound is actually pretty crisp and detailed. I actually LIKE the sound it has, hiss aside. However, due to the hiss, I won't go any further into trying to remotely going into the specifics. And yes, this is an innate issue with all PX21s. The inline amp is the problem.

All this tells me is that you should not use headphones that have in line amps, especially with another amp like the Mixamp.

Comfort-wise, don't remember much, but the neoprene pads weren't amazing.
Fun: 5/10 (Mediocre)
Competitive: 5/10 (Mediocre)
Comfort: N/A

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Yuin G1A (*clip-on*)

Sells for $150
The Yuin G1A. You can say that these are the most high end clip-on headphones in the world. That sounds like hyperbole, but it's true. Clip-ons don't really have much of a market for audiophiles, and are content with staying relatively on the domestic market, and/or for physical activities. With a small niche market, the Yuin G1A sits comfortably as the most expensive and highest regarded clip-on headphone.

I am a huge fan of clip-ons. They don't hurt my ears like IEMs. They stay in place no matter what I do, short of literally touching them. They are small enough to lay down with. After a few days of adjusting to how clip-ons feel on your ears, they may as well be the most comfortable headphone design ever made.

It helps that my first experience with clip-ons was with the Koss KSC-75, which for a mere $10-$20, should be in every audiophile's inventory. The KSC-75 hits well above their price range, is extremely comfy, pleasing, and just... legendary.

My 2nd taste of clip-ons headphones was with the rare and mature KSC-35. The KSC-35 is older than the KSC-75 and discontinued everywhere, but can be bought directly from Koss on their website. The Koss KSC35 sacrifices just a little comfort in place of more musicality and warmth compared to their cheaper, and more common sibling. It's also now sold for 3x the price of the KSC-75, though I personally don't believe they should be priced so high, despite my overwhelming love for them.

So how does the Yuin G1A stack up next to the budget conscious Koss offerings? Does the overall package justify the huge price difference? Let's find out.

The package is quite small. A nicely designed cardboard box, with a nice presentation. Doesn't look as generic as the Koss packaging. Upon opening the package I am greeted by the sleek Yuin G1A.

Build Quality:

The 'cups' have a sexy, brushed metal finish to them, which immediately puts it well above the KSC-35 and 75 in aesthetics. With that said, that really is the only physical aspect I find superior to the Koss clip-ons. Everything else is so ridiculously similar to the Koss clip-ons, they may as well have been made by the same OEM. The cable's only difference is that the two sides merge further down the line, making it easier to wear the G1A behind the neck, so you can take them off and let them rest on your shoulders/chest, which isn't that easy to do with the Koss clip-ons due to how close the clip-ons are to where the cables merge.

The build itself is... well, it doesn't inspire confidence. The clips are plastic (a very comfortable curved plastic), which seem like they won't take a beating the way the KSC-75's silicone/metal clips, or the sharper, stronger plastic on the KSC-35 would. The cable is quite frankly, sad. It is essentially the same thin, flimsy cable found on the Koss clip-ons. My KSC35's cable is already pulling away from the drivers, and I have feeling the same would probably happen to the G1A's cables.

The good thing about the Koss clip-ons is that their ugly 'hubcaps' aren't luxurious, so I doubt you'd fear messing them up. They are rugged to say the least. On the other hand, you have the G1A with it's amazing brushed metal finish, which might be just as sturdy, but I'd be scared to just toss them in a bag in fear of scratching them or leaving any marks whatsoever. The fact they are $150 further enhances my fears of treating them with wild abandon like I'd do with the Koss clip-ons. In the end, they are expensive, yet very cheap feeling other than the back cover. Very disappointing overall. It's fine with the Koss clip-ons, NOT so with a product this expensive.

Comfort:

If there is one thing that can be said, it's that the Yuin G1A is amazingly comfortable. They literally disappeared on my ears. The most important part of a clip-on in terms of comfort is the clips. If the clips don't feel good resting on your ears, that can be quite problematic. Thankfully, the Yuin's plastic clips are smooth and curved just right. They share a very similar form factor as the KSC-75's clips, which are both quite a bit better on the ears than the KSC-35's relatively sharp-edged clips. I also like that the clips are so smooth, they easily slide on my ears. The KSC-75's rubberized clips 'grip' on my skin, so it's a little harder to put on than the Yuin clips. They are both wonderful to wear, however. As mentioned before, the small form factor, secure fit, and super comfort make these practically unrivaled in terms of long sessions, relaxing, or physical activities. As usual, clip-ons may not be the best in comfort for those who wear glasses, as they have to share the same placement on the ears.

Accessories:

The only accessories is a 3.5mm to 6.3mm (1/4") adapter (the same exact one found on the HE-400, coincidentally), as well as an extra pair of foams.

Isolation/Leakage:

As with the Koss clip-ons, the Yuin G1A is open backed (though they actually LOOK closed). This means that they do not isolate well, if at all. External noise will come in with very little contention. I find this to be more good than bad for my Koss clip-ons, as I'd like to be able to hear things around me when I wear my clip ons at work. However, the G1A being hard to drive for such use (more on that later), as well as my fear of physically damaging them makes their very open nature not as beneficial, seeing as the GA1 is more content being used at home with a dedicated amp.

Amping:

As I briefly mentioned, the Yuin G1A is a rare breed of clip-on, in that it has a relatively high impedance of 150ohm, and take advantage of that by being harder to drive than typical clip-ons (as well as lots of full sized headphones), which results in more refinement at the expense of versatility. They don't demand a LOT of amping, but amping is necessary nonetheless. I find that it sounds cleaner with an external amp than with the Mixamp alone. Soundstage and overall positioning didn't change, but I feel the improvement in audio fidelity warrants using an amp. Still, these can be used with the Mixamp alone without much drawbacks.

Sound:

Before I get started on it's sound, let me state that all three clip-ons I have used can easily swap clips with the others (i.e. KSC35 with Yuin clips, G1A with KSC75 clips, etc). The problem I see with this, is that the sound signature of the headphones change quite a bit just by whatever clip you have equipped onto them. The reason being that each clip places the drivers at certain distances from the ears, which greatly vary the sound signatures. Even with the same clips, just a light bending of them will alter sound quality (easily done with the KSC75's clips). The Yuin clips can bend just a teeny bit, but be prepared to possibly break them in the process if you attempt to. The KSC35's clips don't seem to have any give whatsoever, so what you hear is what you get. For the purpose of this review, I will be rating the G1A based off it's stock clips, which I found to give the most balanced sound signature.

Now on to the sound itself. Upon first listen, the first thing I thought of was that the Yuin G1A sounded like a mini Q701. Well balanced, relatively neutral, with just a hint of warmth. Obviously lacking in soundstage, as well as being lot smaller in presentation of sound, but mini-Q701s is the best description I can come up with.

Bass:

Starting with the bass, I can say that the Yuin G1A has neutral bass. The bass is neither strong nor weak. It's present, but not emphasized nor lacking. The KSC35 has more bass impact and presence by quite a bit, and the KSC75 has a slight lead in bass impact.

Mids:

Really nice, balanced mids. Not forward or recessed, they sound natural and full. Some frequencies are ever so slightly forward than others, but overall, I find it well integrated with the rest of the frequencies.

Treble:

Nice and smooth. SOMETIMES has some sparkle, but overall, it's presented quite naturally. A nice improvement over both the Koss clip-ons which sound grainy and unrefined next to the Yuin, especially in the treble.

Soundstage:

Like the other clip-ons, the soundstage isn't big, but it's somewhat airy and spacious, still not rivaling a full-sized headphone's soundstage.

Positioning:

I find the G1A to perform very similarly to the Koss clip-ons. They do good. I didn't have a problem playing competitively, though there is room for improvement.

The positional cues don't have a lot of space to work with, but with what they have, they do a good job placing sounds around you. It helps that they are a bit more clearer and fuller sounding than the Koss clip-ons, so soundwhoring is easier.

Clarity:

Very clear. Very impressed with how detailed the G1A is. Detailed, and full sounding. Just a lovely balance all around, making these very good for all around gaming.

Value:

It's hard to judge the Yuin G1A's value. They deliver a rich, detailed sound which is noticeably improved on what the Koss clip-ons offer. On the other hand, the improvement doesn't justify the huge price jump, nor does the shoddy build quality on the cables. I would say these would make more sense being sold at $75, and even then, they could use some improvement on the cables and perhaps the clips, even though I love the clips.

Final Impressions:

The Yuin G1A is a fantastic clip on, though overpriced when everything is taken into account. They won't replace full-sized headphones in either competitive or fun gaming, but they are great alternatives if you wanna lay back and listen without the feeling of having something on your head. If you are a huge fan of the Koss clip-ons, you may wanna give the Yuin G1A a chance, as it refines and fills out the already great sound found on the budget friendly Koss offerings. Just be prepared to pay a steep price for a fractional improvement. Do I recommend it? No. The only people who should look into the Yuin G1A are those who love clip-ons and want to see what the best sounds like.
Fun: 6.75/10 (Quite Decent)
Competitive: 7.5/10 (Very Good)
Comfort: 9.5/10 (Amazing)

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Ultrasone HFI-15G

DISCONTINUED
Where To Buy: Ebay if you're lucky
The Ultrasone HFI-15G. After having come off the impressively comfortable, closed headset variant, the HS-15, I knew I had to try the 15G. I desperately wanted a lively, open, and super comfortable headphone that I could lay down and relax to (which is less than ideal with full-sized headphones), and on paper, the 15G suited that need perfectly. Did it suit these needs in execution?

Build Quality:
Rating: Excellent

Before I begin, I need to mention that there was an older 15G model with gold lettering and different exterior cup design, with an incredibly long cable. The one being reviewed is the newer model with gray lettering, and short cable. I currently can't confirm whether the differences are entirely aesthetic, or if there are sonic differences between them.

Not much has changed coming from the HS-15. It is basically identical in build, with the exceptions being the lack of an oversized boom-mic, semi-open cups vs. the closed cups on the HS-15, and a standard, very short 3.5mm cable.

I'll basically paste what I've written on the HS-15, adding/omitting the differences.

The HFI-15G has a retro 80's vibe to it's design, with an all black plastic frame. The HFI-15G reminds me of the many cheap no-name headphones found in any store in terms of aesthetics. It's all function over form, substance over style, which fits it's intentions in every way.

The headband is covered in relatively cheap looking, but smooth synthetic leather. It sits perfectly on the head, and you could potentially bend and twist it in any which way without so much as even a minor scare of it breaking.

The round cups are held by short plastic arms that would allow plenty of extension for my longish head. The cups look reminiscent of car rims with silver accents. The arms have gray S-Logic/Ultrasone HFI-15G branding. Update (I forgot to mention this): The 15G does not collapse inward or fold flat, so it limits its choices on travel pouches/bags. That being said, the headphone has a relatively small form factor, and should fit plenty of bags, cases, etc.

The foam ear pads are supra aural/on ear, reminiscent of Koss Portapro, and the Sennheiser PX-100, though larger, and considerably softer. The HFI-15G pads are thicker and more plush, though you can feel a thinner circular area in the middle (which I'm sure is to not muffle up the sound.)

The cable itself is quite short. The cable terminates into a 3.5mm plug with a generous strain relief.

Overall, while the HFI-15G certainly looks cheap, there are seemingly no real structural weaknesses anywhere on it's frame, and the plastic looks like it could take a lot of abuse. You could bend the headband and twist the cups, yet it'd go back to it's normal shape without any issue whatsoever. It's a wonder how headphones this relatively inexpensive can take any abuse short of a nuclear strike, yet headphones costing over 10x the price would crumble under any minor stress. I can safely say that these would suit anyone that needs a beater headphone to toss around and abuse without any real consequences.

Accessories:

3.5mm extension cable: Considering how short the cable is on the HFI-15G, it is a logical choice to include an extension cable. That being said, the length of the extension cable is borderline illogical, as it is extremely long. I'd recommend using some other extension cable with a more modest length, for less potential sacrifice to the sound quality, and less cable management.

Comfort:
Rating: Great

I'll paste what I've said of the HS-15, as the comfort is absolutely identical, aside from slightly less weight due to a lack of boom microphone. The difference in weight is negligible, as they're both incredibly light.

The HFI-15G is easily THE most comfortable supra aural headphone I have owned to date, outside of the Koss/Yuin clip ons (which may be on ear, but as clip ons, don't sit on the ear the same way as headphones with headbands).

The HFI-15G is incredibly lightweight, and rests on the ears just enough to not be loose, but tight enough to stay secure. The only issue I have is that my right ear gets sore after a prolonged session, though that may be a personal sensitivity issue, as I get no discomfort on my left ear. I have to assume that if others have less sensitive ears, the HFI-15G may be near perfection (9.5) in comfort for them.

Again, these are arguably the most comfortable headphones I have ever worn outside of the Koss KSC75 and Yuin G1A. I'd argue that the Sony MA900 may beat it solely due to the fact that it (mostly) rests around the ears, though with it's larger frame and my inability to relax and lay down with them in the same way as the HS-15, I would honestly reach for the HFI-15G over the MA900 more times than not if I were basing everything off comfort. I'm positive that some who didn't find the MA900 to be comfortable, would think otherwise of the HFI-15G.

Long story short, if you want excellent comfort, it simply doesn't get much better than this for an on ear headphone, and perhaps any other kind of headphone.

Design Issues:

The only issue I see with the HFI-15g is that the non-detachable cable is very short, and unless you provide your own extension cable, you'll have to contend with the unruly and overly lengthy extension cable provided with the 15G.

Isolation/Leakage:
Rating: Fair


It honestly leaks about as much as the closed HS-15, which is to say, it doesn't isolate all too well, though doesn't get loud either. As with any open headphone, they do not make for the best headphones if you need absolute silence in or out. It does block out sound better than something like a KSC75, which is like wearing nothing at all.

Sound:
Rating: Good

Whereas the HS-15 was very, very warm, the HFI-15G is noticeably less warm (though definitely still on the warm side), with prominent bass emphasis, though considerably less so compared to the (exceedingly) heavy bass tilt on the HS-15. The end result is a more balanced sound signature, though not natural by any stretch of the word. It is unquestionably less polarizing and more likely to be favored over the HS-15. It is undoubtedly better sounding than the HS-15 in almost all regards, though the price difference seems steep.

The Ultrasone hits a nice sweet spot between fun and balance, with a definitely tilt towards fun. It also loves to be played on a moderately higher volume, despite Ultrasone's aim at mitigating volume level by a considerable amount.

As with the HS-15, the HFI-15G is sensitive to ear placement and it could benefit from a tighter clamp for SQ-reasons (at the expense of its stellar comfort). That being said, the 15G would likely be a hit to fans of headphones with considerable bass, openness, and comfort.

Bass:
Rating: Great

The HFI-15G's bass is full, strong, and lively with a notable emphasis in the mid-bass. As with all Ultrasones I've heard to date, the bass is very well textured and controlled. The speed and decay is moderate despite its prominence, which as far as I've known and heard, is an Ultrasone specialty. Not many other headphones that yield the 15G's control. The 15G's bass is more fleshed out and better integrated with the rest of the sound compared to the HS-15, though the Pro 900, and Pro 2900, which sounded more artificial, stood out as some of the tightest, most refined, bass I've heard, despite their more artificial tonality in other areas. The level of prominence on the 15G's bass will take some attention away from the mids, though it is by no means invasive or bloated, just strong.

Mids:
Rating: Decent

The mids are a hit or miss with the 15G. The mids aren't particularly lost in the mix, though I would place blame on the S-Logic messing with the mids the most. S-Logic to me, seems to artificially enhance the sense of space by pushing things further away in the soundstage, which results in things sounding distant in general. The mids fall on the thinner, distant side compared to the bass, though they aren't hampered by the treble whatsoever. Due to the bass control and generally even mids to treble response, the 15G comes off as bass first, mids and treble second. The upper mids to lower treble are definitely the most recessed part of the 15G's sound signature, which then lead up to a treble spike for some sparkle.

Treble:
Rating: Quite Decent

The treble is overall on the smooth, buttery side, with a noticeable peak for sparkle at around 10khz, which sounds cleaner and clearer than the stifled and muted treble output of the HS-15. I would've preferred a broader range of treble emphasis, as the HFI-15G is still on the rolled off side overall, though at louder volumes, it is quite even sounding, if just short of the neutral line of emphasis. Due to the disparity between anything before and after 10khz, the particular spike can become a nuisance if your volume level is catering to the other frequencies. Nowhere near as problematic as the DT990 or HE-400's treble spike, however.

Soundstage:
Rating: Great

The 15G's soundstage is quite impressive, with a great amount of width. Music sounds open and spacious, with a few instances where it sounded out of my head. The 15G's soundstage shines especially when gaming in virtual surround. I have yet to be let down by Ultrasone's S-Logic for gaming applications, and the streak continues with the 15G. Time and time again, I was fooled into believing a sound was coming from my room and not the headphones. The imaging on the 15G was great, with tight, focused audio cues, which were easy to pinpoint in the virtual space. The depth isn't the most impressive for a dynamic headphone, but I didn't have much, if any problem with it's presentation.

Positioning:
Rating: Great

The 15G is easily one of the best sub-$100 headphones for positional cues. The positional cues were sharp, tight, and focused, though some can make a valid argument that sounds can be more distant than the typical dynamic headphone without S-Logic. I place more importance towards the direction of sound placement more than the distance (as my eyes can take care of the rest, once I face the direction of sounds), so I don't have too much of a problem dominating shooter games with the 15G's positional prowess.

Clarity:
Rating: Good

Clarity in the 15G is considerably improved compared to the HS-15, which was quite warm and veiled in comparison. The 15G is still on the warm side, but nowhere near as muffled or stuffy. The bass tilt on the 15G takes its seat as the dominant aspect of it's sound, though the mids and treble are generally on equal footing, and unhampered by the bass in general. As stated previously, most of the shortcomings in clarity can be blamed on S-logic pushing things further back in the soundstage, and less because of the potent bass.

Amping:
Recommended

The 15G needs an amp more for volume than drivability, as it has a low volume output with general sources by design. I don't personally find the 15G hard to drive, though some sources can limit the 15G to moderate volumes, where I prefer a moderately high level (nothing ear piercing). I recommend a portable amp, which is all that is necessary for the 15G, or at the most, an entry desktop amp for convenience, which should be more than necessary. I feel a neutral amp like the O2 should be a great match for the 15G.

Personal Recommendation?
  • Movies, Music, In General? Yes
  • Gaming? Yes

Potent bass, and great soundstage lead to a very fun, immersive headphone which lends itself perfectly to bass driven music, action movies, and immersive games. Don't expect it to highlight vocals, acoustic music, or any real audiophile-specific necessities where detail retrieval is of utmost importance.

Those looking for a sub-$100 headphone, should really look out for the 15G in particular. I recommend the 15G for those who want a general purpose headphone, where fun is favored over analyzing details.

Comparisons:

The only headphones I can truly compare it to in terms of uses and general sound signature are the Beyerdynamic DT990, HiFiMAN HE-400, and Philips Fidelio X1, all which are better overall, but considerably more expensive, heavier, and less comfortable overall.

The Sennheiser PX100-II is a solid music alternative to the HFI-15G in the sub-$100 price range if you prefer a warm, mid rich, and smooth, non-fatiguing headphone. The PX100-II is undoubtedly the more music-friendly headphone with a more stable sound signature, but it's quite clampy and less comfortable (considerably more external ear fatigue), and less gamer friendly, with a more closed in soundstage. Note: No review is planned for the PX100-II in the near future.

Final Impressions:

The HFI-15G won't win any awards based on its aesthetics or sheer technical ability, but it's fun, bassy signature, and great synergy with virtual surround puts it high on my recommendations for fun uses like immersive gaming, bass driven music, and action movies, all at an affordable price. It's just a great headphone for those who want to have fun, and don't want to deal with the typical bass looseness and muffled sound of headphones that normally cater towards the fun side at an entry-level price.

Likes, Dislikes, and Unfiltered Thoughts:

What I like:
  • The bass
  • Fun factor
  • Immersion
  • Comfort
  • Soundstage
  • Build quality (despite cheap looks)
  • Price

What I don't like:
  • Thin midrange
  • The cable could be longer (though it does come with a generous extension cable)
  • Could stand have a better transition from bass to mids.
  • Upper mids could stand to be less recessed relative to the treble spike
  • Finicky with ear placement
  • Pads aren't removable
  • Doesn't fold flat or collapse inward
  • May be hard to find nowadays

Unfiltered Thoughts:

I really like this headphone. Quite an improvement over the HS-15 which was just too warm and veiled for my taste. My right ear gets a bit sore after awhile, which is annoying as I love to wear these up until that point. I think that's a personal issue, though. While it isn't perfect, the sound signature lends itself well to my kind of music, and types of movies and games I play. There isn't much to complain about, to be honest.
Fun is the 15G's forte, with great bass impact, deep immersion, and plenty of potential for wow inducing moments in movies and games.
While the 15G is leaning towards fun, I had little issue dominating with it in competitive games. The well controlled bass, sharp audio cues, and solid soundstage for gaming makes the 15G quite a competent headphone, though those looking for competitive oriented headphones first, should look elsewhere.
Regardless of whether any other headphone is on ear or over ear, there simply isn't much out there that is as comfortable as the HFI-15G, though if you're particularly sensitive to on ears, they may induce some soreness after prolonged periods.
Affordable, sturdy, very comfortable, super light, and fun. That is really all that needs to be said.



Tier B: $150-300

AKG K612 Pro

Street Price: $175-range
Where To Buy: Amazon.com

Before I get started, I'd like to thank guide contributor and friend, Change is Good for sending the K612 Pro for review. Had it not been for him, very little chance these would've ever had a review on the guide.

The K612 Pro. A direct successor to the K601, though I haven't confirmed whether it's a simple headphone refresh, or if they actually updated the drivers. I haven't had any experience with the standard K601, so I personally can't prove this to be true or not. Knowing AKG and their reluctance to give up their headphones for improved models, I'll assume the K612 Pro sounds near identical to the K601. Based on all I have read of the K601 and what I have experienced with the K612 Pro... it wouldn't surprise me if the only difference was entirely cosmetic. I've been told that the K612 and K601 sound near identical, with the K612 having just a hint more bass. If so, it is definitely worthwhile getting the K612 over the K601, as the K612's bass is a standout.

Build Quality:
Rating: Great

As with the other AKG models I have owned or tested, the K612 Pro shares the same exact design and frame as the K601, K701, K702, Q701, K702 65th Anniversary, and K712 Pro. The only key differences being the leather headband shape, and the cable being non-removable.

Made of a durable plastic, I find the build quality to be quite good. I wouldn't toss them around haphazardly, but they'd definitely survive some abuse.

Compared to the 7xx models, the headband is larger/wider. The biggest difference (and it's incredibly significant), is that the underside of the headband no longer has the notorious (7-8) bumps, and is instead completely smooth. This basically turns the K612 Pro from a torture device to a relatively comfortable headphone, with some nitpicks. There is no padding, which is a shame, as it could soften up the hard leather used. The headband distributes pressure evenly across where it rests, though it does pull down towards the scalp quite a bit.

The velour pads feel mostly reminiscent of the K701, K702, and Q701 pads, with the key difference being that they aren't angled. They are large and relatively deep, and should fit most if not all types of ears. The pads are a bit firm, and lack the comfort of the K702 Anniversary or K712 Pro's memory foam velour pads. The upside to this, is that it allows the ears to breathe a little more.

The cable is not detachable (unlike the 7xx line). It terminates into a 3.5mm plug with a screw on 6.3mm adapter.

Accessories:

Unfortunately, the K612 is devoid of any accessories, other than a 6.3mm adapter connected to the cable.

Comfort:
Rating: Very Good to Great

The bad news:
  • Hard leather headband with constant pressure downwards to the top of the head due to the tension of the suspension wires.
  • Clampy. The pads are huge and a bit firm, and due to the clamp adds a bit of pressure on the upper jaw.

The good news:
  • The headband has no bumps unlike the K701, older K702, and Q701.
  • The K612 Pro is relatively light for it's large size, so pain to the neck is minimal compared to other, heavier headphones.
  • Auto-adjusting headband eases the pain of readjusting for a proper fit.

I find the K612 Pro to be relatively comfortable, despite having some downforce on the headband, and some moderate clamp. The biggest source of discomfort on the K612 is definitely the headband, though I'm sure that after a period of use, most will become get used to the feeling. Those with smaller heads will most likely find it even more comfortable.

Design Issues:

Can't say I personally find much to complain about the tried and tested AKG K6xx and K7xx design. My only main gripes with the K612 Pro is that the cable isn't detachable unlike the K7x2 variants and Q701. Also, the comfort could be better with some headband padding, softer ear pads, and less clamp.

Isolation/Leakage:
Rating: Poor

The K612 is a fully open headphone, and as such, it is expected not to perform well for noise isolation/leakage. As I mention time and time again, reports of open headphone's leak tend to be severely exaggerated. Yes, you may bother someone in the same room, but never someone in another room, even with the door open. Unless you need absolute silence in the same room, open headphones don't leak so loud as to bother most people, even if they were in the same room.

Sound:
Rating: Great

While I have never heard the original K601, the K612 Pro sounds a lot like what I have read of the K601: The K612 Pro is easily one of the most linear and balanced headphones I've heard to date, even in comparison to the K701, K702, and Q701. It's a wonder how AKG manages to sell these for less, though I gather it's due to less refinement, especially at louder volumes (which tends to distort the drivers), and is handled with less finesse compared to how it behaves at moderate volume levels.

The K612 Pro isn't as musical as the K712 Pro and K702 65th Anniversary, but what you get is a faithful reproduction of music with fewer peaks that seem out of place. The body of sound is neither thick nor thin. It sits squarely between the two extremes.

Bass:
Rating: Very Good

The K612 Pro has a surprising amount of low end extension and fullness without artificial bumps. It reaches quite low (lower than even the bass boosted K712 Pro), which is quite rare of open dynamic headphones. In addition to the full and extended bass, the K612's mid bass isn't boosted, maintaining the K612's neutral balance.

The K612's bass isn't ever dominant, nor thin. It is present, natural, and safe. If you like a bass emphasized sound, look elsewhere, but if you like a generally well balanced and stable bass output, the K612 Pro does not disappoint.

The decay of the K612's bass is moderate in speed and nicely textured, though not as articulate as the 7xx series bass. The K612's bass isn't emphasized by any means, but it is present and accounted for at all times. Next to the K612 Pro, the K712 Pro has an added warmth and body to the mid bass, is snappier, but rolls off earlier. This gives sub bass better representation with the K612 Pro.

Due to it's great linearity, the K612 Pro makes a better rounded headphone compared to many other open headphones that roll off early with a strong mid bass hump. If you don't have a particular need for bass emphasis, but prefer accurate bass instead, the K612 Pro makes a fantastic choice especially for an open headphone.

Mids:
Rating: Great

The K612's linearity and balance leads to a natural midrange, barring a few hiccups in the upper midrange which can get a little tizzy and harsh. Vocals are expertly integrated with the bass and treble, never lagging behind or come off shouty and overly strident (other than the occasional sizzle in the upper registers). I personally find the K612 Pro to excel with non-aggressive music. Aggressive, energetic music can come off a bit unrefined at times, but the well composed, slower, more melodic music can really shine on the K612 Pro.

Treble:
Rating: Very Good

The K612 Pro's treble is generally balanced with the rest of the sound spectrum. The strength of a neutral balance proves itself worthy here. The K612 Pro is generally smooth in the extreme upper range, though it can at times sound sibilant and harsh. The treble does not lack detail, and contains just the right amount of shimmer and sparkle for most occasions. The treble flirts with between smoothness and brightness, and I wouldn't doubt it's characteristics changing depending on the tonality of the amp used. The treble can be on the grainy side, and can exacerbate the harshness found in some recordings. This is about the only real nitpick I have with the K612's signature, as everything else is top notch for the price.

Soundstage:
Rating: Great

The soundstage is generally large and spacious. It doesn't stand out amongst soundstage monsters, but like most things associated with the K612 Pro, the soundstage can be summed up with one word: natural. It lacks the dimensionality and layering of the K712 Pro's soundstage, but among the many open headphones I've tested, the soundstage comes out as one of the best when factoring all the benefits.

Positioning:
Rating: Excellent

Large, natural soundstage paired up with a clear, linear sound signature and neither thin nor thick body of sound will equate to an excellent sense of directionality. Positional cues are detailed and accurate, making the K612 Pro one of the strongest headphones for competitive use. Aural wallhacking is entirely possible with the K612 Pro.

Clarity:
Rating: Great

Linear headphones with no particular emphasis in the lower range will almost always tend to sound clear and detailed, the K612 Pro being no exception. All manner of frequencies play harmoniously with other ranges, so you won't find any masking of details anywhere in the sound.

The K612 Pro's linearity works against it when listening to badly mastered recordings. If a track is harsh, the K612 will play it harsh. If you have a lot of flawed tracks, I'd advise you use some other headphones. The K612 Pro demands quality. Garbage in, garbage out.

Amping:
Essential

The K612 Pro is a higher impedance than it's 7xx siblings, and therefore demands more power to hit a moderate volume in comparison. For gaming, you can forget about using the K612 Pro off the Mixamp alone if you attempt to use a mic. Even with the Mixamp putting all it's power on game audio, the K612 pro hits moderate, not high volume levels.

I recommend an amp with a warm signature to offset the slight tizzyness in the upper ranges, though it isn't crucial as the K612 Pro isn't exactly fatiguing.

The K612 Pro's neutral signature is bound to change in tonality depending on the amp used, so matching the K612 to a proper amp is essential. Again, I recommend a warmer sounding amp to better match the K612's neutrality and shave off the slight harshness up top.

Personal Recommendation?
  • Movies, Music, In General? Yes
  • Gaming? Yes
As long as it's understood that it's not a bass driven headphone, everything will fall into place. That being said, the bass is neutral and natural, never light. The K612 Pro is an all rounder through and through, which will work for most media, whether it's fun gaming, competitive gaming, music, and movies. Just be warned that it isn't as proficient with fast or aggressive music. Everything else is quite excellent, and even fast/aggressive music is still respectable off the K612 Pro.

Final Impressions:

The K612 Pro hits well above it's price range, with one of the most balanced, natural sound signatures I've personally heard. The large, spacious soundstage, clarity, and gaming prowess make the K612 Pro a likely candidate for one of the best all rounder recommendations under $200. The hype is justified. The K612 Pro is the real deal.
The K612 Pro isn't the most immersive headphone due to a fairly flat bass response that reaches deep down but isn't emphasized. That being said, the large soundstage lends itself well, and despite its linear bass, it does have some chops and can hit with authority if demanded. Unless you need extra bass for immersion, I highly doubt you'll find much to complain about in terms of fun factor.
The large, yet natural soundstage, clear, linear sound signature, and accurate positional cues make the K612 Pro a fine choice for competitive gaming and soundwhoring.
After you acclimate yourself to the downforce on the headband and moderate clamp, the K612 Pro can be worn for hours. Smaller heads may find the comfort to be great, even excellent.
There really isn't much competition against the K612 Pro in it's price range. If you want a balanced, yet engaging headphone, the K612 Pro is an ideal choice.

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AKG K701 (K702)
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update: my impressions are for an older K701 (7 bump version). New K701s (8 bumps on headband) MIGHT sound close, or the same as the Q701. Too many conflicting reports to say who is right, and who is wrong. All I know is that my old K701 sounded different enough from the newer Q701s.
Sells for around $250-300.
Remember how I felt the AD700 did something to me? How it completely change my view on headphones and Dolby Headphone? Well, I got that same feeling again with the K701. In fact, I felt like god had given me the secret to just out right smite my enemies with the hammer of justice. The K701 to me, is pure, unadulterated, SMACKDOWN inducing OWNAGE. The very first time I used them (Modern Warfare 2), I went 2 straight 25-0 games in Free For All. I mean, holy smokes. The K701 was like wearing x-ray vision goggles for my ears. Depth, width, imaging, complete detail retrieval... it had it all. These to me, are the very vision of the perfect gaming headphone (with Dolby Headphone). I'd still place the overall positioning behind the DT770 Pro 80, and AD700, but it's on par with the HD598. We're talking about them being maybe a 9.9 instead of a 10 (which is what the 770s and AD700s are to me). Those two have NOTHING on the clarity and detail-whoring the K701 has. The bass is light, but present enough for it not to be anywhere near a complaint for me. It just works. You want my top pick for a purely godlike hardcore gaming headphone? The K70x is it. Now if only they were easy to drive. Believe it or not, the Mixamp does a good job driving the K70x, as long as you don't mix in voice chat whatsoever. Talking about leaving the game/voice balance completely on the game side. Once you nudge the balance away from game, the volume takes a steep dive, and you will note how badly the things need an amp.

Now I already know how volume =/= driving force, but for gaming with dolby headphone, you WON'T think about that or notice. Trust me, the Mixamp is enough for the K701 if again, you don't add voice chat. If you do, you WILL need to attach an amp to the Mixamp's headphone out, just to juice the K70x and voice chat audio. Yes, they do scale with good amping, but for the purpose of gaming, I don't deem it necessary, asides from when you're in need of voice chat.

Comfort-wise, quite polarizing. A lot of people have issue with the headband's bumps. I won't lie, they take getting used to. However, once you've beared with it enough, your head will get desensitized by that particular sensation. The bumps no longer affect me in the least. I find them decent to good. My main complaint now is that I wish the headband extended just a little more. I have to fully extend them to fit me properly, and it's quite noticeably felt, though it's not a real discomfort.
There is SOME fullness to the old K701, though it is ultimately a sterile, and highly analytical headphone unless paired up with a very warm amp.
The meaning of God-mode is strong with this one. If you want a headphone to pick apart details from everything around you, this one is pretty hard to pass up.
The bumps may be a factor for a lot of people.

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AKG Q701
11199347_thumb.jpg

Sells for around $250 (more or less).
Fun: I want to give them an 8 for fun, and they do deserve that most of the time, but there are times when you can tell that sub bass is lacking. Don't get me wrong, they can be bassy at times, but it's leaning more towards mid bass punch, rather than the ambient/mood setting bass that I prefer. Still, they can get very fun at times, and anyone looking for a well balanced can that can perform great overall, make these a great choice.

Competitive: I can't directly compare the Q701 and K701 for competitive use, but no one should pass these up for the slight decrease in score. They are essentially just as good, but the K701 lacks a warmth I deem necessary for overall use, so you end up really focusing on details, which is the main strength in the K701. The emphasis on detail retrieval is what makes the K701 just beastly. The Q701 is tuned for more enjoyment FWIH, though they are still detail monsters, just not as glaringly obvious. As far as positional cues and accuracy, they are every bit as good as the K701. Soundstage may be just a smidge smaller, but I attribute that to the fuller sound. Soundstage to me is bigger on headphones that lack a lower end, letting the space breathe more.

Comfort-wise, quite polarizing. A lot of people have issue with the headband's bumps. I won't lie, they take getting used to. However, once you've beared with it enough, your head will get desensitized by that particular sensation. The bumps no longer affect me in the least. I find them decent to good. My main complaint now is that I wish the headband extended just a little more. I have to fully extend them to fit me properly, and it's quite noticeably felt, though it's not a real discomfort.

I need to mention that while the Q701 is a better overall can than the old K701 to me, the difference is not night and day. They essentially sound VERY similar, with a slight tonal difference. The difference was definitely enough for me to say it's worth choosing the Q701. Need to clear that up, in case people are expecting a big difference. Think of the Q701 as a very slightly EQ-ed K701, with added warmth and very slightly more bass.

Like the K701, they desire amping when using voice chat. The sound also scales with amping, but isn't really necessary.

Update 3/5/2013: So it seems that the K702 Anniversary and Q701 are essentially the same sound-wise, the difference being attributed to the K702 Anniversary having memory foam pads that alter the sound. The new sound gives these headphones a warmer, thicker body, with bass that now meets the mids, for an even more balanced sound, though not as immediately airy as the Q701 pads.

If you happen to already own the Q701, you might want to invest on some K712 pads which will bring the sound to a new level, one I personally feel is superior in bass, balance, body, and fun. The K712 pads will still allow the Q701 to be very detailed, and amazing for competitive play, but with the added benefit of being more fun.

Which is better? Well, now that they're known to be essentially the same with different pads being what harbors the difference in sound, the K702 Anniversary still has the added benefit of a flat headband which is much more comfortable. They are also limited in quantity and aesthetics, if you are into that. Buying new, the Q701 + K712 pads will cost less than $300, while the Annie is ready to go at around $375. If you are brave enough to mod the headband on the Q701, you can also pay for a K601 headband which will be flat and more comfy than the stock headband. Still, I have seen a thread on the mod, and doesn't seem easy. This will further bump up the price to perhaps around the Annie's price anyways. If you have owned the Q701 already, you can basically renew them for around $100 for the Annie pads and K601 headband, which is probably more appealing and cost effective than spending $375 to replace the Q701 for the Annie, barring selling your Q701 to fund for the Annie as some have done.
More warmth, fullness, and bass than the OLD K701. Still slightly lacking a little in bass most of the time, but engaging in other areas.
The Q701 is basically about 98% as good as the K701 for competitive use. The reason it gets a lower score is because it's not as competitive oriented as the K701, though ultimately, I would suggest the Q701 anyways, as it's more enjoyable all around and still god-mode inducing.
The bumps may be an issue for some people, though I say they have to let their heads adjust to the feeling.

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Astro A40 (*headset*)
http://www.astrogaming.com/a40-audio-system-astro-edition
11199348_thumb.jpg

Sells for $249.99 (w/Mixamp 2013 Edition), $199.99 (headset alone)
Before I get started, I really want to thank Skullcandy for getting in contact with me and giving me the chance to review the SLYR, as well as the A40+Mixamp 2013 Edition, and A50s on their Astrogaming side.... They have been very communicative, and understanding. Can't thank them enough.

Aah, things have come full circle. Back in 2009, the Astro A40+Mixamp bundle was my very first foray into headphone gaming. While they weren't what truly started the obsession as you all know it today (that goes to the AD700s, as they were a real eye-opener), the A40 was the first recommendation I was ever given. While I wasn't impressed by the bass light, hollow sound coming off the A40s, the Mixamp which became the most important purchase I had ever made in audio. So even though I didn't love the A40s, that bundle was the very beginning.

The current A40 Audio System comes with the Mixamp 2013 Edition, which brings in the addition of an Equalizer/preset button, to customize the sound on whatever headphone you have plugged in. The presets benefit the A40s greatly, as I will touch upon in the review. This review of the A40 will be when paired to the Mixamp 2013, compared to my other reviews which have been with the Mixamp 5.8. Makes more sense, as anyone interested in the A40 will more than likely buy it as a bundle with the Mixamp 2013 Edition. The differences in the Mixamps are that the 5.8 is slightly brighter and thinner sounding (a little clearer sounding overall), while the Mixamp 2013 Edition is warmer and thicker (which I find more beneficial to thin sounding headphones). The packaging is very well-crafted, and artistic. Astro surely knows how to present their items like no other headset company.

Upon first listen, I found that the A40s are quite warm and bass emphasized. A radical departure from the thin, cold, and hollow sounding old school A40s. The A50s are very bass heavy and muddy in it's innate sound signature, which the A40 thankfully isn't. Still, the A40s are not as balanced as I would have liked. That being said, the Mixamp's Media and Pro presets boosted the A40's clarity to really good levels, where I didn't find the A40s to lack in clarity for competitive gaming. The Core (flat) preset left the fun, general A40 signature, which worked quite well for non-competitive gaming. I dabbled in competitive gaming with the Core preset, and although not as detailed, was quite passable, so some people may not even need the other, clearer presets.

Build Quality:

Build-wise, I felt the parts used were pretty high quality. Astro made a pretty reliable looking headset here. Nothing looks or feels cheap. The plastic used looks high-grade, and looks like it can take a beating. I'd still handle it with care, however. The only area of 'weakness' that I'd be wary of, is the headband padding piece which sort of 'floats' in the center of the headband. Doesn't look like it'd be a problem, but it's the only area I can see that would probably be the first to give out with rough treatment.

The A40s swivel inward, so you can lay them flat if you need a breather. I find them very comfy letting them rest on my shoulders/neck area, which is rare compared to the vast majority of audiophile headphones which have huge cups, won't swivel, etc. The speaker tags covering the cups can be removed for a more open sound (more on that later). The boom mic is also removable, and can be placed on either cup. The cable is also removable. I attempted to use my own 3.5mm cables, but wasn't able to get any good sound. I believe it's due to the 'channels' being a bit deep into the cups to reach by standard cables, which only the Astro's supplied cables can reach properly.

Comfort:

I must have a ginormous head, as I have to wear the A40 fully extended. That, or they don't have enough give. On the opposite side of the size spectrum, the PC360 has enough extension to fit the head of a giant. I wish more headphones allowed that much freedom in size. The A40/A50 is comfortable, but they are at their limit with my head. It could use just a bit more extension, in my opinion. The pads are made of cloth/velour-like material, which is to say, they are quite comfy to my ears, and won't be heat building/sweat-inducing like typical pleather. I've felt better, but they do their job well.

Accessories:

Boom Microphone: Very high quality, and malleable boom mic. Astro has always had some very quality mics. Too bad, the mic can't be muted by flipping it up like the PC360, but it makes sense as it's removable, and the PC360's mic isn't.

Y cable (mic and audio): A must have for those wanting to use your own headphones and external microphone

Optical cable: A very nice, thick, and lengthy optical cable with a mini-optical side. Astro is stepping their game up here, as the old ones packaged in were a really thin, frail cable.

3.5mm male/male cable: For use with the mp3 input, though any 3.5mm male/male cable will work. Still, nice to have more.

Headset cable: The cable that plugs directly into the A40 and Mixamp itself and has the mic mute switch.

USB cable: To power the Mixamp as well as for PS3 voice chat. Any standard USB cable will work (I use an incredibly long USB cable).

2.5mm cable: For Xbox 360 chat. Plugs into the 360's controller to the Mixamp's controller input.

Isolation/Leakage:

In terms of letting sound in/out, I find the A40s to perform...decently. I do hear a fair amount of leakage, so I wouldn't crank these loudly if someone is near me sleeping. As far as keeping external noise out, I found that while using the A40s, it did a decent job overall. I wasn't truly bothered by external noise, though it's not particularly great at it. I blame the cloth pads, which sacrifices isolation/noise leakage protection for extra comfort/less sweat inducing.If you're like me and prefer to use the A40s with the speaker tags removed, isolation/leakage is even worse, as it functions more like an open headphone.

Microphone:

While I'm not too experienced with microphones, I didn't have any issues with my tests. It picks up my voice well. The microphone is long, pliable, and one of the better mics I have used. I don't see anyone having issues with this mic. The microphone is muted by the in-line mic mute switch on the Astro headset cable. The microphone can be placed on either side of the headset, in case you have a preference.

Bass:

The bass is a bit emphasized over the rest of the frequencies (easy to notice when using the A40 for music), but not as much as the A50s. Removing the speaker tags allows the bass to decay a little faster, which I find beneficial. The bass is strong and ever present, but not obnoxious. I personally prefer less bass on a gaming headset, as I feel headsets should be balanced all around. Too much bass muddies up details, which is never good in competitive gaming. The A40s are respectable in its details, even with it's bass. The Mixamp has the Pro and Media presets which make the innate bass emphasis a non-issue.

Mids:

The mids are a bit recessed and pushed back due to the bass via default, but the Pro and Media presets bring out the mids quite a bit. The A40's innate sound signature could use more mid forwardness, but I've heard much worse.

Treble:

I find the treble to be a strong suit on the A40s. It's neither too emphasized, nor too recessed. It's in a pretty balanced region for my taste. Not overly refined, but for a headset, it's in a good place.

Soundstage:

As a predominantly closed headset, with slight openness, I find the soundstage to be decently sized. Not as closed sounding as the SLYR, and not as spacious and large as the PC360. Removing the speaker tags adds just a hint more air, which is beneficial to the soundstage, though ultimately, the effect is minimal. It could use more depth and width to better aid the positional cues, but it's quite respectable for a partially open headset.

Positioning:

Due to the decent soundstage, positional cues are pretty good. I personally found positional cues to be pretty easy to pinpoint, but not on par with the better headset and headphones. For the purpose of all-around gaming, I doubt there will be much to complain about here.

Clarity:

The innate sound signature of the A40 is on the bass heavy, and warm side, and I found it a bit lacking in terms of details. However, the Mixamp's Media and Pro presets are quite detailed, greatly aiding the overall clarity. I also found clarity to be passable for gaming in the Core (flat) preset for fun gaming. It's no PC360, but the Mixamp's good presets boosts the A40's clarity to very good levels.

Amping:

I found the A40 needs no additional amping past what the Mixamp provides.

Value:

At $249.99 for the A40+Mixamp bundle, I find it to be an exceptional value. You are essentially paying $130 for the Mixamp, and $120 for the A40s. At $120, the A40 is a pretty good headset overall, which benefits a lot from the Mixamp. At $199.99 for the A40 alone, I would not recommend it, as it is in a price range with some truly amazing headsets/headphones like the PC360, HD598, Q701, DT990, etc.

Final Impressions:

The A40+Mixamp bundle is more than likely all that many gamers will ever need for all forms of worry free gaming. The bundle offers the ability to have both fun and competitive sound everyone can enjoy. The A40s are a solid headset overall with few shortcomings.
The innate sound signature has lively bass, with an enjoyable balance of the other frequencies.
Since people will undoubtedly pair the A40 with the Mixamp 2013 edition, the Mixamp has two presets (Media and Pro) that enhance clarity of details, greatly aiding clarity for competitive gaming. The positional cues/soundstage aren't the best, but they will perform quite well.
A pretty comfortable headset all around. No problem wearing them for hours on end, with just a few occasional times of re-adjusting them. My only complaint is that it could use a bit more extension for larger heads, as I have to wear it fully extended.

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Astro A50 (*wireless headset*)
http://www.astrogaming.com/a50-wireless-system
11199349_thumb.jpg

Sells for $300
Update: This review does not reflect changes made to the A50 via software updates. I reviewed the A50 when it was still incredibly new, and riddled with technical issues (though I didn't experience any). I assumed sound quality wasn't something you could fix with a simple update (after all, drivers have to be tuned in the factory), but Astro may have updated their presets to offset the A50's deficiencies and boominess.

Before I get started, I really want to thank Skullcandy for getting in contact with me and giving me the chance to review the SLYR, as well as the A40+Mixamp 2013 Edition, and A50s on their Astrogaming side.... They have been very communicative, and understanding. Can't thank them enough.

The Astro A50s. The first venture into fully wireless headsets for Astrogaming. Prior to the A50's inception, Astro released the discontinued, rare, and very sought out Mixamp 5.8. The Mixamp 5.8's main selling point was that any standard headphone or headset terminated with a 3.5mm plug could be attached to the Rx unit (receiver), essentially making them wireless. As you guys may know, I'm a humongous fan of the Mixamp 5.8, and it remains as my main gaming device when using my audiophile headphones. While it wasn't truly wireless (you still have your own headphone wires to deal with), it did remove the tether always necessary between the console and yourself in wired setups, making it a more elegant, and cleaner solution than anything else before.

Unfortunately, Astro didn't find the Mixamp 5.8 to be a big seller, and sought out other solutions. This is rather unfortunate, as with more improvement and functionality, future iterations of the Mixamp 5.8 could have been a huge success in my eyes. Ah well, them's the breaks. So now Astro steered their focus away from the 5.8 and towards fully wireless headsets, the first being the Astro A50s.

Upon opening the freshly designed package, you are greeted with the A50, the transmitter (that shares the same body as the Mixamp 5.8's Tx unit, though different inputs/functionality), parts of a headphone stand (which is VERY nice of Astro to supply), and the necessary cables (which I will edit into this review later, as I have a mess of cables from 3 products at the moment).

Now onto the headset itself. Upon first listen, I was immediately attacked by a relentless assault of bass. Seriously, it absolutely surprised the hell out of me. My prior experience with an Astro headset was the first gen A40s, which was anything but bassy. For a $300 headset, I EXPECTED a well balanced, competitive oriented headset with nowhere near as much bass as the A50s have. In truth, I was quite put off by it.

The A50 has 3 presets:
  • Preset 1: Media (Bass enhanced)
  • Preset 2. Core (Balanced/flat)
  • Preset 3: Pro (Enhanced details in the mids and treble)

I found the only preset worth using was the Pro Preset, which wasn't bass light to begin with, but at least I could actually hear the details, and it was quite decent sounding, though ultimately catering more towards fun than competitive, and not exactly sounding balanced. In my future review of the Astro A40s (w/Mixamp 2013 Edition), you can see Astro's presets CAN be useful and maintain some clarity. Just...not much here.

I'm not even sure whether to fault the presets, the fact that it's wireless, or if it's the A50's drivers themselves. I plugged in the transmitter to my PC in which the transmitter functions as a USB dac/amp (as well as microphone). The presets as well as Dolby Headphone are disabled, allowing you to hear the drivers work at their most natural state. Well, it seems to be the drivers. They are quite bassy. I am quite literally confused as to why Astro decided to use such bassy drivers for their most expensive gaming headset.

The A50s weren't down for the count yet, though. While 2 of the three presets left a really bad taste in my mouth, I still had one functional preset. Firing up CoD4 (and later on MW2) revealed that the A50s were decent gaming performers albeit on the disappointing side in terms of sound quality. It does perform fine when getting down to the nitty gritty, with a little more bass than I'd prefer out of competitive gaming cans. While the audio quality isn't great, positional cues and details were decent to good. The problem is that it's a closed headset, and everything sounds congested. The A40s sound more open, airy, and balanced, even with the speaker tags on. As far as the wireless capabilities, I find it to be great, where it takes quite a bit of distance for the A50's to drop the audio. I didn't notice and snap, crackles, or pops, nor did I get any hiss until you crank the volume quite a bit past the point where I'd say it's humanly necessary.

I'll get to the specifics in the break down.

Build Quality:

The Astro A50 shares the same body and aesthetic design of the A40s, which is to say, they look/feel great for a headset. There are a few key differences from the A40s.
  1. The microphone is permanently affixed to the left earcup. The A40's is removable.
  2. The cups are closed, and unlike the A40s, can't be removed for a semi-open design. They are now fully closed.
  3. The right cup can be pressed on the sides to adjust voice/game volume, similar to the Mixamp's voice/game knob, with the exception that it's two hidden buttons you press, not turn. Once you go completely towards the game or voice side, a chime will play, letting you know you're at 100% game or voice.
  4. On the rear of the right cup is where the power button, preset slider (EQ), and volume adjustment is placed.
  5. On the rear of the left cup is where the mini usb input (for charging), and the 2.5mm controller input (for the 360 controller) is placed.
Build-wise, I felt the parts used were pretty high quality. Astro made a pretty reliable looking headset here. Nothing looks or feels cheap. The plastic used looks high-grade, and looks like it can take a beating. I'd still handle it with care, however. The only area of 'weakness' that I'd be wary of, is the headband padding piece which sort of 'floats' in the center of the headband. Doesn't look like it'd be a problem, but it's the only area I can see that would probably be the first to give out with rough treatment.

The A50s swivel inward, so you can lay them flat if you need a breather. I find them very comfy letting them rest on my shoulders/neck area, which is rare compared to the vast majority of audiophile headphones which have huge cups, won't swivel, etc.

Comfort:

I must have a ginormous head, as I have to wear the A50's fully extended. That, or they don't have enough give. On the opposite side of the size spectrum, the PC360 has enough extension to fit the head of a giant. I wish more headphones allowed that much freedom in size. The A40/A50 is comfortable, but they are at their limit with my head. It could use just a bit more extension, in my opinion.

The pads are made of cloth/velour-like material, which is to say, they are quite comfy to my ears, and won't be heat building/sweat-inducing like typical pleather. I've felt better, but they do their job well.

Microphone:

While I'm not too experienced with microphones, I didn't have any issues with my tests. It picks up my voice well. The microphone is long, pliable, and one of the better mics I have used. I don't see anyone having issues with this mic. The microphone is muted when placed upright,m similar to the PC360. Much better than having to press a button.

Accessories:

Headphone stand: also has space for the Tx unit.

Tx unit (transmitter): optical input, optical output (passthrough), USB input (to pair and charge the A50), 3.5mm auxiliary input (for future accessories, mp3 players will not work.)

Cables: Optical cable, 2 mini USB cables. One for powering the Tx unit. This one will also feed the voice chat from the PS3 (has to be hooked up to the PS3 directly). The other is for charging the A50s. 2.5mm male/male for Xbox 360 voice chat capabilities, and the only cable you will need to constantly have attached if using voice chat on the 360.

Isolation/Leakage:

In terms of letting sound in/out, I find the A50s to perform...decently. I do hear a fair amount of leakage, so I wouldn't crank these loudly if someone is near me sleeping. As far as keeping external noise out, I found that while using the A50s, it did a decent job overall. I wasn't truly bothered by external noise, though it's not particularly great at it. I blame the cloth pads, which sacrifices isolation/noise leakage protection for extra comfort/less sweat inducing.

Bass:

As mentioned earlier, the bass is overly emphasized and boomy for a high-end headset. It's enjoyable on the bass light preset, but ultimately too strong to truly make this headset compete with the other, more balanced headsets like the PC360, SLYR, AX720, and Astro's own A40s. On the flat and bass heavy presets, the bass is loose, boomy, and sloppy. It mucks up the detail quite heavily, making these presets worthless. I'm seriously wondering if the default presets are causing this extra boominess, but I feel that if/when the custom presets become available, a lot of bass reduction is needed to compensate.

Mids:

Due to the heavy bass emphasis, mids are drowned out a bit. The mids are distant, but not lost. For the purpose of gaming, the mids are fine, but ultimately not forward. The Pro preset brings out the mids a bit more, which is helpful. For the other two presets, the mids are heavily recessed.

Treble:

With the good preset, treble is crisp and bright. It can get sibilant, but not many instances where I see treble being problematic. Again, the Media and Core presets place too much emphasis in bass, drowning out everything that isn't bass.

Soundstage:

Somewhat closed in. It's not going to win anyone over based on size.

Positioning:

Due to the closed sound, and not so large a soundstage, positioning isn't great, but it's not bad. It's passable, and sometimes even good.

Clarity:

To repeat what I have already mentioned, clarity is decent on the Pro preset with sparkly details, albeit somewhat artificial sounding. Clarity is just plain lacking on the Core and especially Media presets. The sound turns overly warm and bass heavy, and all details are sucked out.

Amping:

No possibility of being amped, as the transmitter can only take a digital signal, with no way to attach an amp. The A50 is fairly sensitive in either case.

Value:

This one isn't hard. It's $300. That's a hard number to swallow. The main benefit of the A50 is that it's wireless. You do get everything you'll ever want in one headset, but sound quality is clearly lacking. I prefer the sound quality of the SLYR, A40, AX720, PC360 by a considerable margin. The A50s are left behind on sound quality. If sound quality is important to you, I'd advise you get something else. It's that simple. In good conscience, I can't recommend the A50s based off it's sound quality. For the purpose of worry-free wireless gaming, the A50s are good enough on the Pro preset if being untethered is absolute top priority, though you will be making some sacrifices for the benefit of going wireless.

Final Impressions:

The A50's quite honestly make a better stereo headset than a Dolby Headphone one. I find it enjoyable for music off my PC, but not so much for gaming w/Dolby Headphone. Whether it's the drivers, or the internal amp in the headset, or the presets, the A50s put out bass oriented, and muddy sound for gaming.
While the bass is strong, the only preset worthy to be used is the Pro preset, and ends up sounding heavily processed, which detracts from enjoying non-competitive games to their fullest extent. Bass adds to the immersion, but when you can't hear details, it sucks away from the fun factor, so I don't recommend the other two presets even if just for fun.
Again, the Pro preset brings out the detail which helps quite a bit, but the headphone is still on the bass heavy side which detracts from focusing as much as I'd personally like. The soundstage and positional cues aren't great, and the sound overall feels closed in, but for most gamers, the A50s would be at least, passable.
A pretty comfortable headset all around. No problem wearing them for hours on end, with just a few occasional times of re-adjusting them. My only complaint is that it could use a bit more extension for larger heads, as I have to wear it fully extended.

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Beyerdynamic Custom One Pro Plus / Custom Game (headset variant)
54aTXWKlRwyFzxoLwfQv3ItmKNLXc7vPSCPI9iQnxL6GivwbK1QpmcB_inGx9YZIcB_GQRIjeRE32MCB3FJ_Qgf_xALS4eIE3F0zmzHUBzbLbXs7K5AcXRlGoKhHlZDZQtDHloY2q24MgXJhZSGkfNDYQ9wE9SHVKOFHfbGcwmuBDD-hhjElSjS8CNmFSl9Y9ZkmMG_Tp7DTLS4DiUfwVwhd2gXzRW7FmCiohjRUR6WBzwAcS2X1EmT3WAD8DiaeLdPc4FGCh4rH7HNgWEdJ0fzgFMwarpEBOzd2fydM4dKqljZN6_FwaIPsELfvCRhtSonQfmBxL8vcUw4ErJqFJcxuk_s0ziQfxJ8SxGMF59umvbGjOzc_UN-kIpSq3H16f1NQjSVh1ZJasvisc9bt2tvHg8m_fmHMy36eleqr5j0ifc3iXM5f547OunXxk44-zLIyBM8HhG7RkPS242c9W5ueI9Q6MqYeIHK1rKs8iGUEpVZw0VKTnU40C9Ay02_ney-aNPzv8FCXGw3S9qrGOQ0yGaIIiRcCgurtY0ZO7RVKlygjQ1wTca5gW875J6nE5D4rdTSyJVa2J9NUWqvuA-xPHy2-ut3jtO6hvZ06l51-PAE1o0Gj6eXMi3jFUtk3_I6Fu6E8WOLJ2fRckRFlwGwFykMOBe-5L4Xc_gvv8aIG-eu2H3mz-uM=w500-h289-no

Where To Buy: Amazon.com
My full review of the Beyerdynamic Custom One Pro Plus can be found at Headphone.guru. Please go there for this, and my most recent headphone reviews.



The Custom Game is the headset version of the Custom One Pro that comes with a boom microphone attached to a cable, much like the V-Moda BoomPro. As you can hear on the mic test above, the microphone is quite natural and easy to hear.

It comes with with an extension cable that splits the channels into audio and mic channels for PC inputs.

If you purchase any standard 3.5mm cable that can fit on the Custom Game, you'd essentially have a choice between a Custom Game, and a makeshift Custom One Pro.


The Custom One Pro's bombastic bass presence with the right sound slider positions, as well as its enveloping sound makes it a very immersive headphone that won't fatigue the ears.
While it's clarity and detail retrieval are more or less decent at best, the 1st slider position/no ports open give the midrange and treble some needed focus. This gives the COP a good chance for competitive gaming. Paired with competent positional cues, the COP can holds it's own relatively well, though I'd recommend something more detailed if competitive gaming is a bigger priority over casual gaming.
The headband is fantastic, and the pads are super soft and plush, though heat inducing. Had the Custom One Pro come equipped with velour pads like most of the DT770s, the comfort may have jumped up a few points. I suggest ordering a pair of velour pads if you want a bit more comfort, though it is unknown what sonic changes may occur with the pad swap.
A safe recommendation for those who love to tweak and customize, and long term, fatigue free, easy listening.

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Beyerdynamic DT770 (Pro 80 ohm)
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Sells for $180-200.
This is a heavy hitter. Very impressive for non-competitive gaming, especially if you wanna feel like you're in a movie theater. The bass is considerably super powered, and would make this a bad choice for competitive gaming. However, the soundstage depth and width is surprisingly large for a closed headphone. These also have some of the very best sense of distance when positioning sounds that I have heard. Too bad it's too wild in bass for hardcore FPS gaming. The finer details are pretty much sucked out because of the bass.

Like the other Beyers on this guide, they require amping to truly bring out their sound quality.
This is easily one of those most immersive headphones I have used. The bass is incredibly full and fun, and the soundstage adds to the immersion.
Positional accuracy is fantastic, though the bloated bass makes it hard to pick up details.
The clamp is a bit strong, and the pads aren't as soft as the amazing DT880/990 pads.

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Beyerdynamic DT880 (Premium)
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Sells for around $250-300, though prices vary wildly by ohm version and depending on the day.
Fantastic. Absolutely. Comfortable, durable, and prestigious. One of the best balanced signature I have heard. If you want a gaming headphone based off sound alone, the DT880 is a very good choice. It's so good, the sound works well in both hardcore gaming, and when just enjoying a game. The bass is quick, unobtrusive, but can get deep when the game calls for it (for example: Mass Effect 2, when you warp from one place to another, there is a low end rumble that sounds pretty **** epic on the DT880. Lovely. They do have one possibly major drawback. Think of yourself being in the center of a clock. Sounds with Dolby Headphone pretty much come from any direction relative to the clock.

The DT880s had a problem accurately depicting sounds that come from between 5 o'clock to 7 o'clock. Pretty much everything behind you. It actually sounds closer to the center, as opposed to sounding like it's actually behind you. With practice you can LEARN the distinct signature a rear sound makes with the 880s, but it will take you a split second to register that it's coming from behind you. That split second is enough to get you killed in an FPS game. Trust me. This is an issue with all models of the Premium DT880s, as I have compared with a few of my AVS friends who have owned different versions. They all arrived to the same conclusion.

If FPS gaming isn't a priority, don't skip these. They are wonderful for almost all uses.

Comfort-wise, they can be a hit or miss. One, the padding is pretty much the best I've felt on ANY headphone, ever. I love velour. The miss part is that the space for your ears to fit in isn't big and your ears will press against the padding protecting the drivers. It can be quite uncomfortable for some people. It didn't bother me, but I had another issue. The design has it where the pads will rest on my jaw, causing some pretty significant discomfort after a period of time. Hit or miss, really.

Like the other Beyers, they require amping to truly bring out their sound quality.

update: This listing is for the Premiums. I'd like to try the DT880 Pro 250ohm, as the slight difference in fit may give it enough of a difference both positioning and bass. I also want to mention that like all the Beyers on this guide, they require amping. Don't bother if you don't have a decent amp for them.
The DT880 has a very balanced sound with some great, accurate sounding bass. It may not be as powerful as other, bassy cans, but I find the sound as a whole to be very impressive for fun gaming.
The positional cues could be better. The depth of the soundstage lacks a bit compared to the DT990, though it's still an open sounding headphone.

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Beyerdynamic DT990 (Premium and Pro)
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Sells for around $180-$200 for the Pros, and $250-379 for the Premiums, though prices vary wildly depending on ohm version, and day by day price changes.
These are GREAT for gaming. Probably easier on the ears than they are for music, as the treble's edge isn't as pronounced in Dolby Headphone mode. There is a greater soundstage, more fantastic bass impact than the 880s (super quick and tight, and unobtrusive still, but more lively), and the detail retrieval is on par, if not better than the 880s due to the more emphasized treble, and just as detailed mids (though the mids aren't as forward as the bass and treble). If you want a more fun oriented sound than the 880s have for gaming, the 990s are it. The bass isn't boomy, but more omni-present, which adds to the immersion. They also work very well for the hardcore gamers out there who wanna nitpick the finer details in games like Call of Duty. Imaging is excellent, and overall positioning is better than the 880s. The hole between 5 and 7 is no longer there, though it's still not as good at judging front and rear sounds as my other faves. However it does it well enough for me that I happily sold the killer K701s as I saw no need to own anything for gaming after the 990s at the time. The treble WILL be too much for some people, though I believe that is more of an issue with it's use in regular stereo. For gaming, I didn't ever feel it got up there...

Comfort-wise, they can be truly great a hit or a miss for some. One, the padding is pretty much one of the best I've felt on any headphone. I love velour, especially ones as soft as these. The DT990 is very lightweight, and it will feel like pillows caressing the side of your head. The miss part is that the space for your ears to fit in isn't big and your ears may press against the padding protecting the drivers.

update: My original review was for the 600ohm. I have also used the 32ohm, 250ohm, and more 600ohm versions, and I must say, they're too much alike to consider them different headphones. There may be slight differences, but unless you have them side by side, they're very much the same headphone with different amping requirements.

Comparisons of the 32 vs 250 (Premium and Pro) vs 600 ohm:

The 32ohm is a lot easier to drive in terms of volume, though they scale quite a bit with amping, to the point that I thought they were just shy of the 600ohm. The 32ohm I feel is recommended for those who just want an amazing headphone to pair up with something like the Mixamp and possibly a portable amp.

As for differences between the higher ohm DT990, the 32ohm is slightly less refined, and the soundstage is slightly smaller in stereo mode. It also has a dryness to the sound compared to the 250 ohm Premium. One that wouldn't change my thoughts on it. The 600ohm is slightly better overall to the 32ohm, but to make it better than the 32ohm, you need a pretty good amp to bring out that potential. For most of us, the differences don't justify the hassle. Don't overlook the 32ohm, especially if you're not getting an ideal amp for 600ohm headphones. The 32ohm gets you 95% of the way there, with the benefit of being able to sound very good unamped, and better driven than the 600ohm on all but really good gear. You will still want an amp to bring out their sound quality, like the other Beyers on this guide.

The 250ohm Premium is also just like the 320hm and 600ohm, but it has a darker tone, fuller bass, and less mids than the 32ohm and 600ohm. The differences again, are very negligible, especially if you don't have all 3 to compare. The 250ohm is also more refined than the 32ohm, with a bigger soundstage, and the sound as a whole has more body/weight, but again, the mids aren't as forward as the 32ohm or 600ohm. The difference yet again, are slight. The 250ohm is harder to drive than the 32ohm in terms of VOLUME, and only on certain sources will a portable amp be enough. To be safe, you'll want a desktop amp for the 250ohm.

The Pro 250ohm model sounds just like the Premium 250ohm model, but it has a bit more clamp so the bass is raised slightly, and soundstage is slightly lessened, (though still very similar to the Premium 250ohm, and still bigger than the 32ohm DT990). Because the Pro model is the cheapest, if you're looking to save some money and don't mind the retro look and stronger clamp, the DT990 Pro 250ohm gets you 99.9% the same sound as the Premium 250ohm.

The 600ohm is the most refined, and shares more in common with the 32ohm than the 250ohm, but just barely. The bass is tighter with very slightly less impact than the 250ohm. Like the 32ohm, the mids are ever so slightly more forward than the 250ohm. The soundstage is like the 250ohm, which is to say, slightly larger than the 32ohm. The 600ohm deserves some real good amping to make it worthwhile over the 32/250ohm variants. If you don't plan on getting something in the realm of $250+ for a bonafied desktop amp, get the 250ohm instead, though recent comparisons using the E09K have shown me that the 600ohm is still the better can (literally by a micro hair).

Now, when using a Dolby Headphone device (also using an amp to help drive the Beyers), I found them all to sound almost too similar. virtual surround positioning, soundstage, and tone were all incredibly similar. Made the differences even harder to discern than when listening to music, etc, without the Mixamp.

Because they're all so similar, I won't be giving them different scores. They're all within a hair of each other for fun, competitive, and obviously comfort.
Fun: 8.5/10 (Excellent)
Competitive: 8/10 (Great)
Comfort: 8.5/10 (8/10 for the 990 Pros due to stronger clamp)



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Beyerdynamic MMX300 2nd Gen (*headset*)
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Under $300 (as of May 2018)
Where to buy: Amazon
The full review of the Beyerdynamic MMX300 2nd Gen gaming headset can be found over at Headphone.guru. Here's a snippet of the review about its gaming performance:

Marketed for gamers all over the product page for the MMX300, you better believe it better deliver. The MMX300 is undeniably a very strong gaming headset with fantastic immersive qualities in its bass and soundstage.

The bass faithfully excecutes explosions and other ground shaking impacts with ease. This is one fun gaming headset.

The MMX300 may not be the most detailed headphone in terms of midrange focused sounds, but it is still good and beyond satisfactory here. Unless you are the most hardcore gamer who needs 100% focus on just micro details, I don’t see many complaints here especially for gaming needs.

Treble details is a highlight for nitpicky gamers looking for the sharpest of pindrops, which the MMX300 excels in. There is plenty of sparkle and vibrancy to be found.

The large soundstage paired with its amazing virtual surround capabilities, makes the MMX300 one of the best closed gaming headphones/headsets for accurate positional audio cues that I’ve heard.

The MMX300 can do all forms of gaming well, with a lean towards fun, casual gaming, though is more than capable as a competitive gaming headset. As it is, this is one of those “Multi-purpose” headsets, more than a specialty headset that is focused on one thing or another.



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Drop x Hifiman HE-5XX

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Where to buy: Drop.com

Click HERE for Full Review Page

Disclaimer: A special thanks to Drop.com for sending the HE-5XX out to me for review. As always, whether products are sent to me or not, I do my best in being 100% honest with my views and opinions. If I don't like a product, I will refuse to write a review of it, or at the very least mention what I don't like about them, though I like to focus on products that people would like or at the very least are interested in. The only bias I have is to my readers and making sure they know about good products.

Intro

Looks like Drop wasn't quite done with release bangers in short succession. Fresh off the heels of the Sennheiser PC38X, Drop teamed up with Hifiman once again to bring us something exciting: the HE5XX. This marks the third big Hifiman collaboration after the 4XX and Edition XX. The HE-500 is a legendary headphone for the audiophile community, so the HE5XX has a lot to live up to. What's different? From Drop's Product Lead Audiophile:

"We were able to work with HIFIMAN to develop a new dual magnet structure in a nod to the classic HE-500. These are significantly lighter than previous dual magnet planars which was a common complaint. These will also use their current gen super nano drivers which are only a few microns thick."

And a newer statement to reiterate:

"The 5XX uses the current generation Neo super driver membrane paired with a dual magnet design similar to the original HE-500. However, HIFIMAN was now able to make these magnets much thinner and lighter than previously possible. While I would not say this headphone is “bassy” it does have a well defined low end and really excels in the mids."

I didn't get to experience the original HE-500, but the statement of well defined bass and great midrange sounds like the HE-5XX is truly made as love letter to the HE-500. I can't say whether this is just a newer style HE-500 or not. I'm excited all the same.



What's In The Box?

(Note: I was sent a pre-production unit, and therefore the packaging and design are not indicative of the final product release.)


The unit I received came with a decent box for the headphone, short 3.5mm cable with a snap on 6.3mm adapter, and that's it. Pre-production being the key term here.

Cable - Unfortunately, the cable is a bit on the short side (3ft), like the questionable 'hospital tubing' that came with the Edition XX. I know I said that cable on the Edition XX was good, but in hindsight, I really grew to dislike it, enough to end up getting a nice, long cable from Amazon that was not only cheap, but looked and felt much better. I ended up taking that cable and using it for the HE-5XX. On the bright side, the supplied cable is much better terms of feel and flexibility over the Edition XX cable. There's nothing wrong with it aside from its short length. Drop or Hifiman, I sincerely hope that the next time around, you add at least one more foot of length. Ideally, I think all full-sized headphones should come with at LEAST a 5ft cable if the headphone isn't aimed for portable use. The 5XX is clearly not a portable friendly headphone.



Build Quality


Headband:


Continuing to forgo the newer suspension type or even newer headband used on the Deva, Drop continues to use Hifiman's classic headband design for better or worse. My guess is that they continue to chose the classic design for cost saving measures and/or to deplete excess inventory. It worked for the various HE-4 and HE400 headphones I owned, and they were generally fine with the Edition XX.

The pucks travel quite easily when extending or retracting the length compared to the Ananda I reviewed a while back which was insanely difficult to adjust. Unfortunately, both the Ananda and the HE5XX leave marks on the extension yokes, though the Ananda was a quite a bit worse in terms of shaving off pieces of metal.

While my older HE400 wasn't too easy to adjust, the travel was smooth and left no marks. I don't know why they changed from this. I can't fault Drop here. It's definitely an issue on Hifiman's side, which I'm sure is one of the reasons they moved on to different designs. I do really like the very strong metal used for the yokes/extension arms. That's one piece that has always been good with Hifiman planars. On top of the extension arms that keeps them from fall off the headband are screws, which seems a bit... basic and under designed in comparison to the rest of the headphone.

In terms of adjustments for all head shapes, the cups have a generous range of vertical motion, and not much, but enough horizontal movement that I feel would be necessary for most head shapes.


Cups:

The HE5XX's cups are my absolute favorite of all Hifiman headphones I've tested to date. Similar in design to the Deva, with outer grills that you can see clean through to the magnet/driver array.

The newer super nano drivers and thinner magnets comes with a noticeable weight reduction, yet doesn't compromise the structure or general quality of the cups. They feel magnificently sturdy and well built. The cups seem to have a considerably stronger construction than the plastic and wood used in the older headphones. The lower area houses the newer Hifiman logo which indicate where the 3.5mm cable inputs are located. The inputs are angled slightly forward (and I mean SLIGHTLY).

While I liked the Ananda and Edition XX cups aesthetically, I think the round design of the HE-5XX looks more elegant and appealing.


Pads:


Pleather pads with a fabric surface where they rest on your skin. I will always appreciate this design, compared to going full pleather or leather. The ear opening is circular, large, and deep. The pads are quite soft, and not very dense. I do wonder if a denser foam would benefit the sound and bass. Unfortunately, the pads don't seem to be easily removable, nor do I know how they're attached. I'm not willing to risk ripping them off to find out.


Cable:

As previously mentioned, the cable is quite short at 3ft. At the very least it's quite well built and flexible, so as long as you're close to your source, it's a fine cable.


Final Build Impressions:

The HE-5XX is the best Hifiman headphone I've experienced in terms of build quality, with a fantastic cup construction, metal yokes and extension arms. The pads are large and comfortable, the cable is durable albeit short, and the headband is a tried and tested design. Asides from the extension puck pieces leaving marks on the arms, there's nothing here to complain about. Hifiman seems to have mostly perfected this design with proper materials all around.

The only room for improvement I could see is that perhaps one of the newer headband designs would further boost the overall build quality to their limits. The pucks that hold the extension pieces in place could stand to be changed, as Hifiman has already done with the Deva.



Comfort


Weight:


Drop specifically mentioned the weight cutting measures done with the new super nano drivers and thinner magnets that should make a noticeable difference compared to the older Hifiman headphones. In practice, that is exactly what I experienced. The HE5XX is (from memory), not quite as light as the HE-4 (which was Hifiman's first foray into single sided magnet design), but unquestionably lighter feeling than the HE-400. The HE-500 being much heavier than the HE-400, it stands to reason that there is a dramatic difference between the HE-5XX and the HE-500.

In terms of personal use and comfort, the HE-5XX's weight is one of the last things you'll find problematic. The headband distributes the weight well, and doesn't stress my neck even after all day listening sessions.


Headband:

This is perhaps my least favorite aspect of the HE-5XX's comfort. It's odd, as I didn't particularly have problems with the HE-4, HE-400, or Edition XX, and usually praise this headband for general comfort. It's not bad, but I do feel the headband pressing down on my scalp, and have to periodically adjust it. I'm not sure what has changed, and it may just be an unknown factor or variance. The underside has minimal padding, but it's something even the older headphones shared. The material did feel different on the HE-400, though it may have been worn in with age. Not quite sure.

Take my opinion on the headband with a grain of salt, as it may just be this particular headband. That, or I may just be having an overly sensitive noggin nowadays. It's not uncomfortable in the grand scheme of things, but it doesn't disappear on my head like the other models.


Pads:

There isn't much to be said here, other than the pads feel fantastic. The ear openings are large and deep enough for my ears to fit in, and the fabric top feels great on the skin. The inner foam isn't as dense as I'm used to with other pleather pads, and don't seem to trap heat as much as other pads. Despite the inner foam not being as dense, they don't compress and bottom out. They also keep the clamp pressure from feeling overly strong.


Clamp:

Clamp is moderate without it feeling too loose or to constrictive. I personally prefer some clamp so that a headphone doesn't just slide off my head (looking at you, Audio Technica 3D wings), so the HE-5XX is what I consider close to ideal here. Perhaps just a teeny bit less would be optimal, but really, not necessary.


Overall Comfort Impressions:

I can wear the HE-5XX all day without much hassle aside from periodic breaks from the headband's downward pressure. The HE-5XX is lightweight, the pads feels great, the clamp is moderate and inoffensive, and, the vertical and horizontal pivoting should fit most heads. All in all, I'd consider the HE-5XX quite good for comfort, with the caveat of the headband maybe needing some extra padding.



Noise Control

One of the prime examples of planarmagnetics essentially being speakers on your head, the HE-5XX showcases why open-backed planars are not well suited for any isolation purposes . These leak a metric boatload, in and out. You definitely do not want to take these anywhere that requires noise leakage control, and you'll definitely want your listening station to be behind a closed door or two, as well as maybe playback volume being on the moderate to lower side at night to keep from disturbing others.



Sound

The HE-5XX is a classic case of sounding a league above its price range competitors. At its initial price of $220, I'm simply baffled at how good the HE-5XX sounds. I would've pegged it at being around $400 just off sound alone. It's simply a fantastic sounding headphone, and it's well worth investigating if you're looking for a higher end sounding headphone at a lower price. If you have yet to experience an open-backed planar (and I stress OPEN), your path should immediately lead you here to the 5XX.


Bass:

When people wonder how planars sound when they extend to the nether realms of bass, the HE-5XX makes a great example. It goes very, very low, with nice, atmospheric presence. That being said, it isn't particularly heavy handed or potent, so those wanting bass to be at the forefront of sound will need to look elsewhere. It's articulate, well textured, and quite deep, but the impact isn't what I'd consider particularly strong. I'd say it's a neutral/natural sounding bass character. As stated earlier, it extends quite low, but slightly lacks a bit of rumble and impact. On the plus side, the HE-5XX has a considerably large headspace, which makes the bass fill out the sound very well. It's always there with a good sense of body, in the background filling out the ambience. With action movies, and bass heavy music, the bass is quite enjoyable, though it wouldn't be my first choice. Personally, a bit of a bass bump would fill out the bottom end nicely, but then you're altering the sound that may take away from what makes the HE-5XX what it is, and I personally would not want to take away from the 5XX's inherent characteristics. Comparing to the LCD-1 which also has a very bass neutral character, I find the HE-5XX slightly less reserved and more enjoyable down low. It's fuller, with more body and presence.

Frequency testing, you can somewhat hear it going down to below 30hz, but I'd say the low end presence becomes what I'd deem enjoyable starting at around 35-40hz. To compare with the last headphone I reviewed (the PC38X), the PC38X has more presence and energy down low, with a more enjoyable bass volume compared to the HE-5XX. Not that the HE-5XX isn't enjoyable, but that the bass isn't the stand out range in its sound. Overall, the HE-5XX manages its bass well, and those who like neutral bass that isn't being highlighted won't find much to be disappointed with here. It integrates itself well to the rest of the sound.


Midrange to Treble:

I wanted to compare midrange to treble with a planar that steers towards neutral, so I brought out the LCD-1. The LCD-1 has a peaky sound at around 3.5k, whereas the HE-5XX doesn't start peaking until about 5.5khz, which is actually not as forward on the LCD-1. This lets me know that my ears aren't hearing everything the same in the ranges. After the 5.5khz peak, there's a drop off at around 7.3khz or so, with the rest up to 10khz being softer hitting, with 10khz itself providing a sparkly peak, which drops off until it peaks again at around 11.5khz, and again at 13.5khz. I'd say there's plenty noticeable of detail to my ears up to around 14khz, with the higher ranges being there, but not as noticeable.

The HE-5XX is particularly present in the mid to treble ranges, with a good amount of energy and bite. There's some mild metallic zing to some S sounds, which can be a little fatiguing at high volumes. This is about the only aspect of the HE-5XX I'm not particularly in love with. I believe the 5XX will be sensitive and picky with source/amp matching.

I feel the midrange gives notes some space to breathe and image around you. It's rather on par and balanced with the bass, with neither being forward or particularly focal. I consider it well integrated to lift up the general sound of the HE-5XX. As such, I do find the midrange to be one of the 5XX's strengths. Yes, it's not in your face, but the harmony with the ambient bass and crisp treble air really gives it a team player-esque quality to it.

The treble ranges begin sharply, with crisp air, and laser focus. The 5.5khz peak is a bit zingier than I'd like, and the dip at about 7.5khz is perhaps a few decibels too soft. To sum up the treble, the 5XX has a brightness to it up top, and will highlight all the minor details. If you prefer a smooth experience, the 5XX isn't for you. It's for those that want some energy and focus up top.



Soundstage:

The soundstage is one of the HE-5XX's greatest strengths to my ears. Considering how large and open the drivers are, the HE-5XX exhibits a rather spacious soundstage, which is rather tall and holographic. It's not quite wide like a dynamic driver's open soundstage. Yet, those don't have this level of layering and depth. It is an absolute highlight of the HE-5XX, and those that prefer to feel immersed with a great speaker-like experience will find the HE-5XX to deliver a fantastic stereo presentation. This makes the 5XX one of the greatest showcases for planarmagnetic soundstaging and imaging that I've heard. If you haven't heard a planar, rest assured, the 5XX will convert you on soundstage presence alone. Just playing random music, I'm constantly being surprised by how roomy its sonic presentation is. Absolutely enamored here.


Clarity:

The 5XX is a highly detailed headphone. From its articulate and highly textured, atmospheric bass, to its detailed midrange, and finally its razor precision treble, the 5XX is quite proficient in immediate clarity and detail focus. 7.3khz or so hits a little soft and muted, but it's not muffled or lacking in detail. Just low in volume at that range. All in all, the 5XX sounds like it has the clarity and detail of headphones costing far, far more.


Sound Signature:

There's something about the 5XX's sound that makes it hard for me to describe. It is energetic, and sharp, with a great sense of space. Its bass extends quite low with a good sense of body. The midrange while not immediate and in your face, meshes well with the rest of the sound. I can't describe it as a warm or lush headphone, but its not lacking in warmth. I also can't call it bright or analytical, because the bass body and ambience fill out the space with some warmth. It definitely isn't flat or neutral either. So it puts me in a bind. It is a transformative signature that can sound warm or bright depending on what you throw at it. Perhaps if I feel more comfortable in the future, I can say what it is. Until then, you'll have to make do with this.


Amplification:

I feel the HE-5XX requires moderate amplification to get the most out of it. It wouldn't be my first choice for non-amplification use, and I'd recommend investing in at least an entry level desktop amplifier for it. Ideally, I believe a warmer sounding source/amplifier would benefit its sound signature, which may possibly shave off a little bit of edge in its upper midrange to treble range. I'd personally recommend staying away from dry/analytical gear for the 5XX.



Gaming

The HE-5XX is highly detailed and spacious, with atmospheric sound that makes it a very good headphone for gaming. It's quite dynamic, with a clean sound that helps in competitive gaming awareness. For immersive and casual gaming, it's quite good though it probably wouldn't be my first choice despite it being quite extended down low. It doesn't quite have the rumble, or bass impact that I'd deem ideal for non-competitive use. Not that it's bass light (I'd say it's more bass neutral). I just personally feel it could be a little more rich in the bass. My personal preference. I prefer a warmer, thicker sound for my casual gaming.

As stated earlier, the soundstage is quite holographic with excellent depth. While not quite as wide and as the better soundstaging headphones, the 5XX is exceptional when virtual surround processing is added in. Virtual surround makes the HE-5XX a great headphone for gaming, and I doubt many people would have issues using it for positional accuracy and spatial awareness. It's a great (excellent even) for competitive gaming, and a very good good for casual/immersive gaming uses.



Personal Recommendations


Practicality:


The 5XX should be kept strictly for home or personal office use (offices with good noise control). The headphone is as open as they come, so everyone around you will hear what you're listening to, and won't block out any external noise. They also aren't suited for travel due to their size and inability to collapse into a more portable form factor. Keep it in your main setup.


Who It Is For:

If you have ever wanted to try a planar, the 5XX is the easy way to go. If you have something like a Sennheiser HD-650/HD-6XX and want a complimentary set of headphones that contrast the more mellow, intimate nature of those headphones, the 5XX makes its case incredibly well. I think having a duo like the HD-6XX and HE-5XX really covers all bases. If I had $500 and didn't have any headphones, this would be my path. HE-5XX and HD-6XX. You ask: "What about a $500 headphone"? I'd still say no. The performance from both are fantastic, and fit different moods. It's hard to find ONE headphone to suit all moods. So having two complimentary headphones that do things differently is ideal, in my opinion. The Audeze LCD-1 is a fantastic $400 headphone that will serve you if you just want a completely honest representation of sound. Complete, uncolored, and accurate. However, I rarely want something steered so far into neutral, without any liberties taken in engagement. To some, having accuracy is ideal (which the Audeze LCD-1 is AMAZING at), but personally, I like my sound with a little more sugar and spice. That's why I'd go for the HE-5XX for the times I want some additional vibrance energy, and the 6XX when I just want to chill out and relax.



Likes and Dislikes


Likes:

  • Detail, energy
  • Soundstage depth, imaging, and layering
  • Speaker-like presentation
  • Fantastic build quality and materials
  • Lightweight for a planar
  • Pads

Dislikes:
  • Time to move on from the old headband design
  • Short stock cable length
  • Physical extension leaves marks on the metal
  • Upper range sizzle, can be a little bright in some ranges



Final Impressions

The problem with places like Drop, is deciding on which headphone to get in their cornucopia of excellent products. We're spoiled for choices, and now we have to contend with another choice in the HE5XX. While it's definitely not perfect, I feel it'd be worth considering even if it was worth nearly double its price. That's not a claim I make lightly. It's that impressive to me, despite the minor flaws.

I may have sounded a bit wishy washy about some aspects of the 5XX, yet it's the first headphone in a very long time that I told myself "You know what, I really want to buy this when it comes out. I don't need it, but I want it." I haven't bought a headphone in a long time, and the 5XX really made me consider it. Something about the way it presents sound that is truly unique, and unlike any other. It is truly a fantastic headphone, whose strengths vastly outweigh any reservations made about its less appealing traits. For $220, this would be my immediate first choice (after the 6XX).

The 5XX may not be what I'd consider the end be all headphone for everyone. That being said, the 5XX is absolutely one of the very best complimentary headphones I've heard to date. Something to have alongside another that it contrasts, like an HD650/HD-6XX. If its specific flavor appeals to you, it CAN be the end be all headphone. If you like a dynamic, energetic sound, with great speaker-like presentation, the 5XX is probably going to be an incredibly beloved headphone for you. It would be my immediate recommendation for that. Over the Beyerdynamic DT880, Philips Fidelio X2, AKG K702, or any midrange headphone I can think of that it probably would get compared to.

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Beyerdynamic T51i

$299
Where to buy: Amazon

Take a look at my full review of the Beyerdynamic T51i (T51p with inline mic) over at Headphone.guru. I didn't extensively test the T51i with gaming.

All I can say is that for gaming purposes, the T51 falls in line with what I expect from closed, on ear headphones: Get it for music and stereo gaming. If you're leaning towards surround gaming in general, there are better choices at the price range for this purpose.
Full bass and lively sound, with average, typical closed headphone soundstaging.
Full bass and less than stellar soundstage make it less than ideal for competitive gaming.
If you're looking for a great sounding portable headphone, not much can be said to take away from the T51's fun sound. For the purpose of gaming, better choices are available.



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Creative SXFI Air
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$159.99 Air as of June 2019
Where To Buy: Creative

Review First Posted HERE.

Disclaimer: A special thanks to Creative for sending the Air out to me for impressions and review. I received the SXFI Air, and I fully expect the Air C to be nearly the same as the Air in terms of audio quality. The Air has more features than the Air C so even if you don't care too much about using the Air wirelessly, the price difference is small enough where it may still be better to opt for the Air over the Air C.

As always, whether products are sent to me or not, I do my best in being 100% honest with my views and opinions. If I don't like a product, I will refuse to write a review of it or at least mention what I don't like about them, though I like to focus on products that people would like or at the very least are interested in. The only bias I have is to my readers and making sure they know about good products.




Intro


Before I begin, I want to make something clear to a large selection of people here. If you are someone that absolutely can't stand or won't even attempt to understand the need for virtual surround dsps and their benefits, and think everything through headphones should be untouched stereo, no processes being applied, then you can stop reading here. This product is not for you, so don't waste your time in saying things like "this sound fake" or "unnatural", etc. We've heard all the same arguments for years now. Move on. To everyone else that are a little more open-minded, the Creative SXFI Air may be something worth checking out, so please read on.

The Creative Air was something of a curiosity for me. I happened upon it online and was immediately interested in getting a chance to give it a go, for a few somewhat simple reasons. As someone who regularly uses virtual surround processing when using headphones, I wanted to see what Creative's newer Super X-FI brought to the table compared to more standardized DSPs like Creative's own SBX. Creative has their own SXFI AMP to use with any headphone, but as someone with a collection of other dac/amps that have to be constantly connected/disconnected, I didn't want to add to that growing problem. 1st world problem, I know.

I was also very interested in finding out how comfortable the fabric ear pads were. I'm a huge sucker for fabric ear pads, constantly on the hunt for that 'perfect' ear pad comfort. The fully fabric pads on the Air were an immediately "must try" for me.

That's really it. Somewhat unconventional reasons to be interested in a headphone, but sometimes, it's the smallest things that make or break a product. Despite the simple reasons to try the Air, I found that there are far, FAR more reasons why it's a must try, as it is a fully featured product that warrants much deeper investigation.

I'll initially spare you the intimate details about what makes the Air stand out from other headphones here, but here's an excerpt by Creative found on the product page:

"This Bluetooth and USB headphone has built-in Super X-Fi technology that provides holographic audio personalized to your own ears for an unbelievable headphone experience that's as good as the real thing."

Bold claim. Is it true? Well, the answer and my findings may surprise you!



Build Quality

Aesthetically, the Air doesn't stand out among the general crowd of bluetooth headsets. It has a simplistic design language, with the only stand out visual feature being the thin, but tasteful RGB illumination ring that surrounds the outer cups. When the RGB rings are off, there's little to identify the headphone from other visually similar headphones. It's a tried and tested design, but can come across as a bit boring, in terms of shape and silhouette. Thankfully, the RGB breaks the monotony. Just that added detail really gives the Air its own key visual aesthetic. I'm far from a fan of RGB, but it really does look nice here, not garish or gaudy.


Headband:

The Air's headband is of a very basic design, which isn't necessarily a bad thing. There's no overdesigned shenanigans. A basic leatherette wrapped headband with very little padding underneath. The padding is quite thin, but I have long said that padding is more or less inconsequential if the headband wraps over the head evenly without hotspots. The top side of the headband is the only area on the headphone with the Creative logo which is the color of the headband and only the shine of each letter lets it stand out. I hadn't noticed the logo in my dimly lit room, and initially thought there wasn't one.

The ends of the headband have the shiny plastic pieces with the Super X-fi logo on them. That is all the Air has in terms of identification. Very subtle.

The size extension is the only place of real contrast from the all black design. Silver with numbered lines (odd numbers) up to 11 makes it incredibly simple to adjust the size to your personal preference. The adjustment travels up and down with very little force on your part. I've come from some really hard to adjust headphones, so this is a breath of fresh air.


Cups:

The plastic cups are the most prominent area of the headphone, and aside from the RGB rings on each cup, are completely black and devoid of detail. At a distance, you'd mistake the Air for any manner of generic headphones. It is simply very, very understated in design. If you're someone who likes to show off your accessories, the Air won't do much for you, outside of personal RGB ring color choice. If you like your headphones to stand out, I think the white variant looks more visually engaging. Even so, I tend to lean towards understated and black, so the black variant suits me just fine. Looks aren't all that important to me, especially since I don't use full sized headphones in public spaces. The RGB rings give the Air their own personal flair, so they at least stand out from other headphones in that regard.

Functionally speaking, the left cup houses all the functions of the Air:

Power button

"Nanoboom" microphone - detachable with 3.5mm TRRS plug. Functions like a boom microphone but in a small form factor.

LED power indicator

USB type C input - Per Creative: "USB connectivity for PC and MAC. Same functionality available on PS4 and Nintendo Switch". This also, is how you charge the Air.

Aux/3.5mm line input - allows you to use the Air with a variety of standard, analog devices. You can use the Air even when it is turned off with the line input, or leave it on to have access to the Super X-FI dsp, as well as volume control. Note: the line input is always active regardless of which other source you're using, so if (for example), you have the line in connected to a device, and USB connected to another device, both will play at the same time until you mute one. I'll go more in depth in the Amplification section.

Source/Bluetooth button - This button changes between your sources. USB, Bluetooth, SD Card sources. Holding it down enables bluetooth pairing mode.

SD card slot - This is a very interesting addition that I have never personally seen on any other headphone. If you simply want to hear music without a device, this is the way to go. It supports MP3, WMA, WAV, and FLAC file formats. I'll go into details about SD Card performance in a later section.

Super X-FI - This button enables/disables the SXFI dsp. When using the SXFI Control software on PC, you can use either this button or the toggle on the software itself to turn it on/off. SXFI does not work if the headphone is connected via line in if the Air is turned off, but does if turned on.

The placement of these buttons and inputs are easy to remember given a few days of use. I have a tougher time with the Audeze Mobius's functions even though I've had the headset on hand for a long time now. The placement of the Air's functions are quite intuitive for the most part.

On the left outer cup are the touch controls. "Users can answer a call, skip the song, or turn up the volume". I mainly used the cups for volume control which while intuitive, I found sporadically inconsistent in granularity, especially in bluetooth mode. At times I feel the volume adjusted very quickly, and other times I felt I was furiously swiping a bit longer than I believe normal. It works well enough, though I feel a volume wheel placed along all the other functions would have been more ideal. Perhaps where the SD card slot is, and relocate the SD card slot elsewhere, perhaps above the SXFI button. Just a suggestion for the future. A good volume wheel or buttons may be more simplistic, but offer more tactility and responsiveness. Sometimes function over form is best. There are other gestures, like swiping forward to skip to next track, or tapping twice to play/pause. Within a few attempts, it all becomes easy to remember, though I'd still rather just do those types of commands on my phone or computer.

The right cup is barren of any buttons, inputs or functions.

Each cup has a small amount of give in swivel and pivoting, just enough allow them to rest on various head shapes without issues. They don't collapse or fold inward, so portability is sacrificed a bit for more structural integrity.

As for driver exposure, they are each well protected by plastic, with an array of small round openings allow sound to pass through. The plastic is thick enough to keep most potential punctures from happening.


Pads:

The pads, as previously stated, were one of the biggest reasons I wanted to try the Air. The pads are removable with a simply rotation to the left. They are oval in shape, with tall synthetic leather inner walls (for better seal), with decently sized ear cavities. The fabric used is breathable, and neoprene-like (if not neoprene itself). They are porous and coarse in texture, though the inner memory foam likely keeps any sound from moving through the pads. The memory foam keeps the pads from bottoming out or compressing easily. Each pad's driver covers have an L/R indicator, though there's nothing physically keeping you from using the pads on the wrong side. It's still a nice touch for those who aren't used to the left side of headsets typically being the side with the functions and cable inputs.

Creative sells synthetic leather pads for the Air if you prefer those types of pads instead. Creative sent me a pair of the synthetic leather pads as well, which I'll discuss later on.

Cables:

The Air comes with two cables. A 2m USB type C cable, and a 1.8m TRRS 3.5mm to 3.5mm cable. The cables get the job done and have a good length. My only complaint being that both cables have the type of rubberized finish that tends to grip or snag onto whatever it drags across, so personally, I'd replace them immediately with my own, less grippy cables.


Final Build Quality Impressions:

The Creative Air at first glance looks like so many other headphones aesthetically. Outside of the RGB ring and small, glossy piano black accents at the ends of the headband, it simply doesn't stand out any other way, visually. The build quality isn't special in any meaningful way, but feels sturdy and rugged enough to toss around in a bag without much of an issue (though I'd be careful in not scratching the piano black pieces). It's not collapsible, so there's less points of build failure compared to other headphones. The headphone may not feel tanky or super durable, but in its simplicity and basic build, it inspires some level of abandon. It looks durable enough for normal, everyday abuse. I wouldn't go around trying to test its limits, however.

There's little in the way of identifying the Air as a premium product or not. It simply exists as it is, take that as you will. I personally don't have a problem with understated designs as stated before. The Air is as good as I'd need it to be visually, durably, and functionally.



Accessories

Outside of the two cables and some booklets, the Air doesn't come with much else in the box. While I appreciate the option to buy spare pads, I think Creative should consider including the optional pads in the box, even if at a slight premium. It's nice to have options, but it's even nicer to have those options included. I don't normally care for non-essential goodies tacked on to a product, but spare pads are the welcome exception. There may be people that are the opposite of me in that they may dislike fabric pads and would rather use synthetic leather. With the Air, that's something they'll have to seek out, instead of having them in the box waiting to be easily installed.



Comfort:

Having been so interested in the pads prior to receiving the Air, comfort was of utmost importance, and an aspect of the Air that needed to be an undeniable success. Due to this, I knew ahead of time that I was going to take a somewhat critical approach in gauging the Air's comfort levels. Thankfully, there wasn't much about the Air's comfort that I could be overly critical of.


Weight:

At 338g, the Air is a welcome change from the 400+g headphone I have been using as of late. The Air's weight is in the realm that I consider good. Light enough to consider the weight an absolute non-issue, but hefty enough to feel like the Air isn't going to disintegrate in my hands.


Headband:

While there's nothing that sticks out on the headband in terms of designs to make it more comfortable compared to other similarly designed headphones, it is still a design that works relatively well. The underside of the headband doesn't have much in the way of padding, but considering that most of the weight is offset by clamping force, and not the downforce of the headphone's weight on the head, you really can't feel much of the headband. The small amount of padding is really all that is necessary in terms of headband comfort with the Air.


Ear pads:

Considering all the hubbub I've made about the pads, you'd think they'd better deliver in comfort. So did they? While I expected more comfort, they did deliver in most aspects. The breathable fabric keeps my ears relatively cool compared to...well, most headphones I've used. The ear cavities have just enough space for my ears with zero discomfort.

The only minor complaint, is that the pads (like so many fabric pads, which take getting used to for this very reason) are on the itchy side. The coarse surface just doesn't sit on the skin as comfortably as other, softer fabrics. It takes some minor getting used to, and the feeling does more or less go away with time. I'll take the initially itchy nature of these pads over the sweat inducing heat of synthetic leather any day of the week. In the end, they ceased to cause any form of discomfort, itch or otherwise. Creative has some good pads here.


Clamp:

The Air has moderate clamp. Not a clampy headphone by any means, though with enough force to keep the Air secure on the head, and also force the weight of the headphone to land more on the extremes, and less on the headband itself. This is around the ideal amount of clamping force for me, personally. Not loose, not too tight. Ideally, it could stand to be a hint more loose, but it's really just personal preference at that point.


Final Comfort Impressions:

The Creative Air is one of those headphones I can wear all day, with some periodic adjustment due to the pads. The pads themselves are quite breathable and don't trap heat all too much, thankfully. The weight is never a concern, nor is the clamp, though perhaps a slight reduction in force would be perfect for my head.

In the end, I can say the Air's comfort is great overall. Slightly less clamp in my favor, and a softer fabric on the pads would make the Air borderline excellent in comfort.



Noise Control

The Air has pretty good noise control inside and out. It attenuates external noise well enough for my needs, and keeps its own sound from leaking out without too much of an issue. Both mesh and synthetic leather pads give the Air good noise isolation. Someone in the same room may hear a very small amount of leakage, though not enough to be disturbing. A room away, even with the door open shouldn't pose a problem whatsoever. It gets an easy passing grade from me.



Software

The Air has three main software/apps that are needed in order to get full functionality. SXFI App, SXFI AIR Control, and SXFI Control (for PC).


SXFI App (mobile app):

The SFXI mobile app is needed to personalize your own head mapping, by going to the Personalize section. This consists of taking pictures of your head and ears so that the SFXI related functions work according to your own physical traits. I recommend having someone take the pictures for you, or if alone, standing in front of a mirror and using that to look at your mobile device taking the pictures at the correct angle. This section shows recent head maps by date and time. Before you connect the Air to your PC, personalization must be completed first.

The SFXI App may not be an app specific to the Air, but it gives you all the necessary functions, and goes well beyond the scope of the Air headset itself. Things like a music player, equalizer, among a bevy of other options. Check it out, even if you don't own a Creative product. It works with other headphones too, and allows you to test out SXFI with your own music, on your own headphones. That being said, for the specific use of the Creative SXFI Air, they should've just imported the required head mapping functions to the Air Control app, so as to not necessitate the use of this app. It's one app too many.


SXFI Air Control (Air specific mobile app):

This app comes a much smaller selection of functions, but I'll only be highlighting one: Lighting. You'll find a lighting toggle to turn ther RGB rings on/off. Below that you'll find a full color wheel, brightness slider, RGB numerical values, hex number for colors selected, and finally 7 solid color presets: Blue, Purple, Red, Orange, Green, Cyan, White.

The other functions are mostly the same as ones in the main SXFI app as well as the PC app. That, and digital versions of the functions found directly on the headset like the source selection, and Super X-fi toggle. You can more or less decide whether you want to use the features on the main app, or similar features (like eq) on this app. Personally, I recommend just using the main app, and not even bothering with this app, outside of lighting. It'll save you some potential headaches in the future. The reason I would use the other one is mainly due to the fact it has the required head mapping function. This one doesn't have any truly necessary functions, just redundancies. If Creative ever decides to import head mapping functions to this app, then, and only then will I recommend this app over the other one.


SXFI Control (PC software):

The PC software is intuitive and effective for the purpose of PC use. You get similar Super X-FI, EQ, Lighting, like the Air Control mobile app, except this one is more useful in that you'll need it to make changes on PC. Setup is also where you can change the amount of speakers between Stereo, 5.1, 7.1. You'll definitely want to use 7.1 for best SXFI performance (virtual surround dsp).

One thing not mentioned is that the Air on PC can accept 24bit/96khz playback, which you'll want to enable through windows sound control panel.


Final Software/App impressions:

All three programs are intuitive and easy to use on their own. Nice, clean interfaces, and useful features. Unfortunately, the absurdity in the fact you need three programs isn't lost on me. Three decent programs alone are fine, but become an undesirable mess when they're all (somewhat) necessary to use in some way.

No one should have to download three programs for one product. I completely understand the need for one mobile app, and one PC program, but to split functions and features on mobile to two programs is a baffling decision. At the very least, the core necessities found on the main SXFI app should just be added to the Air Control app directly, so that people don't need both at once. Creative, you absolutely must rethink about doing this in the future. If you add the head mapping aspect of the main app to Air Control, it will drastically simplify the process, as well as eliminate the clutter of programs.

I'm not even going into detail in how the redundant functions shared between apps can cause conflicts and other bugs. Things like app unresponsiveness, broken music players, or the two equalizers that overwrite one another as you mess with one over the other. It's these minor issues that lead to a frustrating user experience. It's a shame too, because it detracts from an otherwise solid product.

Don't get me wrong. If you're someone like me who tends to "set it and forget it", and doesn't use superfluous options like Equalizers or app specific music players (I'm sure you already have your own preferred EQ and music programs), you won't have to deal with these apps much outside of initial uses. The SXFI app can be used just to personalize your head mapping. The Air Control app can be used to mess with the RGB lighting. How often are you really going to be changing that anyways? The PC app can be used on a more regular basis, but at least it won't have another program sharing similar features. The initial experiences with these apps lone are absolutely fine. The problem arises with prolonged, extensive uses of the mobile apps.

It's hard to say whether the user experience is good or bad, because it will drastically vary depending on how you use the programs. For the easiest, most painless user experiences, my recommendation is: Personalize your head mapping on the SXFI app. DON'T download SXFI Air Control (You don't need it, seriously). Do all the other stuff on the SXFI Control PC app. Finally, do all headset related functions directly on the headset itself (source changes, SXFI on/off, SD card playback). That will make the user experience much, MUCH better.

Summing it up, Creative, you can and should do better in terms of user experience. Each app's lone experience = good, having to use so many, and the minor quirks that happen when doing so = not good.



Sound

(Note: All of my testing was done with the mesh/fabric ear pads. The synthetic leather pads may alter the sound, so don't expect a full 1:1 similarity in impressions. Also, all my main testing has been done through the USB and SD card inputs, as those have the cleanest sound compared to Bluetooth, which while fine, isn't the best in extracting the best potential out of the Air. The Aux input when can go from being the worst sounding of the inputs while the Air is turned on, or arguably the best sounding when the Air is turned off, and an amp/dac is used. I didn't focus my testing in this manner, as it's not the main use case for the Air.)

Ok, the Air's sound is something I'm excited to talk about. The Air is quite versatile even in terms of its own sound. How do I approach it? Stereo, raw, unprocessed? Sure, that's the easiest way to find if the Air's sound quality is any good, but then, it really doesn't make sense to get the SXFI Air for the purpose of using it completely raw and untouched. Its supposed killer feature is the SXFI 'holographic' sound, as well as the Air's specific additions of Bluetooth and SD card playback compared to the Air C which lacks those two latter features.

As the key feature on the Air, I feel SXFI should be the defining tech and sound that drives people into getting it in the first place. I'll still talk about the Air's less defining features, like basic stereo use, or how it sounds passively through my own gear, but unlike most of my reviews, it will not be my main focus. I'll include the Air's passive sound impressions in the Amplification/Passive section. The biggest problem in terms of sound impressions I can see occurring is that due to the personalized head mapping, it may alter the level of presence in each frequency compared to the untouched, stereo form of the Air's sound.

I ultimately decided to focus on likely the most intended use case for the Air: USB PC use. I'll mention any key differences through Bluetooth and SD card use in their own sections.



Bass (Stereo):

The Air's bass section is what I could at best describe as taut, if a bit reigned in. Frequency tests show it goes down to an audible 30hz, with a moderate amount of impact. It's well controlled and tight. I'd essentially would describe it as neutrally toned, if a little on the dry side. Decay is snappy, not bloomy or sluggish. It's clearly not tilted towards bass, making it more an audible affair than physical sentation. Low notes have little weight, certainly not enough to bring attention to itself. Body is on the light side. It's not lacking in musicality, but it could stand to gain a little bit of warmth in the extreme low end. For bass influenced tracks, the mid bass in particular is decent, never overwhelming or lost in the background. It is with regular, non-bass content that it may sound less than moderate. Just don't expect a lot of low frequency notes in the sub sections.

In the end, I actually like this amount for a headset, as it's well balanced, and allows general details to shine through, instead of stealing the spotlight. Musically, yes, I would prefer some more emphasis, but it's not like the bass is missing. Just dialed down in energy.


Bass (SXFI)

To say the bass becomes the complete opposite of the bass in stereo mode is an understatement. With SXFI, the Air packs a massive, incredibly deep and potent amount of low end. Not boomy for the sake of boominess, but a lethal injection of low end, carnal instinct. It is strong, but not in the obnoxious way. There is no way SXFI would work well if the bass detracted and smothered the rest of the sound. It does not. It releases all the low end anger that was contained when SXFI is turned off.

During frequency tests, all that information that was more or less inaudible in stereo below 30hz is rumbly and atmospheric. Whereas bass on the Air is more or less heard, not felt in stereo, there is a definite sensation of rumble and texture when SXFI is on. Bass leans towards the lower sub spectrum. Mid bass is good, not decadent. There is a huge dip at around 75hz that acts as a sort of clear line between everything below and everything above it, as just past 80hz, the bass comes back alive.

I personally prefer stronger sub bass over mid bass any day of the week, so it suits my preferences nicely. The bass really brings the theater sound of SXFI to an impressive level, making it much more immersive than if the bass had remained simply neutral and indistinct. There is commanding presence that when paired with the absolutely stellar virtual soundstage, makes for a sound that has to simply be experienced to be believed. It's a harmonious, immersive, atmospheric combination. As for bleeding into the rest of the sound, there is a slight creep into the midrange with bass heavy tracks, but I feel it's more energy below adding warmth, ambience, and atmosphere, and not the one note thump of mid bass overeagerness. It could stand to have more control and less bloominess when SXFI is on, but I feel it's not a big factor overall, as sounds are so separated in the gigantic SXFI soundstaging, it doesn't come across as intrusive.

One problem I have in terms of bass (at least on the pair I have on hand), is that when SXFI is on, there is a sort of distortion/noise floor below 70hz, as well as the area around 100hz up to 200hz (this one is more audible). As soon as you hit 70hz and above, it disappears, until you hit around 100hz to 200hz, and then disappears entirely above that. The changes is actually obvious when doing frequency tests. However, I do have to note that this is something I only pick up during frequency tests, and I don't even notice it during regular use, whether because so many things are happening with regular content, or my mind just ignores it. It's really not something to be worried about, but it has to be said. It's likely artifacts of the bass interacting with the SXFI processing. It may just be this pair. It may be something else entirely. Whatever it may be, I wouldn't be concerned about it. Picky people would likely skip using SXFI to begin with. The Air is a sub-optimal choice for the utter purist that think audio should be kept within headspace on a headphone. I'm not such a person.

It's a bummer that the bass isn't as clean as its stereo incarnation, but its mainly an objective shortcoming, not a subjective one. I have been using the Air exclusively for awhile now (in SXFI mode), and not once did I feel the bass was detrimental to the undeniably special experiences I've had with the Air. The immersion, and emotional impact of its presence is far and above the more significant aspects of its bass.



Midrange to treble (stereo):

I'll start off with the frequency tests. Low midrange to about 1.4khz is nice and balanced, after then it dips quite a bit 1.4khz until around 3khz. 3khz up to 4khz has good presence. Slight dip at 4.5khz, and potential hot spot at 5khz. Another drop off past 5.5khz to a possible hot spot at 6.5khz which has a ringing in my ears. Moving the frequency slider up and down the subtle ringing always exists in a small section between 6.5khz and 7khz. It's quite subtle, and may not be a factor with regular content. Past 7khz is a nicely balanced presence all the way up to 14khz without piercing hotness, or veil.

So aside from the dip at 1.4khz or so, and peaks around 3.5khz, 5khz, and 7khz, there's nothing that stands out as being too subdued or too prominent. The general spectrum of audible sound despite the low sub bass, and dip at 1.4khz is all very present and generally balanced, making it a good headphone for linear detail. 5khz is a little on the hot side in particular, but isn't overly zingy. 8khz up to 10khz is a bit zesty sounding (despite not being particularly over emphasized), so if you prefer warm, smooth treble, the Air is not that. There is plenty presence here to aid in detail retrieval.

There's nothing particularly distinct or special about the mid to treble ranges on the Air. It's just a nicely presented area of sound without leaning too far in any direction. The 6.5-7khz 'noise' is audible in testing and may present and less than clean section in that range, but again it's not noticeable under normal use cases. The zesty sting of the 8-10khz range may not be the most ideal for people who love warmth and smoothness.

All in all, I'm happy with the mid and treble ranges here, though nothing stands out as worth mentioning as a strength or utter deficiency. It's not the most detail I've heard in these ranges, nor the most musical. It's just there, and for the sake of providing a good template for SXFI to do its thing, the Air's midrange to treble is all that it needs to be. Again, people should place the most importance in performance with SXFI to begin with. There's other headphones better suited for basic stereo use. The Air gets the job done, which is all I'd need it to here.


Midrange to Treble (SXFI):

This section is going to be harder to dial down as SXFI dramatically alters the sound in various ways, in which I also have to take the ridiculous soundstage expansion into account. It's simply impossible to do an A/B comparison against its stereo incarnation, because it all would sound recessed and spaced back by typical stereo contraints. Not that I ever recommend anyone ever compare stereo aspects of headphones to headphones utilizing any form of virtual surround. It's night and day, and should be looked at as their own separate entities. Its akin to comparing a headphone to a theater's speaker array. You just can't and/or shouldn't.

Let me start off with what's most simple. Or so I thought. Frequency testing reveals that the presentation of SXFI is so weird, it's hard to do a traditional frequency check. To my ears, the sound sort of 'wobbles' between both my ears as I change the frequency slider. It's almost an uncomfortable experience attempting a frequency "by the ears", test. I won't go into details here due to that odd sensation, making it hard to pinpoint areas of emphasis or deficiencies. I'll say that aside from that clear dipped line at 75hz in the bass section, the only other area of blunted lack of presence is just below 6khz, and it's such a small range, it may as well not be worth mentioning. There is a big jump in volume as you start going up past 3khz or so, and the detail retrieval extends well into 14khz, making the Air quite detail oriented in SXFI mode. This is noteworthy, as I used the Air for SXFI gaming and found it really, really good at picking up all but the most minute of details. Spoilers: The Air makes an excellent detail oriented gaming headset. No surprise here.



Soundstage and Imaging (stereo):

Without SXFI enabled, I can at best sum up the soundstage and imaging as pretty standard fare for a closed back, dynamic headphone. Nothing stands out as particularly special to my ears, though it's rare for any headphone to stand out for me in terms of stereo soundstage and imaging. The Air is not particularly restrictive or closed sounding. On the contrary, there is a decent amount of width and depth, despite its closed nature. Despite that, I rarely see any true standouts, as it basically comes down to headphones that keep everything around your headspace, to headphones that keep everything around your headspace but extend out an inch or two more. It's still a headphone presentation which I'm not generally fond of in this regard. The Air doesn't falter, nor does it succeed in making me think any different. However, we're not here to microanalyze the Air in stereo form.


Soundstage and Imaging (SXFI):

Oh boy, here is where Creative has provided the Air with its delicious magic sauce. As someone highly accustomed to virtual surround digital sound processing of many makes and models, I didn't expect much of a revelation out of SXFI. I mean, compared to Creative's own, (and still excellent) SBX surround, to other dsps from other makers like Dolby and Sennheiser, how could SXFI hope to stand out? I mean once you've heard and become accustomed to the strengths and shortcomings of virtual surround, you would think SXFI can't bring anything unique to the table. Audeze has an effective virtual surround with head tracking, not unique to Audeze, they managed to bring it to the masses at a lower price of entry. Creative's head mapping personalization is unique, sure, but doesn't have the feature of head tracking, so surely it's not going to stand out, right? Is head mapping personalization truly that important? I'm not the one to ask. However, I can say, and this may come as a surprise, SXFI is arguably the BEST virtual surround processing I have experienced. By that I mean no other surround dsp has so utterly tricked my mind into thinking the sound is coming from my room and my external gear like SXFI. Rarely do I ever feel like "Oh yeah, I have headphones on."

To compare, you can have things like Dolby Headphone in room 3, or Sennheiser's GSX with the higher room ambience settings which sound utterly reverberous and horribly artifical. They become echo chambers that ruin any audio they touch. Yes, the soundstage becomes massive and far beyond the scope of stereo headphone sound, but it just doesn't sound any good in those modes. Its understandable why they tend to stick with more moderate room size settings. The difference here is that SXFI throws out such an amazingly large sense of space in all directions without the catastrophic destruction of sound quality that usually happens on other dsps. Don't get me wrong, the presentation is still detrimental in terms of complete and utter audio purity (we are talking about altering the raw signal and applying a process which will always tend to distort the original in some ways), but these are the kinds of tradeoffs that need to be made in orfder to gain so much more in other areas. For instance, you can have an amazing OLED 8K display in front of you which looks absolutely amazing, but it's still limited to a 2D image. But then you have VR displays which may not be as high resolution, and is only viewable by the person using the VR headset, but drastically alter how you view content, to the point where you may feel as if you're inside the VR space itself. It's a transformative experience.

SXFI is like that. It becomes a transportation vehicle between your headphone, and a virtual theater. You're no longer listening to a pair of headphones. You're in a virtual space where sound is everywhere, and it feels 'natural'. A headphone can't generally make you feel like you're not listening to headphones. At least not without some surround dsp applied, or pre-recorded binaural audio.

This isn't unique to SXFI, as generally all the other surround dsps we know and love all emulate a room full of surround speakers. The difference here is that SXFI truly, TRULY succeeds in fooling even someone like me into feeling like this isnt just a dsp applied to a headphone. It really DOES sound like I'm listening to something other than my headphones with a dsp applied. Creative calls it holographic. I'm in total agreement. Even as I type this, I still sthink to myself "I'm sure my speakers aren't on?" I get that feeling much more with the Air and SXFI than any other dsp, period. No questions about it.

The soundstage and imaging the Air provides through SXFI is the key defining feature, and the main reason you should even consider buying this headphone. If you're not interested in SXFI or anything related to this type of technology, you're looking at the wrong headphone. Simple as that. It is magic, it is awe-inspiring, and it is a once in a lifetime, must try, kind of feature.

Before I move on, I need to clarify some things. Like a surround setup, this will cause music to mainly from the set of virtual front speakers in front of you. In order to get the rear spatial audio information, just must feed the Air's SXFI a 5.1 or 7.1 signal through the PC.

Note: PS4 and other consoles will be limited to stereo upconversions, not 5.1 or 7.1, even through their usb ports. This makes Creative's claim that it works through those consoles a bit misleading. Sure, it technically supports them, but not to their best abilities, where one would think it can replace console friendly headsets that take advantage of full surround support. Creative, if you're seeing this, you need a disclaimer like on to the product page: "5.1/7.1 modes only supported through PC. All Consoles limited to 2.0 support." It's only right.


Clarity (stereo):

The Air is a generally clear sounding headphone in most aspects of sound. The dip between 1.4khz or so up to 3khz is more like a general softening in this area, and not a complete loss of presence. It is lesser in volume compared to most of the sound, so there is some softness there that may cause of lack of clarity compared to the rest of the sound. Low treble all the way up to essentially human limits is exceptionally present, keeping the Air from being anything but a detailed closed back headphone. It's not a detail monster, and quality could manage to improve for next iteration, but it is very respectable here, and I doubt most but the most discerning would have an issue with the Air's general clarity.


Clarity (SXFI):

The Air's changes in tonal balance due to a noticeable highlighting of sub 70hz bass really adds a layer of body and warmth into the mix.

The drastic change in soundstage and overall presentation puts sound placement at a noticeable distance, so details aren't as 'easy' to pick up as when SXFI is off. The area in frequencies around 3khz are the loudest part of the sound, so there is still plenty of detail to find, though more of the overall sound is considerably smoother, and softer. There is presence in everything past that 3khz except a dip at 6khz which is small in range, and doesn't detract from the rest of the sound being well extended to 14khz, as stated before.

Clarity will be up to how you process the sounds being spaced quite some distance from your position, compared to the regular stereo presentation which makes the much closer sound placement easier to dissect.

The one aspect that I'm sure will be a point of contention is how SXFI affects voices. Yes, as a specialized dsp, there will be some reverb added to the sound, which will cause vocals to not sound as perfect and ideal as they do compared to a stereo headphone presentation. Again, it would do everyone a world of good to not directly compare the typical headphone's tonal quality and presence, as this isn't exactly a fair comparison. SXFI should at this point be compared to a nicely setup home theater, if anything. That should give you more of an idea how voices come across. Not as pristine, obviously, but presentation will be similar.



Sound Signature:

In stereo, the Air has a neutral balancing with smoothness in 1.4khz up to around 3khz. After that, despite a few peaks, the rest of the sound is quite well balanced and mostly linear with good extension. It's not sleepy sounding, nor immediately engaging. Just a generally well behaved headphone, if not particularly noteworthy in performance. Not super articulate, but balancing is good. There is some zestiness to the treble which isn't as clean sounding as higher tiered headphones, but these are things that won't be immediately identifiable with normal use. The Air's soundstage and imaging isn't particularly excellent or with obvious flaws. It's respectable here as well.

With SXFI, the Air takes on a warmer character, with smoothness in a lot of its sound, despite some prominence after 3khz. Nothing is overly smooth, despite an obvious dip at 6khz. Less upper range sizzle than stereo, though with more extension. It seems SXFI adds a moderate v shaped curve to the sound considering the obvious ultra low end bass boost and treble extension well past 10khz. That being said, this could definitely be limited to my customized head mapping, so your experience may be far different from mine. I'm unsure what the head mapping changes in terms of frequencies, if anything. Moving on, the Air soundstage with SXFI can't be understated. The easiest description I can write is: You will no longer be listening to a headphone's soundstage. You will be listening to a very convincing rendition of a virtual theater. Soundstage is absolutely massive. No headphone in stereo, no matter how costly, no matter how huge the soundstage will compare to something that no longer sounds like a headphone. You're no linger limited to that presentation. The best headphone's soundstage in stereo wouldn't be able to compare to this. I promise you.



Amplification/Passive Use

The Air through the Aux input is very, very interesting.

Like Audeze's Mobius which has to run all signals through the internal DAC, the Air has a similar process to run it's Aux input through an ADC and then the internal DAC so you can take advantage of SXFI (limited to 2 channels converted to SXFI), as well as being able to utilize the volume control. Unlike the Mobius, you can use the Air in a completely passive manner. This means you can turn the Air off, connect an aux cable to your favorite sources, and you'll be able to use the Air like any other headphone, no internal power required. That means attaching it to your own DAC and amplifier if you wish. The Air is 32ohm and quite sensitive, so it doesn't require a ton of power. I recommend focus to be aimed towards a clean source more than how much power is being fed to it.

I don't know why anyone would look into the Air if they're not planning on utlizing SXFI on a regular basis. That being said, if you're like me who more or less prefers to listen to music unprocessed, but watch visual media with SXFI or other virtual surround dsps, I actually found that it sounds best when using your own gear. Of course, that means losing the ability to use SXFI, embedded volume control, or the internal sound dac/amp subtleties.

Having tested that briefly through my Schiit Modi 3 and Magni 3, I found the sound to have some noteworthy changes.

Running frequency tests, the restraint in the bass has been replaced by a subtle injection of warmth and musicality down low. Bass is no longer so reserved and a little light. It's not a drastic change, more like making the sound more fluid and bigger bodied. Bass is more impactful, whereas it was more audible than physical through USB. Midrange comes across a little more forward as well, whereas it seemed just a hint cooler/more neutrally toned before. There is still the same general curve of linearity, and peaks/hot spots as the USB signal. So don't expect night and day in terms of overall characteristics. It's just more fleshed out. More tangible and organic than before.

This could all be an effect of my Schiit Modi 3/Magni 3 stack which may be slightly leaning towards being neutral with a hint of warmth, but it at the very least gives me enough to go on in saying that your own gear may be beneficial to overall sound quality compared to the built in dac and amp. I wholeheartedly recommend giving the aux input a chance if you're curious. I do believe it gives the Air the highest quality stereo sound it is capable of.

Testing the Aux input while the Air is turned on is a different story. There is an audible noise floor (though it's really not a huge factor in overall enjoyment), but it immediately makes the aux input while the Air powered a poor choice in terms of pristine audio quality. It's fun to try out for devices without bluetooth capabilities or USB inputs, but it would definitely be the last resort. It does allow for the use of SXFI on those devices, while passive use doesn't, giving the feature some merit.

The one truly worthwhile function the powered aux input allowed, was being able to directly compare SXFI's effects on stereo content vs other virtual surround dsps directly. Plugging the Air to my Creative G6, or Astro Mixamp 5.8 allowed me to see just how drastic a difference SXFI was to typical virtual surround dsps. For example, turning off SBX and then toggling on SXFI on the headset directly allowed quick moment to moment changes. Same with the Mixamp.

Both SBX and Dolby Headphone just could not compare to SXFI's sense of space. SXFI's soundstage showcases more verticality than the other dsps, which was essentially a limiting factor in many dsps. It's really unique and effective. Depth was also a significant difference, where SXFI really stuck out as placing cues at a more realistic distance. That being said, SBX is still the least likely to offend the typical audio purist as it affects sound quality less than any other dsp I've heard. It just doesn't impress in terms of virtual surround characteristics as much as SXFI.

Long story short, don't dismiss the Air's 3.5mm/Aux input. It's a surprisingly effect, raw stereo performer here in passive mode. Whereas I would've said the Air isn't a particularly amazing headphone in stereo mode before, it absolutely levels up when paired with decent external gear. It turns the Air from a decent headphone for stereo use, to a very good headphone for stereo use.



Bluetooth

The SXFI Air's bluetooth capabilities are a mixed bag. The downsides being that it's limited to the SBC codec, so it makes a poor choice for wireless gaming due to high latency, as well as it being the worst codec for audio quality, at least on paper.

In terms of sound quality through bluetooth, it still very much sounds like its other inputs, though with some detriments. Running frequency tests, there is some audible ringing from 15hz all the way to about 150hz, so essentially the entire bass section has some noise. It's not something noticed while under normal listening conditions, but running these tests makes the noise fairly obvious. It seems to be tied to volume, as it is inaudible at lower volumes, and quite noticeable with moderate to high volumes. Again, don't expect to hear it normally.

In frequency areas around 400hz there is another zone of ringing as well. In the lower treble up to high treble, there are certain areas that seem to also have some moderate noise from a lower frequency mixed in. For example, around 4.2khz seems to have a faint bit of 1.2khz mixed into the background. It's quite odd, but it's quite faint. Again, these are things you're not going to pick up under normal use cases, so I wouldn't worry about it.

Running tests with SXFI enabled, the same frequencies with noise persist. The one major change is that the 50hz area seems to have a dip in bass volume though it picks back up and normalizes at 60hz.

Overall, this isn't the best implementation of bluetooth I've heard, but as someone not super picky with my wireless audio (my Astro Mixamp 5.8 has some obvious hiss particularly at high levels, and I've been used to it for years), the Air's bluetooth sound quality is more than passable, especially when all these quirks aren't really audible outside of long frequency test. The Air doesn't exhibit any noticeable hiss either, which is even better than the Audeze Mobius in terms of background noise.

Unless you're expecting a wired level sound quality, I doubt you'll have much of a problem with the Air's wireless performance. It could definitely stand to be better, but overall, it's an enjoyable experience outside of testing.



SD Card

The Air has the quite unique ability to allow for SD card playback. Micro SD cards to be more precise. Simply load up an SD card with your favorite music tracks, and you're good to go. The files will playback in a random/shuffled manner, and it accepts folders, so no need to just throw raw tracks. I had a spare micro SD card which I loaded up with a very old, small catalog of music files (especially a lot of free OC Remix video game tracks). Playback was near instant, and probably the cleanest sounding, digitally. I would argue that the audio files coming from the SD card sounded just as good as the ones I played through the USB input, all while being wireless. It's a wonderful feature on the Air. As for what files it can read: MP3, WMA, WAV, and FLAC formats are supported. You can also use touch controls to pause or skip tracks.

I quite enjoy this inclusion, and wish other wireless headphone had this ability.



Gaming

It should come of no surprise by now, that SXFI is an absolute marvel when gaming. The ridiculously large soundstaging, incredible positional accuracy within that space, and sense of immersion are all an ideal combination for gaming. There's not much for me to say that I haven't already stated in the soundstage section. Critically speaking, SXFI's injection of bass and treble may not be the most ideal in terms of hardcore, competitive consistency, but as someone who has used the Air for gaming for weeks on end, I found so little to complain about, I can't give it anything but high marks for gaming purposes. The Air isn't the ultimate detail oriented headphone, nor is it of the highest fidelity, but when you're so immersed into the action, you tend to focus on all the things it does right, which to me, is a lot.

The Creative SXFI Air is fantastic for gaming. That's all I really need to say.

To repeat what I said in the soundstage section, this is a reminder that the full surround experience can only be had through PC use. Consoles only get stereo upconversions with SXFI.



Microphone



As you can hear, it's a bit low end heavy/bassy/boomy. I think it could stand to be leaning more toward midrange and treble, but it's passable. I'm not too worried about my microphone quality as long as it's not a terrible mess. The Air's mic is fine for my limited/casual purposes.



Optional Synthetic Leather Ear Pads

The Synthetic ear pads have a similar shape and size to the mesh ear pads. They also seem to have the same internal memory foam, at similar density.

As stated previously, removing and replacing the pads is a very simple affair. You simply grab hold of the pads and turn the pads counter-clockwise (I recommend holding the rim near where the pads meet the plastic). They easily come off at that point. To place the pads back on, simply do the opposite by orienting the top side of the pads (12 o clock on the pad) to 10 o'clock on the surface of the driver enclosure. The notches will line up, and all you have to do is turn the pads clockwise to lock them in place. The pads each have an L/R indicator placed on the driver mesh screen.

To my surprise, I didn't find almost any sound quality difference between the pads. It's hard to do a true A/B comparison, and the leather pads may be ever so slightly darker sounding, with a deeper, and warmer bass section, and slightly longer decay (likely due to slightly better seal). However, the differences are too small for me to be confident in saying this. It's close enough for me to not feel the need to write a whole section on sound differences. I even tried to use one mesh pad on one side and one synthetic leather pad on the other, having noticed during frequency checks that the balance remained mostly neutral between the pads. No significant changes going from one pad to the other. It essentially makes the choice between pads down to personal preference.

I would expect some people to be put off by the default pad's mesh fabric, as it is initially itchy. On the opposite side of the spectrum are people like me that just don't normally care for the feeling of synthetic leather as it rests on the skin, as it can trap heat and cause discomfort.

I find that the synthetic ear pads are actually very comfortable, not unlike the mesh pads once you the itchy feeling goes away. The difference being that the buildup of heat is worse on these pads compared to the cooler feel of the mesh pads. Still, had the Air come with with the synthetic leather pads by default, I wouldn't have been offended. I do think that Creative should consider adding these pads to the packaging, even if it added to the cost by a slight amount. Giving people the choice to pick which pads suit their preference. Both should be included.



Personal Recommendations

Media:


As a stereo headphone, the neutrally toned, balanced sound makes it a chameleon for most purposes. It's not a headphone that highlights anything in any significant way, but should suit most media well unless you like particularly bombastic bass, and fluid, engaging musicality.

With SXFI, it becomes a whole other monster entirely, where its bass and humongous sense of space makes any content immediately immersive and surreal. It is a gaming beast, a fantastic movie headphone, and great for relaxing to podcasts and whatnot, as it puts those voice in front of you as if they're sitting a few feet ahead. It's quite an experience, and I find very little that I wouldn't use with SXFI, music included.


Practicality:

The Air is so versatile, I think it makes more sense to talk about what I wouldn't recommend with the Air. And what may that be? Not much. Of course, this isn't a high end headphone, and you can likely find better audio purist level headphones without SXFI that make a more logical choice for people who hate anything touching the most basic, raw form of audio piped through headphones.

For everyone else, the Air just does so much, so well. As a PC usb headphone/headset, you get all the goods. Up to 7.1 SXFI so it makes a perfect PC gaming headset. Very clean audio that supports up to 24bit/96khz as well.

As SD Card player, you can just add a bunch of music files of various formats to the card, insert it to the Air's micro SD card reader, and enjoy as the headset shuffles all the music. The audio quality is exceptionally clean here, and like Bluetooth, you're untethered, without the sound quality hit associated with Bluetooth.

As a Bluetooth headphone, you are free to use the Air anywhere for any reason, not just limited to music. Perhaps not the best codec, but it still sound quite good.

I nearly forgot to mention, but the Air has a rated 10 hours of battery life. I wasn't able to personally test this, so your mileage may vary.

As a regular headphone through the aux/3.5mm input with a standard cable, no power, fully passive, no gimmicks, and no features, the Air is a potent audio beast. In terms of raw, unprocessed stereo fed through a quality dac and amplifier, the Air is musical, engaging, and deceptively high fidelity. It won't unseat any bang for back standard headphones in its price range, but it is no slouch whatsoever. It's really good here.

If you want to pipe any audio and give it the magical SXFI touch, you can use the aux input while the Air is turned on. In terms of utter audio clarity, it isn't the ideal choice, but the tradeoff may be worth it, to get that theater-esque frontal projection.

As for portability, the Air is a full sized headphone, but isn't particularly huge, so if you're ok wearing full sized headphones in public, the Air is a great choice. In terms of portability, it doesn't collapse into a smaller footprint, so it's a headphone you'll have to leave around the neck unless you have a large bag to toss it in. The matte plastic exterior gives enough confidence that it won't show much wear and tear, though the glossy pieces may exhibit some scratches if not careful.



Likes and Dislikes
Likes:
  • Comfort
  • Versatility
  • Robust Features
  • SXFI is a game changer
  • Price to performance
  • Price to features
  • SD card playback
  • Passive playback (powered off, aux input use)

Dislikes:
  • Too many apps/software for one device
  • Software nitpicks, redundancies, bugs, glitches
  • AptX support would've been ideal for Bluetooth
  • Slow response from Power/Source selection button
  • Volume wheel would've been preferable due to touch control inconsistencies, especially in bluetooth mode
  • No full console compatibility



Final Impressions

I'll simply state right now that upon first listening to the Air, my initial reaction was quite negative. I wasn't impressed. I was actually close to declining a review of the Air. I almost jumped the gun, which I always preach NOT to do with headphones. As always, all things take their time when it comes to our ears. That's why I'll never believe someone's negative take on headphones based off a short few minute demo session. It sometimes take days or even a week to really get acclimated with a sound your ears aren't accustomed to.

I gave it a few more head mapping passes, and tried again. And again. As time passed and my brain and ears became accustomed to the drastic difference it makes to all sound, well, I found myself wanting to use SXFI more and more. Let me tell you guys a simple, perhaps harsh truth about me. Have a seat.

I don't really do much headphone listening outside of work/portable use (Koss PortaPro wireless without the headband, attached with KSC75 clips instead). I hardly game with headphones anymore, nor do I sit at home listening to music or any other general media. I basically use headphones at home nowadays when I use my Koss KSC75X in bed late at night so as not to wake anyone else. That, and when I do my reviews. Full sized headphones don't normally get any use. What does any of this have to do with the Creative SXFI Air? I'm getting there.

While I greatly attribute my lack of headphone use to just not being a fan of wearing a device on my head for prolonged periods (hence why I really love my portable clip ons, which I can even use while laying down), the Air has provided me with one great truth. It has revealed to me that I don't particularly like the presentation of sound as emitted by headphones in general. I know, this is absolute blasphemy coming from a supposed audiophile. Please don't misunderstand. Music listening through headphones is a beautiful experience. That is not my implication. I'm talking about things outside of music. Within the confines of strict stereo sound through headphones, I find that I don't like other content. Things like general TV, podcasts, Youtube, and movies.

It sounds internalized, and smaller than life most of the time. Yes, we can talk about large soundstages and great imaging on headphones, but we're still talking about confining sound to a small area very close to the head. It doesn't sound real. It sounds like, well, sound through headphones. Your brain knows when it's listening to headphones. That distinction causes a subconscious discomfort for me, where I would rather just listen to my bad TV speakers most of the time. Of course, TV speakers aren't real life, but my ears know I'm listening to sounds coming from a source in front of me...through both ears at the same time. That is a very important distinction. Why this isn't an issue with music is likely because music to me doesn't have something tangible attached to it. Music is more or less something without a 'body'. It simply exists as sounds for me, so my brain doesn't find discomfort in the stereo rendition of it. That being said, even with music, I'm now finding myself preferring the more virtualized, theater sound SXFI places music in more and more.

People talk about how virtual surround or any other digital sound processing is unnatural, yet the questions is...how? A headphone's rendition of sound by default is unnatural to our ears. We aren't supposed to hear all manner of objects and things inside our head. Yes, tonality of the sound can be natural and correct through headphones, but the soundscape, and the manner our ears pick up sound through headphones is the definition of unnatural. We have two drivers strapped to our ears injecting two different sources of sound to each ear. Virtual surround may have some artifacts and other problems that lead us to believe they don't sound as natural, but in terms of presenting sound to our ears, they attempt and succeed in emulating how our ears naturally pick up sounds. With a good virtualized surround, we can hear things behind us properly, or as if they're coming from across the room, as opposed to some compact area around our head.

The Creative SXFI Air has caused me to listen and enjoy all the content I used to dislike through headphones in stereo form. Perhaps this is one other reason why I greatly prefer playing video games with virtual surround. Not only because it's effective in locating sounds around me, but because it sounds more natural in presentation. Creative's SXFI tech has allowed me to truly understand this truth about myself more so than any other virtual surround technologies I've used to date. SXFI is an experience anyone with an open mind needs to have.

As for everything about the Creative Air itself, I'll start by being critical. Yes, it's not the greatest headphone ever made. Take away all of its features, and its a pretty run of the mill type of headphone. A good one, mind you (especially and surprisingly, when it is turned off and attached to audio gear), but nothing about that truly stands out. The sea of software bloat and quirks in them were a real pain to wade through as a whole. The Bluetooth codec should've supported AptX. The touch controls are intuitive, but need some response adjustments (especially in bluetooth mode). PS4 and other console capabilities are limited. Despite those nitpicks and issues, there is a lot of great things abut the SXFI Air that need mention. Especially the fact that the SXFI Air is anything BUT a run of the mill headphone.

The Creative SXFI Air has some seriously appealing and specific features that make it far more than the sum of its least favorable traits. The Air has a toolbox of versatility. You can use it practically in any and every way imaginable for a headphone. PC use, wirelessly, turned off, or even as a music player and headphone packed in one. You name it, the Air is likely able to find its use in anyone's home or office. Want to alter its sound, use the various equalizers at its disposal. Want to chat? The miniature mic is not only effective, it's unobtrusive unlike other headsets that may jam the mic next to your face, seen through your peripheral vision. Need to feel like you're not listening to headphone, but rather a well designed home theater? SXFI immediately changes the soundscape into something big and exciting. All of this while being comfortable to wear, as well as affordable, considering all it has, and all it can do.

The Creative SXFI Air may have entered my sights for truly basic reasons, but I leave this review with an enormous amount of respect for Creative and what they managed to do with not only offering such a resourceful headphone, but bringing SXFI to the world, even when they already had the fantastic SBX processing prior to SXFI. I can only imagine what Creative has in store for the future.


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Monster DNA On Ear
11199501_thumb.jpg

Monsterproducts.com
Sells for $199.95
Where To Buy: Amazon

I'd like to thank Monster for giving me the opportunity to test and review the Monster DNA On Ear (the second DNA product sent in for review, the DNA Pro being the first). Placed next to the higher end DNA Pro, it isn't hard to see the difference in size and functionality. The DNA On Ear was released quite a bit earlier than the Pro model, and was tuned a bit differently as well. The DNA on Ear targets a more active demographic, with smaller, more portable, lighter, and (in my opinion), sleeker looks (despite a very similar aesthetic).

How did the DNA On Ear compare to other supraaural headphones, and more importantly, how did it compare to it's younger, bigger, and more expensive sibling? Let's find out...

Build Quality:

I received the Black Tuxedo DNA On Ear, which was visually striking compared to the straight matte black DNA Pro I had on hand. Color differences aside, most of what was said in the DNA Pro review holds true for the DNA On Ear, with two exceptions:
  • The metal hinges are on the cup side (as opposed to the DNA Pro's metal hinge being on the headband side).
  • The pads are smaller, supraaural (they rest on the ears), and circular in shape (not like the DNA Pro's triangular shape).
I'll paste most of what I said of the DNA Pro's build quality, bolding the edited parts to account for DNA On Ear's difference, as well as omitting DNA Pro specific musings:

The headband isn't generously or even moderately padded, instead using what seems to be a sweat-resistant rubbery material. If anything can be said of the padding, is that it should be very easy to keep clean. The adjustment mechanism doesn't have any markings/notches, yet feels very secure, so there shouldn't be any worries with the DNA On Ear losing your preferred size/extension (which I believe for many people is going to always be fully extended). They also collapse inwards to allow for a smaller footprint/easier storing/portability with its included travel bag.

The outer cup sports a mirror-esque triangular shape with the DNA logo embossed in the middle. The reflective 'triangle' is the only area on the headphone prone to fingerprint smudges. The rest is glossy black and prone to fingerprints, as with all manner of black and glossy things in the world. Moving on to the portion housing the drivers, it swivels/rotates just enough to to cater to different head shapes, but doesn't have a large amount of freedom in any direction.

The ear pads are of synthetic leather. They are soft, and airy (to the point that you can hear the air move if you compress the pads). The pads are dense enough to retain just enough of it's shape without flattening out and crushing your ears against the drivers. From what I can tell, they don't seem to be user replaceable.

Both cups house 3.5mm inputs for personal preference as to whichever side you'd like to use the audio cable on. The exposed side can be used to share the source signal (MusicShare™), whether it's with other headphones (which is great for A/B testing, assuming the headphone connected has a similar decibel level), or even something like speakers if you'd like. I'm generally used to headphone's cables being attached to the left ear cup (typical of single ended headphones), but you can be rebel against the norm and use the right side. Removable cables are always a plus, especially using the standard 3.5mm input, as it allows the user to use whichever standard audio cable they'd like. That being said, the two flat cables supplied are tangle-resistant, which is always a plus in my book. However, I'm not a fan of the grippy surface of the cables, which tend to snag on my clothing and other objects. There have been worse offenders in that area, however.

The DNA Pro's right cup snapped off the headband recently, which is really not a good sign for it's build quality. The DNA On Ear seems to be on par with the Pro's build, though the extension arms are thinner and likely to be less durable. However, I don't see this being a weak point on either DNA, with the weak point actually being the entry point of the headband, which I'll talk about in the Design Issues section.

Accessories:

The DNA On Ear comes with:

ControlTalk Cable for Apple - a flat 3.5mm to 3.5mm cable with an inline mic with volume buttons. One side ends in a right angle, perfect for pocket use.

MusicShare Cable - 3.5mm to 3.5mm flat cable. This is apparently for when you want to attach a headphone from the DNA to another headphone with a 3.5mm input. However, it's just a basic cable that you can use as your main cable, though it's pretty short (looks to be 3.5ft or so). Good thing is that the DNA On ear has a standard 3.5mm input, so you can use any 3.5mm cable.

Stylish Carrying Pouch - A very nice pouch that should keep the DNA On Ear from getting scratched while on the go, though not much else. It has a string to close tightly, as well as a clip/hook in case you're the type of person who likes to attach things to their pants.

Monster Cleaning cloth - Self explanatory. Good for wiping away the eventual fingerprints and smudges on the gloss.

All in all, I'd say the DNA On Ear comes well equipped with all the necessities, with the exception being a lack of 6.3mm adapter if you plan on attaching these to audio receivers/desktop amps.

Comfort:
Rating: Decent

The DNA On Ear has a few things going against it in terms of comfort:
  • It's an on ear design
  • Fake leather pads
These two things, paired up with a strong clamping force will almost always lead to a disaster, comfort-wise (Audio Technica ES7). Thankfully, the DNA On ear doesn't clamp strongly. It clamps with just the right amount of force to keep it secured to the head in most situations. That leaves you to contend with it's on ear design and pads. I have recently found out that an on ear design doesn't have to be uncomfortable or torturous, having experienced relatively comfortable headphones like the B&W P3, P5, Astro A30s, Sennheiser Momentum On Ear, and my favorite in comfort, the Ultrasone HS-15 (which is arguably one of the most comfortable headphones I've ever worn, period).

The DNA On Ear isn't going to win any awards based on comfort. Most times it will be respectable. I favor it over the DNA Pro's comfort any day of the week, though I'd say it's only a marginal (but noticeable) improvement. I can wear it for hours on end, and it won't bother me too much, but after awhile, my ears will start to feel raw from the pleather pads. In short, the DNA On Ear's pleather pads harm it's potentially good, or even great comfort. The positive aspects of it's comfort are it's incredibly light weight (no neck fatigue), and small cup dimensions, which makes the DNA On Ear a very good choice for using while laying down and relaxing.

Ironically, while small, the DNA On Ear reaches down to my ears without stressing the extension arms, unlike the bigger DNA Pro. I still have to use them with the arms fully extended, but it's a comfortable length, and it isn't constantly pressing down towards the top of my skull like the DNA Pro.

While the headband has very minimal padding, it's hardly worth mentioning, as the DNA On Ear's weight is mostly supported by the pads/clamp. The headband merely rests on my head, so the little bit of padding used is quite sufficient.

To sum it all up in terms of comfort, the DNA On Ear is decent overall. It could've been very good, even great if non-pleather pads were used. I have been using it as my main headphone for weeks (at the time of this review), and I didn't have much to complain about with the exception of my ears getting quite a bit sore/red due to the pads. Everything else was top notch in comfort.

Design Issues:

The entry part of the headband that meets with the extension arms is a definite point of weakness. With enough force, the top part of the headband can separate from the bottom part, potentially causing it to snap. I advise everyone to be careful when adjusting the size on your head, and when collapsing the headphone.

The headband is starting to split from the stress caused by the extension arm. This is the exact same thing that happened to the DNA Pro which later caused a breaking point, only it was on the cup side, as the hinge was on the opposite from the DNA On Ear. On my particular DNA On Ear this is happening on the left side only. I don't abuse my headphones (sans a few unfortunate ones like the PX100-II and KSC75), so seeing this problem occurring on both the DNA On Ear and DNA Pro is definitely worth noting.

Isolation/Leakage:
Rating: Great

The DNA on Ear does a great job controlling noise leak, as well as keeping external noise out when in use. It's not the best at attenuating external noises when nothing is playing, but once the DNA On ear plays at a moderate level, the outside world won't be much of a distraction.

Sound:
Rating: Good

While I didn't expect the DNA On Ear to reach the same level of finesse and technical brilliance as the DNA Pro, I found the DNA On Ear to win me over for different reasons. It is undoubtedly more mainstream oriented than the DNA Pro, with a warm, bass-driven sound signature, without the upper range harshness associated with many mainstream headphones typical tuning. It's actually quite surprising how 'big' it sounds. It throws off a big sound, with a lot of body.

The DNA On Ear is bass first, mids second, treble on par to slightly behind the mids. This means it's warm, full sounding, and non-fatiguing. This is not typical of mainstream branded headphones which tend to have strong bass, a thin midrange, and sparkly, if a bit too much emphasis on treble, which borders on being too fatiguing.

The DNA On Ear will cater to a large demographic, particularly those who want bass, good mids, without it being too basshead-friendly. It's tuning doesn't scream reference, but it doesn't make it less enjoyable either. The DNA On Ear is for those who want fun, lively sound, without analyzing it's intricacies or lack thereof.

Bass:
Rating: Decent

The DNA On Ear's bass is full, and the most dominant part of the sound spectrum. However, that doesn't mean it specifically caters to bassheads. The bass isn't obnoxious, though it's level can impact the level of clarity in the mids and treble. The bass leads to a nice warmth added to the sound signature, without making the sound signature overly dark, muddy, or veiled (for example, the Nuforce HP800 which is a bit too bassy and overly smooth for my taste).

The DNA OE's bass is on the slow side, soft of note, and it can sound one-note-ish. On the downside, it could stand to be a bit tighter, sharper, faster, and more textured, which the DNA Pro definitely improved upon in comparison. The warm, full bass really lends itself to mainstream music and immersion for media such as action movies or games. The bass definitely makes the DNA On Ear a very fun headphone to use, despite it's flaws.

If you want tight, accurate bass, the DNA Pro is a better choice when it comes to Monster's offerings. If you want a full, heavy bottom end, the DNA On Ear can bring much satisfaction. Bear in mind, the flaws in the DNA On Ear's bass is much less apparent when listening to genres that aren't so reliant on bass. The DNA On Ear can sound particularly clean and well behaved on a regular basis, though if you have many bass heavy tracks, the bass bloom will make the DNA On Ear sound a bit unrefined and lacking in detail compared to other headphones with tighter bass.

Mids:
Rating: Good

The mids can be deemed to be 'on the level' by normal standards, whenever the bass isn't in full swing. The mids are warm, full sounding, and enjoyable. They can sound a hint laid back when bass is dominating a track, however. I sincerely believe the mids will be either good or ok depending on the track played, mostly due to the DNA's general bass bloom. Overall, I'd say the mids sound just south of neutral. Asides from the bass, I find the mids to sound relatively organic, (always a good thing).

Treble:
Rating: Good

The DNA On Ear's treble is easily what I could only describe as safe. It's neither overly sparkly or overly rolled off. It doesn't particularly shine or extend infinitely, and it doesn't completely soften up the upper range enough to consider it a smooth headphone in general. I personally like the treble, as it lends itself well to the vocals/mids in particular. The treble (along with the mids), is very reliant on the level of bass. Overall, I'd say it's on the soft/smooth side, though not veiled level smooth. If you're sensitive to treble spikes, the DNA On Ear will be a safe choice. If you don't like overly smooth or rolled off treble, the DNA On Ear may still be a safe choice. It lives in the happy medium between to two extremes, if just a hair on the smooth side.

Soundstage:
Stereo: Decent
Virtual surround: Decent

Keep in mind, I was NOT given the DNA On Ear to review for gaming in particular. A headphone like this would normally fall under headphones I'd use mainly for music and nothing else. However, I figured I'd go through my normal process of reviewing a headphone for all manner of things.

The DNA On Ear's soundstage was what I expected from a closed, on ear headphone with a general bass bloom: On the small side. The DNA On Ear's soundstage plays to it's strengths: Mainstream, bass oriented music. It's intimate, immediate, and somewhat in your face. Not something that will lend itself to gaming and spatial awareness.

For virtual surround gaming, I actually found it to work surprisingly well. At the time of this review, I paired up the DNA On Ear with a V-moda BoomPro microphone cable, and it became my main gaming head(set). I must say, while I noted it's lack of soundstage in general, it wasn't completely devoid of one, and the soundstage was just enough to give the positional cues enough space to perform well.

The positive aspect of its soundstage (in comparison to the DNA Pro) is that while it wasn't large by any means, it felt more circular in shape, whereas the DNA Pro had more oval shaped soundstage that favored width over depth.

Positioning:
Rating: Good

As stated earlier, closed, well-isolating, on ear headphones would throw all sorts of warning signs my way. Headphones like this wouldn't normally perform well for gaming based on my preferences of a large soundstage, and precise imaging and positional cues.

The DNA On Ear doesn't have a big soundstage, nor does it have the sharpest, most focused imaging. To my surprise, the positional cues were still relatively easy to locate, despite it lacking the clarity of the better headphones I've reviewed. While it lacked the clarity, accuracy, width, and spaciousness of the DNA Pro, the On Ear's soundstage came off as more circular, which benefits the transition from side positional cues to ones in the rear. It was easier to identify what positional cues were behind me in comparison to the DNA Pro.

Clarity:
Rating: Decent

The DNA On Ear's clarity is in all honesty, at the mercy of it's bass. As stated before, If a source isn't bass heavy, the mids and treble come off cleanly and evenly. The clarity's biggest enemy is the bass bloom which detracts a bit from the DNA On Ear's strengths in its tonal balance after the bass.

One other (and important) thing to note: The DNA On Ear likes to be played on the louder side, due to an increase in mid and treble clarity. While the bass may be big and prevalent, it is soft hitting, so it won't mask the mids or treble's increase in clarity, from what I have experienced. Since the mids and treble are generally even with one another, you won't gain unnecessary upper range harshness relative to it's vocals/mids.

If you tend to listen to headphones at a low decibel, the DNA On Ear will more than likely come off as a little muted, hazy and undetailed. This leads me to the conclusion that the DNA On Ear caters to the younger, mainstream crowd that likes their music on the louder side. Ear splitting levels are not necessary, but moderately high volumes seem to be the DNA on ear's sweet spot. At these volumes, the DNA On Ear sounds clear, balanced, and energetic.

Amping:
Not necessary

The DNA On Ear is one of the most sensitive headphones I have used in a long time, and sounds quite full and engaging off minimal amping. If anything, a portable amp will be more than enough to tighten up the sound a hair, but isn't necessary. If you absolutely must use an amp, I recommend on using solid state amp that is tight, fast, and on the neutral to cold side which would help offset the warmer/slightly smooth tonality of the DNA On ear.

Personal Recommendation?
  • Movies, Music, In General? Yes
  • Gaming? Yes
While it isn't one of the most detailed and refined headphones I have tested/owned/reviewed, the tonality is enjoyable for a broad range of music, movies and games. It's full bass adds a ton of immersion for games and movies. The relatively well balanced mids and treble won't cause any aspect of those ranges to sound lacking, especially at moderately high volume level. It's performance for gaming wasn't a stand out, but it performed well enough to pass my tests. In short, the DNA On Ear is enjoyable for all purposes, though it isn't without flaws. It wouldn't be my first or second choice for either purpose, but if you happen to own the On Ear, you can rest easy in knowing that it can put in some good work for all media that doesn't bear a huge importance in detail retrieval.

The DNA On Ear's performance works well enough for me to be happy with it for all around use.

The DNA Pro is a more audiophile friendly headphone, with a cleaner, tighter, sharper, and more focused sound, with fantastic stereo soundstage and clarity. In direct comparison, the DNA On Ear will come off a bit bloated in the bass, slower, lacking in detail, and hazy. The DNA On Ear does have a more circular soundstage for gaming, which I actually do prefer despite it being smaller and having less clarity and precision. The DNA On Ear's bass may be a little more immersive, but since it isn't as refined as the DNA Pro's, I'd score the Pro's fun a bit higher overall.

To be quite honest, they don't share a similar sound. The DNA On Ear is more specialized and tuned for specific purposes, while the DNA Pro has a tonal balance and quality that can be used for all purposes. They are both quite acceptable as all rounders, with the On ear focusing on fun, and the Pro focusing more on refinement and quality.

Final Impressions:

The Monster DNA On Ear will undoubtedly resonate more with the mainstream/casual demographic over the audiophile community. The DNA On Ear has big bass that isn't overly dominant, but the heart of it's sound nevertheless. The mid and treble sections are well presented after the bass. The DNA On Ear will be for those who want an attractive, very portable headphone with an upfront presentation without the fatigue of overly aggressive treble. What it lacks in refinement, it makes up with good immersion, good performance all around, and a sound that anyone can enjoy.

If Monster can manage to improve the build quality and lower the bass emphasis a tad, they can have a real winner with a future version of the DNA On Ear. As it stands, the DNA On Ear is a good headphone, though flawed. Most of the groundwork is done. Monster just needs to implement those improvements stated, which will turn the DNA On Ear not just to a good headphone...but a great one.
I enjoy the DNA On Ear for all purposes, especially fun gaming and action movies. It's rounded soundstage allows some very good positional cues for added immersion. The potent bass adds a lot to the immersion, but it does take away from it's clarity a little bit.
The DNA On Ear doesn't have a tough time placing rear sounds, which is always a plus for competitive gaming. The bass's emphasis can detract a little from the good mids and balanced treble, and the imaging isn't as sharp as its younger, more proficient sibling, the DNA Pro. That said, the DNA On Ear is still one of the better closed headphones I've used for all forms of gaming, due to it's mostly all purpose sound signature, and ease of rear positional cues.
The comfort is hit and miss. It's incredibly lightweight, the clamp hits the sweet spot between too loose and too tight, the headband is a complete non-issue, and the pads are very soft. The problems mainly lie after prolonged use, when the pressure of the pads resting on the ears may make them quite sore and cause some noticeable discomfort.
The DNA On Ear is among the very few on ear headphones I actually enjoy, and certainly one the best on ears I've reviewed.

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Monster DNA Pro

monsterproducts.com
MSRP $299.95
Where To Buy: Best Buy Exclusive ($279.99)

I'd like to thank Monster for giving me the opportunity to test and review the Monster DNA Pro. Unless you've been living under a rock, Monster should be one of the most recognizable names in the headphone industry, if not THE most well known. I won't bore you with their history, since they should be a common household name by now. Monster can take a humongous chunk of credit as to why there has been a huge interest in the headphone market the past few years. Over the past few years (now completely separated from the Beats name), Monster has garnered a lot of positive attention from audiophiles with their release of the Turbines and Miles Davis Trumpet IEMs. Having proven their worth amongst audiophiles for their IEMs, they then made a move towards the portable/full-size market with their release of the DNA On Ear headphones, and now the DNA Pro Over Ear.

Having only previously owned the Monster Turbines IEM in their headphone line, I wasn't sure what to expect out of the DNA Pro. The Turbines, while definitely great sounding, were a bit too big for my ears, so I didn't keep them long enough due to personal issues with comfort (though to be quite honest, I find almost every IEM uncomfortable). How did the Monster DNA Pro fare with me? It surely had an uphill battle as a closed AND faux-leather padded headphone, but it wouldn't be the first time I've given a chance to headphones of that particular ilk. Personal bias towards open-backed/cloth padded headphones aside, I feel any and every headphone deserves a chance to prove themselves, regardless of make and model.

On to the DNA Pro...

Build Quality:
Rating: Very Decent

I received the matte-black DNA Pro, which I personally found aesthetically pleasing if a bit contemporary, urban/street styled. I generally prefer a classy approach, but for the general consumer, I feel they used the right amount of styling. Not so sure on the other colors, which are a bit too loud for my taste. I'm very thankful to have received the most 'normal' of all DNA color schemes. The DNA Pros are built mostly of plastic, save for some visible metal areas on the hinges. The plastic feels somewhat durable, though I feel that the exterior plastic piece with the 'DNA' label may be a weak point if some accidental stress is put on the size adjustment mechanism. It may potentially cause the that piece to separate from the inner piece with the L/R markings. Under normal use, I don't see this being an issue, but freak accidents aren't impossible. I have spotted some DNA Pros at my local Best Buy stores, and almost every single one (yes, all of them) had broken pieces on or near the DNA labelling. I have a feeling people are much too abusive with demo units, and I don't expect this to be a normal occurrence. Still, some careful handling should apply.

The headband isn't generously or even moderately padded, instead using what seems to be a sweat-resistant rubbery material. If anything can be said of the padding, is that it should be very easy to keep clean. The adjustment mechanism doesn't have any markings/notches, yet feels very secure, so there shouldn't be any worries with the DNA Pros losing your preferred size/extension (which I believe for many people is going to always be fully extended). They also collapse inwards to allow for a smaller footprint/easier storing/portability with its included travel bag.

The outer cup sports a mirror-esque triangular shape with the DNA logo embossed in the middle. The reflective 'triangle' is the only area on the headphone prone to fingerprint smudges. Thankfully, the rest is matte black and resistant to fingerprints. Moving on to the portion housing the drivers, it swivels/rotates just enough to to cater to different head shapes, but doesn't have a large amount of freedom in any direction.

The ear pads are of synthetic leather. They are soft, and airy (to the point that you can hear the air move if you compress the pads). The pads are dense enough to retain just enough of it's shape without flattening out and crushing your ears against the drivers. The DNA Pro is marketed as over ear/circumaural, though on the smaller side, and may potentially cause the DNA Pro to fit as a supra-aural headphone. For my medium-sized ears, it fits just over my ears with some work. Not impossible to fit over ear unlike the Sennheiser Momentum (which I argue has a circumaural fit for people with freakishly small ears...or Hobbits). From what I can tell, they don't seem to be user replaceable.

Both cups house 3.5mm inputs for personal preference as to whichever side you'd like to use the audio cable on. The exposed side can be used to share the source signal (MusicShare™), whether it's with other headphones (which is great for A/B testing, assuming the headphone connected has a similar decibel level), or even something like speakers if you'd like. I'm generally used to headphone's cables being attached to the left ear cup (typical of single ended headphones), but you can be rebel against the norm and use the right side. Removable cables are always a plus, especially using the standard 3.5mm input, as it allows the user to use whichever standard audio cable they'd like.

That being said, I find the tangle-resistant coil cable supplied to be fantastic. It's around 6 feet, with the cable being straight up until the coiled end which can be stretched to add around 2 extra feet or so (by my guesstimation). The cable feels durable, with a nice amount of thickness, and without the horribly grippy texture found on other cables that love to snag on everything. Easily one of my favorite stock cables out of all the headphones I've reviewed/tested. It terminates into a standard 3.5mm plug with a thin barrel, which is appreciated as it should put less stress on 3.5mm jacks. I measured the cable's resistance at around 0.7ohm, so there really isn't any reason to replace it based on resistance alone.

Accessories:

The Monster DNA Pro comes with:
  • 3.5mm to 3.5mm tangle-resistant coil cable
  • ControlTalk® cable for Apple devices (one wasn't included in this review sample)
  • Travel pouch (very high quality)
  • Monster Clean Cloth
  • 6.3mm snap-on adapter
Comfort:
Rating: Decent

This is one aspect of the DNA Pro I wish I could be happy with. My problem being that it simply doesn't extend far enough on my head. The DNA Pro has to be fully extended to reach my ears in the proper position, and at that point, the headband is pushing down against my skull, enough to leave a dent on my head after a brief session with it on. The headband has a lot of wasted horizontal space that I could use to allow the cups to reach lower (without needed as much extension), but due to their plastic design, I wouldn't be able to bend it in a more cone shape, as it wouldn't retain the shape. If Monster had allowed for around an inch more extension in the arms or had a more arch on the headband, a lot more people would be covered. As it stands... it fits me, though not ideal by any means.

Lack of headband extension aside, the DNA Pro is a bit clampy, which I assume was a choice to allow for a strong seal and secure fit at all times. The DNA Pro is not a headphone that 'disappears' on your head. The ear pads are relatively comfortable, with a few caveats. While they are soft, they do cling to the skin and isolate a bit too well. It traps heat, and the addition of clamp doesn't exactly help matters. If the DNA Pro didn't clamp as tightly, I could see the pads being one of the most comfortable synthetic-leather pads I've ever tested. They aren't removable from what I've personally seen, so no easy way to clean the pads or replace.

The DNA Pro is relatively light weight, and the cup's dimensions allow it to be used comfortably while lying down. Assuming it doesn't clamp so tightly on your head, it'd make a good 'laying down' headphone.

Design Issues:

The only real issues I have with the DNA Pro is:
  • Could use more extension for bigger heads
  • Ear pad diameter could stand to be wider/taller for those with bigger ears. They are also not easily removable.
  • More arch on the headband as there is a lot of waste headband real estate
Isolation/Leakage:
Rating: Fantastic

This is one of the areas the DNA Pro absolutely excels in. It is among the very best passive noise cancelling headphones I have personally heard, if not THE best. Once the music plays, you'll be hard pressed to hear most external noises. It also keeps sound in even at high volume levels. I don't see how anyone would complain about isolation with the DNA Pro.

Sound:
Rating: Great

The first thing I test with headphones is music, and from the moment I put on the DNA Pro, it was an instant success. People may be adversed to 'popular/mainstream' headphones, but I will say here and now, that selling the DNA Pro short, is a complete and utter mistake. It is a FANTASTIC sounding headphone, so much I'd say it's probably my favorite voicing of any headphone I've heard for my preference in music. Yes, it even outdoes my previous fave: the Philips Fidelio X1's tonal balance. I haven't had a chance to listen to the Philips Fidelio X1 in a while, but the DNA Pro reminded me a lot the X1 in a closed version it's sound They are both energetic and fun, yet in the realm of being well balanced. The one thing I do remember well is the X1's bass, being impressive for an open-backed design, yet being a bit too bloated at times. I'm personally a bit sensitive to mid bass bloat, and get fatigued by an abundance of it, even by headphones with moderate mid bass. The DNA Pro maintains a somewhat lively bass response, with excellent control that doesn't blanket the midrange, nor causes any discomfort.

Bass:
Rating: Great

As previously mentioned, The DNA Pro's bass is lively, as well as tactile, yet well controlled. It's not the the final word on speed and attack, instead choosing a happy medium between well-rounded fullness, and restraint. It's in the realm of balanced and moderately emphasized. The bass seems reliant on how well the DNA Pro seals on your ears. I have heard complaints that it rolls off a bit. I believe that is more of a fit issue, and not actual frequency response. To my ears, the DNA Pro's bass extends quite low, and I've never felt it lacking by any stretch of the word. It's surprising to me, as the DNA Pro doesn't exactly fit my head perfectly, yet I have zero issues with getting a good seal on the pads. As mentioned before, the pads aren't exactly the widest, and I could see an issue arising for those with larger ears, which may be breaking the seal enough to lose some bass.

Mids:
Rating: Good

The DNA Pro's mids are well defined, tight, and lean. Lean as in it doesn't take up as much headspace as some other headphones with a thicker sound (i.e. MA900, HD650, LCD2). It isn't the most impressive in terms of vocal warmth and intimacy, instead choosing to define them cleanly rather than making them forward. The mids slightly give way to more clarity in the upper ranges and fullness down in the bass. The mids however, are not blanketed by either bass or treble. They're nicely integrated, just not the main focus. I feel female vocals are a bit more impressive than male vocals on the DNA Pro. Female vocals tend to be a problem area on a LOT of headphones, so this is surprising and welcome.

Treble:
Rating: Great

It's been a while seems I've heard a headphone with some good sparkle and energy up top, and the DNA Pro has left me feeling quite impressed in this regard. Having been used to headphones that generally slope downwards and iron out the rough edges of an energetic upper range, I wasn't quite prepared to go back to a headphone with a tilt upwards in treble. I was expecting some ear fatigue caused by treble emphasis. The DNA Pro managed mostly quell my fears, with a clean treble presence that I have been missing of late. There is some grain up top, but I felt that it wasn't as prevalent as some other treble tilted headphones. The DNA Pro's treble is possibly one of the best examples I've heard to date. The few times I felt the DNA Pro to be harsh was few and far between, which is more than I can say for many headphones with treble this well extended.

Soundstage:
Stereo: Great
Virtual surround: Good

Here is where I was expecting the DNA Pro to suffer. Badly in fact. Headphones that seal this well, and clamp tightly don't tend to leave me impressed. Yet, again, the DNA Pro threw out a REALLY nice soundstage for a closed headphone. I mainly test soundstage in gaming, lately in both stereo and in virtual surround. As I played some games on my PSVita, I was incredibly impressed by how spacious the DNA Pro's sound appeared to be. Aided by the lean and tight spatial cues, there was a nice amount of air in between audio cues. The stereo separation can be summed up with one word: Stellar.

The soundstage was less impressive in Dolby Headphone virtual surround gaming, in part due to the added warmth Dolby headphone tends to impart on headphones. Closed headphones tend to suffer due to this warmth, and the DNA Pro is no exception. That being said, I was getting some inconsistency when it came to gauging the soundstage on the DNA pros. In some instances, the DNA Pro had open-like soundstage, yet in others, it sounded boxed in and unimpressive. Due to this, I'll say the DNA pro's soundstage is good overall, and even great at times, especially in stereo.

Positioning:
Rating: Very Good

As usual, soundstage and positional cues tend to go hand in hand, and while I felt the soundstage can be inconsistent at times in virtual surround, the positional cues were not. They were always quite precise to my ears, and clearly defined. Better defined than even the Sony MA-900 in direct comparison, which sounded hazy in comparison. The inconsistent soundstage would at times, box in the positional cues, making rear cues to sound less convincing.

Clarity:
Rating: Great

It has been awhile since I've heard a closed headphone sound this clean and energetic. It was definitely a surprise to my ears. As mentioned before, the bass isn't the fastest or tightest, though it stills hold great control of itself. The mids are clean, lean, focused and sharp. The treble holds plenty of air without becoming too edgy or grating. This all adds up to a fun, yet clean sounding headphone.

Amping:
Not necessary

I find the DNA Pro to be quite sensitive, and unless you like a particular flavor an amp adds, I don't see it really needing one. The DNA Pro sounds magnificent with minimal amping, everything else being icing on a pretty delicious cake.

Personal Recommendation?:
  • Movies, Music, In General ? Yes
  • Gaming? Maybe
I find it to be the best alternative I've personally heard to the Mad Dog for those looking for another well isolating/closed headphone with a bit more fun/energy. At around $280, if you want a well isolating headphone that controls noise like a world champion, easy to drive, portable, and stylish, the DNA Pro is an attractive option. If you happen to own the X1 and want something similar in closed form, the DNA Pro is quite close, from what I personally hear. I'm a bit adamant to recommend it as a GAMING headphone, however due to inconsistent soundstage which may make the DNA pro lag behind the better competitive gaming headphones.

Final Impressions:

I'm heavily leaning towards really loving the DNA Pro. They sound absolutely fantastic, with one of my absolute favorite sound signatures, tonal balance, and audio fidelity. In terms of a closed-back headphone, there truly isn't much more I can ask for that the DNA Pro doesn't happily provide. It's got great sound quality, amazing noise isolation, and demands very little power to sound fantastic.

My gripes with it are almost entirely on it's build quality, mainly how it ties directly to comfort (or lack thereof), due to strong clamp, lack of headband extension for bigger heads, synthetic-leather pads (which are admittedly comfortable for faux-leather, but still lacking in comfort in comparison to cloth/velour pads). These are personal gripes, and your mileage may vary. I expect those with smaller heads may find no real issue with the DNA Pro's comfort.
If you're in the market for closed headphones and want a fun tonality without sacrificing quality, I fully recommend the DNA Pro. Yes, it's that impressive.
Great at times, but decent in others, I'll average the competitive aspect to be good. The clarity of sound cues is stellar, though with the soundstage being a bit closed in at times, I can't say it'd be a replacement to the more competitive open-backed headphones, even if some of them may not match the DNA Pro in definition.
Personally, I find them to be passable at best due to the tight fit that forces the headband against my skull, strong clamp, and faux-leather pads which trap heat. Those with smaller heads may have better luck in finding them more comfortable.
To say that the DNA Pro was a surprise is an understatement. The DNA Pro is a testament to Monster's constant evolution and growth. Had it been a bit more comfortable and durable, it would've easily been placed among my personal favorite headphones, period. While it may not particularly excel at gaming, it has everything else completely under its control. If they manage to build upon the winner they have in the DNA Pro, I believe the Monster name will not only stay popular in the general consumer market, but in the audiophile market as well.

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Philips Fidelio X1

Sells for $250-$300
The Philips Fidelio X1. The flagship headphone in the Fidelio line, and quite possibly the final headphone made by Philips. If it is indeed the final headphone before Funai takes over, Philips sure went out with a bang.

Build Quality:
Rating: Fantastic

The X1 is a physical masterpiece in almost every way. Elegant and sleek design paired with a well machined construction puts headphones costing thrice as much to shame. The Fidelio X1 is easily the best looking full sized headphone I have ever laid eyes upon, with no tradeoffs in actual quality. Even the plastic used on the headphone doesn't feel like plastic, but something more akin to ceramic.

The cups are made of said plastic, with a wonderful feel of solidity, which connects to one another via two wires (like the AKG K70x line) encased in metal and strong leather. The open-backed design of the cups are protected via a beautiful mesh pattern/grill, possibly the prettiest of all headphones I've seen. It is tightly knit, which doesn't seem as open as something like the HD650's outer grill, yet it is still undoubtedly and utterly open. The left cup has a 3.5mm input for the audio cable, which makes it convenient, and easy to remove/replace/swap cables. As with all 3.5mm inputs, you'll want to be very careful when attaching/removing the cables.

The headband is a suspension type (again, like the AKG K70x line), which is very soft, and generously padded. It is quite large, covering a lot of head space wherever it rests. Ultimately, it is incredibly comfortable, though it is a bit problematic for larger heads, which I'll explain later.

Next, we have the ear pads. The pads are made of memory foam, covered in velour. This makes them incredibly soft and a bit more breathable in comparison to leather/pleather pads. It isn't as dense as the K702 65th Anniversary pads, so it doesn't retain quite the same amount of memory foam properties. This makes them seal a little less through the pads, but doesn't trap as much heat as the AKG memory foam pads. They are quite thick, so those sensitive to ears being pressed against the driver enclosures shouldn't have an issue with the X1's pads.

On to the cable. The cable is quite possibly... scratch that, it IS the most beautiful stock cable I have ever seen on any headphone. It's long, cloth covered, thick, and soft/bendable without retaining cable memory. It terminates into a very nice 6.3mm (1/4") jack. As amazing as it looks... you will want to swap it for another cable, which I'll explain later.

Comfort:
Rating: Excellent

To put things as simple as possible, the Fidelio X1 is one of the most comfortable full-sized headphones you will ever wear. While it isn't the lightest headphone, it certainly isn't the heaviest, and whatever weight the X1 has is expertly spread around by the suspended headband, so it feels lighter than it really is.

The huge cups and pads allow the ears to fit inside comfortably, and the soft and airy velour padding keeps heat from building up compared to leather/pleather pads. No stickiness, and less heat is always a good thing in my book. The X1 could still stand to have more extension to allow bigger heads to fit with zero issues, as even with the post bending mod, the lack of extension will make the X1 press the headband down to your head. It's mostly harmless as the headband is so big and well padded, but it is worth noting.

Also worth noting is that the pads may be itchy at first. With some headtime, the itchiness will subside. Just give it time.

Design Issues:

One of the biggest issues on the X1 (and there are only two real issues), is that the ear pads aren't removable. This makes it quite problematic to clean or replace. It is held in by four screw-like protrusions, and a strong adhesive. This makes it a quite a commitment to remove and place back on. Considering the masterful design of the X1, the ear pad assembly comes off as archaic and incredibly cumbersome. You may have to contact Philips for a replacement (possibly for a price) once the pads start wearing out. Problem there being that Philips quite possibly won't be in the headphone business soon, so there may not be a legitimate method of replacing the pads. You will definitely want to baby the pads, and try to keep them as clean as possible at all times. Some tape to remove particles/dust/etc, and not using the X1 when you're dirty.

The second (though less problematic) issue, is that the stock cable (as amazing as it looks and feels) has a very high resistance (around 1.8ohm). That is unnaturally high for an audio cable, and it does cause a negative effect to the sound quality. Compared to audio cables with a typical resistance of around 0.5ohm, the stock cable makes the sound slightly congested, and slightly undetailed, which makes instruments sound a little hazy and blended into the background. Replacing the cable will immediately tighten up the bass, and better define instruments, and other sound effects clearly in comparison. The difference isn't vast, but it is there, and can be noticeable with the right material. Replacing the cable isn't costly, and you can replace it with something equally sturdy such as the Mediabridge audio cables sold on Amazon for $10 or less for an immediate improvement. The only positive aspect of the stock cable's sound is that it's warmer, and less fatiguing, due to the softer, less defined sound.

The third issue with the X1 is that the headband simply isn't made for larger heads. The space between the suspended headband padding and the leather covered top that connects the cups is quite small, and once you put the headphone on, the suspended headband will crash into the top piece, not allowing clearance for larger heads. There is a simple solution to this, and that is to bend the top piece into more of a cone shape, to allow more clearance. There is a lot of wasted horizontal space by default so bending the headband allows this unused space to be occupied by the suspended headband if needed. The top band is all metal and leather, and won't break, so there shouldn't be any worry about damaging the headphone with this mod.

Accessories:

The X1 comes with a 6.3mm to 3.5mm adapter (1/4" to 1/8"). As with all 6.3mm to 3.5mm adapters, I would advise on NOT using it, and instead getting a Grado adapter cable or something like it, as these typical adapters can put some strain on 3.5mm inputs. The X1 also come with the audio cable and a clip attached near the 6.3mm plug which can help control the length if need be.

Isolation/Leakage:
Rating: Mediocre

As an open backed headphone, you can't expect much isolation/noise control. However, I don't find them to leak as badly as other open backed headphones, so with moderate volumes, you can get by without bothering too many others. Even so, don't plan on using these to great effect if you need to control leak or keep external noises from seeping in.

Sound:
Rating: Excellent

The Fidelio comes out swinging. My first thought when I heard the X1 was something like "This is exactly what I have always wanted out of an open backed, bassy headphone." The X1 has an open, spacious, lively, energetic, yet controlled sound. It is tonally on the warm side due to the bass, but verges on neutral. The treble gives the X1 a nice amount of energy despite most of the treble actually being on the smooth side. The X1 to me is at odds with itself. Not in a bad way, mind you. By odds, I mean that it doesn't know if it wants to be a basshead headphone, or an audiophile headphone. Both? That sounds about right. A basshead/audiophile headphone. Let's get into the specifics...

Bass:
Rating: Great

The X1 is a rare breed of headphone, particularly in it's bass. There are very, very few headphones that can be this open, yet retain so much energy in it's bass which more closely resembles something coming out of a sealed design. It has a lot of growl and punch, but not overly so like most bass heavy, closed headphones. Open-backed headphones tend to roll off in the bass quite quickly, losing energy, impact, and are too quick to decay. The X1 is among the elite few dynamic headphones which does away with that stereotype. Other dynamics with potent bass would be the Sennheiser HD650 and Beyerdynamic DT990, and neither reach as low as the X1, nor fill up the virtual space in the same way. The X1 has a broader range in bass than the 650 or DT990, and fits somewhere between in decay and speed. The 650 is more neutral in it's bass, while the 990 is a bit stronger in the mid bass, but rolls off faster, not allowing it to reach the lower depths as well as the X1. Ultimately, the X1's bass is more fleshed out than the other two.

That being said, the bass can at times come off a bit undetailed and lacking in texture and layering. Perhaps even one-note-ish. To me, the X1's bass sounds like it was pre-boosted from a neutral headphone, and it sounds as if Philips pushed the X1's driver to it's limit in the bass, and adding any more would probably strain the drivers causing them to distort badly. This is just an assumption though, and overall, the presentation of bass on the X1 is among my favorites on any headphone. Just note that I feel that it can stand to be more textured, refined, and overall improved upon.

Mids:
Rating: Very Good

The mids on the X1 are pleasantly intact, despite the X1's bass heavy nature. The mids are actually quite linear and neutral in tone, with no crazy drops or rises all the way up to the treble. It's neither forward nor truly recessed, staying in place at all times, only slightly trailing behind the abundant level of bass. The mids are neither weak nor special. They are happy to be present in the mix at all times, only slightly getting masked by the bass at times. Such is the nature of virtually all bass heavy headphones, and the X1 is among the best ones at keeping the mids intact. Due to the open and spacious sound of the X1, the mids are never intimate, nor are they thick or organic like the HD650, LCD-2, and K702/65. In the end, you can say the mids are good in that they are detailed, but not special. They are definitely more upfront than the DT990, which was something I personally wanted out of a DT990 successor (which is how I see the X1).

Treble:
Rating: Great

The treble on the X1 is generally smooth, with slight peak at 10khz, which adds a nice amount of sparkle and energy, keeping the X1 from sounding completely warm or smooth like the HD650, LCD-2, and K702/65. The treble is well in line with the mids other than the slight peak at 10khz, and massive drop off after 10khz. Said drop off keeps the X1 from being sibilant or fatiguing overall, but it does gloss over quite a bit of treble detail.

Overall, the drop off in treble after 10khz isn't problematic, as the X1 still exudes plenty of air and energy, but it is worth noting. Also, the rise at 10khz can rear it's head with certain material and can be a little tizzy at times, keeping the X1 from being completely fatigue free. Overall, it's a minor gripe, and I feel it to be a very small, necessary evil to allow the X1 to sound as open and lively as it is. Surely, nowhere near as problematic as the treble happy DT990 and HE-400.

Soundstage:
Rating: Great

The X1 has a large soundstage somewhat similar to the DT990. Plenty of space between instruments and positional cues, with great imaging. A soundstage this good just isn't normal with bassy headphones, making the X1 even more special. The instruments and positional cues don't take up as much space as something like the K702/65, giving a larger sense of virtual space, even if it doesn't reach as far out.

Positioning:
Rating: Great

Great positional cues tend to accompany open headphones with large soundstages, and the X1 surely does not disappoint. Among the best in positional cue clarity, with a pretty good sense of height (something I don't normally notice in headphones), front and side cues, and very good rear positional cues. For a bass oriented headphone, the X1 will be among the best all rounders, especially if positional accuracy is a must.

Clarity:
Rating: Great

Due to the very (VERY) linear frequency response after the bass, the Fidelio X1 is among the clearest sounding headphones, especially for gaming. The mids are so dead even with the treble overall, that nothing is truly lost. The only problem in clarity is that due to the potent bass, some details can be hidden behind each bass impact, though for an all rounder with bass heaviness, there just won't be much better than the X1 in clarity. It really is that good.

Amping:
Minimal Amping

With popular headphones come the inevitable influx of people recommending they be amped by powerful amps to get the best out of them. I have heard this with basically EVERY SINGLE headphone that is worth their grain in salt. I'll be a little more realistic in saying that the X1 is quite easy to drive and doesn't scale up enough to warrant a potent/pricey amplifier for them. I believe a very good portable amp would be enough for them, and anything else is more for tweaking the flavor and sound signature, and not because the X1 needs a certain amount of power. So again, I say, the X1 can do very well with a good portable amp or decent desktop amp, and still sounds fantastic with very little to no amping. The X1 is quite sensitive, and I feel that for console gaming, the Mixamp alone is enough.

Value:

The X1 is sells for around $232 consistently and at that price, it is an ABSOLUTE must have. You get a lot of performance, and very few drawbacks. Those who want a linear headphone with bump in bass need look no further. You get one hell of a headphone for so little money.

Final Impressions:

With the X1, you get a very beautiful, comfortable, affordable (by audiophile standards), open, velour padded, easy to drive, bassy, energetic, linear headphone. That is a hell of a lot of boxes ticked for a headphone in this price range, and trust me, it's all true.

There are a few caveats: essentially non-replaceable pads, mediocre stock cable, metal bending mod necessary for larger heads. Also, bass could stand to be more refined, mids aren't exactly highlighted, treble detail gets glossed over past a certain point, and slight (very slight) fatigue at times.

Despite those few caveats, the X1 is well worth their price and then some. For those who have been on the hunt for an open, bassy can, with comfy velour (like I have), your journey is over. Get the X1 as soon as possible. It isn't perfect, and depending on what you want out of a headphone, the X1 may not be suited for you (those looking for stellar mids need not apply), but considering their price and domestically appealing sound signature, the X1 is a clear winner in my book.

Final Scores...
Open headphone with bass, soundstage, and comfort. Need I say more?
If the bass were a little tighter and more refined, the X1 could've been a 9 in competitive, though it may have reduced the fun factor.
The only downside to the X1's comfort is the heat build up, and initially itchy pads.

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Philips Fidelio X2
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Where to buy: amazon.com
Note: The full review of the Philips Fidelio x2 is now up at Headphone.guru. Go there for all the specifics.

Gaming Specific:
Rating: Excellent

The X2 for gaming purposes is fantastic. The improved clarity over the X1 is noticeable from the onset. Less bass bloat that doesn't creep up on the mids the way they did on the X1, while still retaining an excellent amount of bass and immersion.

The soundstage is both very good at width and depth. It's no Q701 or AD700, but it is certainly amongst the best all rounders for gaming due to excellent clarity, immersion, and positional cues.

The X2 pairs up incredibly well with virtual surround. I tested the X2 with both Dolby Headphone and THX tru Studio, to excellent effect. While the X2 already had a very good stereo soundstage, virtual surround really kicks the X2's soundstage into overdrive. Spacious, accurate, and out of the head. Not much more can be said, except, the X2 will make many gamers very happy. If you want a headphone for all forms of gaming, look no further.
The X2's excellent, immersive bass, paired up with it's proficient positional accuracy and excellent soundstage and imaging makes for an exceedingly fun headphone, without sacrificing clarity and competitive aspects of it's sound.
The improved clarity and control of it's bass over the X1 is immediately appreciable and beneficial to its competitive gaming prowess. The X2 does not have an issue being competitive, a marked improvement over the X1.
The X2 will fit large heads without stretching, though I do recommend at least stretching them outward due to initial strong clamp. The minor issue with the X2 may be due to slightly itchy pads, which takes an initial period of adjustment.
Simply among the very best all rounders I have heard for everything you can throw at it, whether it's gaming, music, movies, you name it. Other headphones will do better in certain aspects, yet the X2 never truly falters in any regard.

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Sennheiser GAME ONE (*headset*)
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As of November 2017: $179.95 (GAME ONE Black version)
Where To Buy: Amazon (GAME ONE)

It seems fitting that Sennheiser would be the manufacturer to bring me back to at least one more review. Throughout the years, Sennheiser has been a dearly beloved company near and dear to my heart for bringing me amazing headphones like the HD650, PX100-II, PC360. Even some I haven't reviewed, yet still own like the neckband style, imported PMX95, which finds daily use in my home.

I was approached online by fellow Head-fier, and Sennheiser online rep, @Evshrug to review the GAME ONE. As adamant as I was against reviewing again, I eventually caved, and agreed I'd take a look into the GAME ONE. One reason for reluctance is that I had already reviewed the PC360 and felt the review said all that needed to be said, I could just update to account for the differences. However, I did consider this being more of an 'updated' review to my later style and standard, which the PC360 review was far from.

To my surprise, Evs told me that the voicing had been changed a bit from the PC360, and as such, felt it was a good enough reason to jump back into it, IF the Game One was worth reviewing. Thankfully, there was never really a concern that Sennheiser wouldn't deliver yet another compelling product.



Build Quality:

If the name hadn't already given it away, the GAME ONE, in all its white glory definitely gives off a vibe of being headset aimed directly at gamers. Personally, I prefer the muted dark colors of the black version (as well as those of the PC360), but there is a charm about a headset that is easily identifiable and contrasts my general black/grey decor. The white version's subtle selection of colors blend together nicely, which is more than can be said of most gaming headsets out there. Even entering a party oriented for gamers, Sennheiser knows how to arrive well dressed.

Headband:

The GAME ONE's headband is the only section that is kept strictly business, akin to the PC360. All matte black plastic, with only some silver 'Sennheiser' lettering on the top left section of the headband. The underside holds a generous amount of velour padding to rest directly on the top of the head. The extension arms are thin but sturdy, with plenty of length for all head sizes. There are clicks when extending, but no notches to count, so it may not be the easiest to get both sides to end up perfectly equal in size, if you find that type of thing massively important.

Cups:

Typical to most Sennheiser headphones I've reviewed, the cups are oval in shape. There is minimal swivel (just enough for secure fit), but plenty of vertical pivot in the cups (45 degrees if my calculations are correct). Aesthetically, the cups are white with a glossy fisnish, with some subtle, red accents. The outer cups both yield the grills which are more like horizontally slotted lines, they being the only means for the sound to escape. Inspecting them, you would think these slots are much too small to give the GAME ONE an open sound, but they are definitely enough to fulfill that very purpose.

The outer right cup houses the volume dial which I find slightly insensitive in terms of travel to volume change ratio. This is a good thing, as miniscule tuning of volume is easily made with the Game One's volume dial. From my testing, it appears the volume dial doesn't mute the audio completely, yet goes low enough to allow for your attention to be diverted to the outside world.

The outer left cup holds the lengthy boom mic which has a black matte rubbery portion in the middle to allow some bending. Positioning the mic upwards mutes the mic as labelled on the cup itself where the mic is attached. The bottom of this cup is also where the cable input is located. Looks to be 2.5mm, and only needs the detachable cables to be pushed in; no twist and lock mechanism. I find this perfectly adequate, and more versatile if cable swaps/mods are something deemed worthwhile.

Ear Pads:

Dense, if a little plush black velour oval pads, which breathe easy, are generously large, deep, and ultimately top notch in comfort. They snap off the headphone easily, where you can see a plastic ring permanently attached to the underside of the pads which snap back onto the small 'teeth' on the driver housing. This is one of the easiest attachment/removal designs I've seen on any headphone.

Cables:

The GAME ONE comes with two cables in the package. A lengthy 3 meter cable which terminates into both a 3.5mm audio plug, and 3.5mm microphone plug. The cable is moderately thin but well made, sleeved, and light.

The other cable is a short 1.2mm cable with a TRRS plug. It's the same quality as its longer counterpart. I see this as a cable to be used for devices close to you, such as a PS4's dualshock 4 controller with audio input, or a mobile device.

I would have liked to seen a Y cable adapter for the longer cable that joins both audio/chat together into one TRRS plug, for people whose devices are considerably further than 1.2m.


Final Build Impressions:

The GAME ONE, like the PC360 is made of highly durable plastics that I feel will take moderate abuse without any major issues. The white gloss finish is considerably more prone to fingerprints, but outside of that, there's really nothing bad that can be said of the build quality here.



Accessories:

The GAME ONE is barren of any accessories. Just the headset, and the two detachable cables, that's it. As stated earlier, I would have liked to see a Y cable into TRRS plug, as well as a 1/4" (6.3mm) adapter, because we can't have too many of those, and some people may like to use the GAME ONE with their amps.

Other than those omissions, I'm perfectly fine with sticking to the bare necessities for the sake of saving on unnecessary material wastes and items I'd store away and forget about anyways.



Comfort:

Weight:

At 300g, the Sennheiser is far from heavy, though not the lightest pair of headphones I've used. It falls somewhere in the middle, which I find adequate and far from cumbersome. It feels generally fine. Weight isn't really a pro or con here in terms of comfort.

Headband:

The GAME ONE's headband, like the PC360, has its wonderfully velour padded underside which rests comfortably on the head. I don't feel any hot spots, sore spots, or any other form of indescribable spots coming from the headband. Generally excellent all around.

Ear Pads:

Large enough to fit most ear sizes, and deep enough to keep your ears from bottoming out and pressing against the driver enclosure. The pads are soft velour, if a little dense. I can wear the GAME ONE for hours and not feel the need to take them off due to trapped heat (though I do have to taken them off for another reason described below). They are excellently cool to my ears. The pads are a source of comfort, and I can see why Sennheiser hasn't changed this design in many years. Don't fix it if it ain't broken.

Clamp:

This is the one debatable area in comfort for me, as it tends to be with most Sennheiser headphones. The GAME ONE isn't exactly heavy on clamp, but it is moderate and enough for me to feel the need to stretch out the headband a bit. I do feel some unwanted pressure from the area around my ears due to the clamp. Not much, but enough to remove the headphones at random intervals to relieve some of that pressure. It's really no big deal, and something you grow accustomed to with Sennheiser headphones. The upside is the very secure fit you will always have with the GAME ONE.

Overall Comfort Impressions:

The GAME ONE falls under the list of headphones I can wear all day with a few breaks to relieve some clamp pressure. That's a win in my book, and I consider the GAME ONE to be generally comfortable overall. If I were to give it one of my old system ratings, I'd say "Very Good".



Isolation/Leakage:

As an open-backed 'acoustic' design, the GAME ONE isn't for those who want supreme noise control, isolation, and leakage kept to a minimum. It's not the loudest open design out there, but you definitely don't want to use the GAME ONE at loud volumes in quiet settings. Behind a closed door, there shouldn't any major issues disturbing others, however. External sources of noise can easily be heard through the headphone, so you may want to consider a closed-backed headphone/headset if external noises bother you.



Sound:

This is where it gets interesting for the GAME ONE. I, and I'm sure many of you who read this review would think this to be just a rehash of the PC360. But truth be told, the GAME ONE has something the PC360 lacked: musicality. While it has been quite a long while since I've heard the PC360 (within a year, as one of my close IRL friends owns one), one thing remains: It's a very balanced, safe headphone that isn't immediately engaging or musical. It presents audio in a fairly even manner, but doesn't do it any favors in terms of engaging its audience. In that sense, the PC360 is a stellar gaming headphone in that it gives you the sound you need to hear for better or worse. It makes for an excellent competitive gaming headphone where your primary focus is the action, and the audio relative to that action. Not so much for the immersion or enjoyment factor.

The GAME ONE on the other hand is more 'romantic'. More impactful. More bass, which was a bit dry and lacking in the PC360 in comparison. To go further into detail, let's start with just that, the bass.



Bass:

The GAME ONE, isn't a bass reliant headphone. You may have received this impression from what I said earlier. What I meant is that unlike the PC360's mostly linear, if boring approach to the sound as to not emphasize any particular aspect, the GAME ONE sounds, a little more enhanced, tastefully, to give it a sense of existence. A presence, a body that the PC360 lacked. More emotional weight to bass. Where you could 'hear' bass in the PC360, you can 'feel' it in the GAME ONE. Ultimately, I prefer the GAME ONE's rendition of bass over the weightless PC360's presentation of bass. It's not apples to oranges, but there is a difference.

Into the specific details: the GAME ONE goes as far down as 30hz in terms of audible rumble, with decent texture and volume at 35hz up, with 45hz being a great sub rumble point. Mid-bass at 60-120hz is audible and never over-intrusive, and high bass to low mid being well presented without overwhelming the midrange.

There is a rumble to the sound that just isn't there on the PC360 and HD650. It fills out the body, weight of the sound, enveloping the sonic atmosphere in ways those headphones lacked a bit in. Again, it isn't a basshead level headset. It is, however, a more flavorful, quality selection of 'meat'. There's more to chew on here. Think of it like the darker, deeper signature of AKG's K712 Pro compared to the classic, leaner AKG 701. Not so much, as the PC360 and HD650 are both generally warm to begin with, but there's an additional infusion of musicality to its bass.

Mind you, the GAME ONE is still classic Sennheiser, and I'm not saying it's night and day different vs the PC360. But there is more presence south that wasn't quite as 'there' on the PC360.

In terms of quantity, the GAME ONE is not overindulgent in bass over the rest of the frequencies, so I'd put it as present over the mid and treble ranges if just a bit.

In terms of quality, I feel it is good for an open dynamic with some textured rumble, and average speed decay. It's not the fastest in terms of speed, or the clearest, most textured bass I've heard, but it does generally well in those regards.

To sum up the bass, I'm in favor of the changes, and feel it makes the GAME ONE a better, more versatile headset over the generally safe bass levels of the PC360 which translate well into competitive gaming, but lacks a bit for immersion, engagement, and non-gaming instances, such as music playback. If bass is a factor for you, I'd choose the GAME ONE over the PC360, but there are better options that have more meat in the bass regions. That being said, it's just ultimately a more fun, enjoyable experience than the PC360 of old. I can easily rock out with the GAME ONE. I could not say the same for the PC360, as great a headset as it was.


Midrange:

While the PC360 kept everything generally even and well balanced, nothing too forward, or too behind in the sound, the GAME ONE's slightly deeper bass levels have pushed some midrange forwardness back at times. Consider yourself sitting a few rows further back from the front of the stage, unlike the PC360 where you're mostly in the middle seats.

In terms of frequencies, there seems to be a few dips at around 1.6khz, and 6khz, while the rest staying a very good level relative to the rest of the sound. Its strongest/loudest point is 5khz, and even then, there is no overwhelming levels of brightness anywhere in the sound. Overall, the midrange is well reigned in, and generally silky smooth.

The act of putting the midrange a few rows back may not be ideal to some people, but it helps to add a sense of space between you and the sound, making the staging larger, which aids gaming purposes quite well, where things aren't typically in your face. Remember, this is a gaming headset first, musical headphone second.

Don't get me wrong, the midrange isn't recessed in the way, say a Beyerdynamic DT990 is. It is still well balanced and present. It's just placed a smidge further back. Not so in your face.

In terms of vocals, male vocals don't seem to suffer in the least bit, and feel as ever present as expected. Some female vocals may sound further back in comparison.

In the end, I feel the GAME ZERO's midrange is placed on an even level with most of the midbass and treble ranges. The midrange is as present as the rest of the sound.



Treble:

The GAME ZERO's treble is free of any harsh sibilance, harshness and other glaring flaws. There is audible presence at 12khz which is far from a problem area generally speaking. 10khz seems about on par with the rest of the sound, which means the GAME ONE's tonality ends up warm, mostly smooth with a hint of sparkle. There is no veil here, though the lower treble at 7.5khz does have a noticeable dip that smooths out any problem that could arise from that area of the sound.

The GAME ONE may not be the sparkliest, airiest tonality sound out there, but it still manages to give off a large sense of space.

The treble range is free of bothersome characteristics and will keep your ears fatigue free through extended periods of use.



Soundstage:

I tend not to focus much on soundstaging in terms of stereo music listening as most headphones I feel keep things close to the ears, the GAME ONE being no exception. Outside of some planarmagnetic headphones which do amazingly well in terms of soundstage depth and imaging, I feel most headphones keep things in an horizontally longish oval shape between my ears.

It isn't constricted and kept inside my head, but I'm not one to think that sounds just outside my headspace is considered huge. It is with virtual surround DSPs like Dolby Headphone, and Creative SBX where I can gauge how well a headphone or headset can fool me into thinking sounds are coming from around me as opposed to inside my head. In that regard, the GAME ONE like the PC360 throws out a FANTASTICALLY large soundstage with a great sense of space and directionality. The GAME ONE for virtual surround gaming is an absolute treat. There is clear distance between positional cues in a 360 degree front to back circle. This means the GAME ONE is in the upper echelons of headphones/headsets tested for positional accuracy when gaming.



Clarity:

Despite the smoother, warmer tonality of the GAME ONE, it isn't a veiled or subdued headphone in terms of clarity. It isn't as crisp and vibrant as an AKG K702, Audio Technical AD700, or Beyerdynamic T70, but for a warm headphone, it is among the clearest I've heard, and shouldn't be considered lacking in this regard. You definitely want to feed it high quality files. Questionable quality material may sound muffled and veiled.

The bass isn't intrusive to the rest of the sound, even if its ambience is ever present.

The midrange clarity is pretty good, if only a little pushed back at times.

The treble range despite being smooth has some sparkle in a non-fatiguing manner.

If I had to rate the clarity, I'd put it as 'Good' particularly for a warm headphone.



Sound Signature:

Tonality: Warm, decent bass presence, slightly pushed back midrange. Treble is even with the midrange.

Bass: Warm, enveloping, ambient. Mid bass isn't overly pronounced and transitions to the midrange well. Bass is average speed. Good texture.

Midrange: Warm, medium body, well balanced, a few dips, slightly pushed back. Stronger male vocals, not as forward female vocals. Sibilance-free.

Treble: Smooth, non-fatiguing, a hint of sparkle, but generally pleasing, even after all day use.

Soundstage: Wide oval, fantastic size in virtual surround. Plenty of distance.

If you like a good balance, warmth, and non-fatiguing signature, the GAME ONE has you covered. It isn't bright, piercing, or aggressive, which you may like, and have to look for elsewhere.



Microphone:



As you can hear, it's a pretty natural sounding microphone that is clear, with no sibilance. I'd put it just slightly below the Beyerdynamic MMX300's mic as far as the ones I've tested to date. I don't think anyone would have any real issues with this mic. It's excellent.



Amping:

At 116db in sound pressure level, the GAME ONE can be amped by anything and everything to ridiculously high volume levels. It is a very, very sensitive headset, that is even astoundingly loud off my Noble Audio BTS (bluetooth solution) (thanks to @Stillhart for gifting this to me a while ago). The GAME ONE, needs very little power. The PS4's dualshock 4 can drive it loud, which is more than I can say for other headphones I own which are made with portability in mind. Long story short, do not concern yourself with how well the GAME ONE can be driven. It needs next to nothing.

I would definitely lean on using a neutral to detail oriented amp, as the GAME ONE has enough warmth by itself.



Gaming:

The GAME ONE would have to live up to its name for gaming, or Sennheiser would need to rethink its naming schemes here. Thankfully, the GAME ONE delivers.

The bass rumble is good for the immersive aspects of video games. Atmosphere, darkness, looming sense of dread. All are represented quite well with the GAME ONE. Explosive, dynamic, and immediately engaging, though not as immersive as something more bass reliant like a DT880/990.

Soundstage in virtual surround is among the best I've heard heard for gaming, which makes positional accuracy top notch, and that much of an edge over those with lesser headsets/headphones.

The details are represented well enough with the GAME ONE, all but the strictest of game analyzing can be done without major issue. It may not be as immediately analytical as its older sibling the PC360, but if you do more than just game competitively, I feel the GAME ONE is that much more fun, and versatile. It is a joy to use for all gaming purposes. I would pick the GAME ZERO over the PC360 every time, as a mostly casual gamer.



Personal Recommendation?

Better than the PC360 in versatility, engagement, and musicality, I feel the GAME ONE is a great all arounder which can be enjoyable for all types of purposes. The bass levels really brings out some energy and grit not found in the tonally balanced, albeit a bit safe, and even boring in comparison, PC360.

General media consumption, as it does most things well, so TV shows, movies will sound great off the GAME ZERO.

Most genres of music, slightly less so female vocal heavy ones, if vocal forwardness is a priority. Gaming first, music second.



Final Impressions:

The GAME ONE, is an all-rounder headset through and through. Like the general, all purpose tool that was the PC360, the GAME ZERO can be used for all manner of things in audio. The difference is that it adds more musicality, personality, and flavor. It's apples to juicier apples, so your mileage may vary.

As of late 2017, while it has been a long time since I've focused on audio, I can safely say that there isn't a headset I'd choose over the GAME ONE. Not the A40, not the PC360, none. It simply has everything I'd need for ALL home purposes. Musicality, bass without it being overly, fairly balance midrange and treble that isn't fatiguing, and amazingly spacious soundstage and positional accuracy, there is little to critique on the GAME ONE. The midrange isn't particularly a strength, but it isn't a detriment either, unless that is where you want to focus. For the main purpose of gaming, I feel the midrange is presented well enough to ever consider it a problem.

If you're in search of fun headset with great sound quality, not much of a reason to search past the GAME ONE. It's equipped with all you need, really. I highly doubt many will find fault with it.



Likes and Dislikes:

Pros:

Nice bass for an open dynamic
atmospheric
soundstaging
positional accuracy


Cons:

Clamp
Midrange a little pushed back at times
Not ideal for poor quality files



Unfiltered Thoughts:

Having been gone from the audio game for so long, I wasn't particularly expecting anything coming into this review. I know Sennheiser, and I know they know their audio. I came away as impressed with the GAME ONE as I was initially with the PC360, if not more so due to a more engaging tonality. I like my audio like I like my games: fun. There is a time and place for dry, analytical, sterile sounding headphones, but I feel those are niche with very few reasons to own one over a better, all purpose headphone that may be a little colored for fun. For me, as long as a headphone can retrieve details well enough while still engaging me with its sound, I consider that a winner in my book. The GAME ONE is a clear winner.

I may have embellished the differences between the PC 360 and GAME ONE so don't think it is night and day, but more like a heftier sounding PC360. The GAME ONE isn't a heavily colored headphone. It is still well balanced. I feel the need to repeat myself again in saying don't expect a bass monster, or even a basshead headphone. That is not what the GAME ONE is. It however, is just...better at engaging its audience. Take that as you will.


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Sennheiser HD598
1788290.jpg

Sells for $200-250 (I was lucky enough to buy them for $170).
You all know it as an improved HD595, which is a consistent fave among gamers, especially those who use virtual surround amps like the Mixamp. My opinion? The hype is well justified, at least when it comes to the HD598. They are incredibly well balanced. Somewhat bass neutral, mids are pretty up front and center, and neutral treble (never harsh) translates to a very promising headphone for gaming on paper. And I'm happy to report that they are ABSOLUTELY phenomenal for gaming. They belong right up there with the best for competitive gaming. Soundstage? Check. Positional accuracy? Double check. Detail retrieval? Triple check. The trifecta. It's missing very little for those needs. The bass may be a bit too laid back for those wanting some immersion in their non-competitive gaming however.

Comfort-wise: It's a hit or miss. The pads are huge and give your ears plenty of space to breathe. My issue is mostly with the clamp. Sennheiser just seems to design some pretty clampy headphones. Like the PC360, the only way I can find them comfy is to overextend them, and give them a loose fit. The headband padding is full on pleather, which is less comfortable than the PC360's velour padding.
Fun: 6.5/10 (Pretty Decent)
Competitive: 9.25/10 (Amazing)
Comfort: 7.25/10 (Good)

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Sennheiser HD6XX


Where to buy: Drop.com (as of review date Aug 2020)

CLICK HERE TO OPEN THE FULL REVIEW PAGE WITH ALL IMAGES

Disclaimer: A special thanks to Drop for sending the 6XX out to me for review. As always, whether products are sent to me or not, I do my best in being 100% honest with my views and opinions. If I don't like a product, I will refuse to write a review of it or at least mention what I don't like about them, though I like to focus on products that people would like or at the very least are interested in. The only bias I have is to my readers and making sure they know about good products.



Intro

Buckle up, because I'm gonna talk history about the HD650. Specifically, MY history with the HD650 (and by extension, the HD6XX).

There's not much that needs to be said about the HD6XX. It's been around for years, as a Drop variant of the legendary HD650. It's the same headphone, mechanically with a different color scheme, and shorter cable. If you've heard a more recent pair of HD650s, then you know what to expect here. Not much that needs to be said, but I'll still say, because they deserve to be talked about at length. They are headphone with a rich HISTORY, even if they're not exactly ancient in terms of headphones.

To those of you who have been following me for at least a little while, you know I have already reviewed the HD650. The HD650 review was done just a few years short of a full decade ago. It was also at a time where I was still very much learning about all these different types of sound signatures, and finding my own voice when writing, as well as preferences in headphones. It was at a time where I mainly only cared about a v-shaped type sound, where I mainly wanted bass and treble clarity. Nowadays, I've leaned towards warmer, and more balanced type of sounds, but I still very much enjoy a v-shaped sound, among many other styles of headphone tunings. I love headphones. As long as they're not terrible, I'll probably have good things to say about their more benevolent traits.

My personal history with the HD650 was a special one. When I first started my journey into audiophilia, it was at a time when headphones were having a sort of explosion in public interest. This was at a time when Beats by Dre really got people interested in headphones. Say what you wanna say about Beats, but the headphone world wouldn't be where it is today without Beats.

This was a time when the Audio-Technica M50s were the go to starter headphone. Even people who had never heard them knew to recommend the M50. It was also a time when there was a 3-way race in mid-fi between the Beyerdynamic DT880, AKG K701/702, and of course, the venerable Sennheiser HD650. Three very different sound profiles that would cover all types of sonic preferences. A time when Audeze and Hifiman were just starting to truly gain a footing in the higher end market with the LCD-2 and HE-6. It was a special time indeed.

I already had a year or so with my headphone guide, which at the time was more of a checklist of what I thought was good and what wasn't. I still hadn't truly written full reviews then. The HD650 would actually be what I consider the birth of my full reviews. Not just footnotes and scores. But let me rewind a few years to a time when I had only experienced the original Astro A40s gaming headset, and Audio Technica AD700s. Those were my 'high end' in those days.

The HD650 was that ONE headphone that (at the time) I'd deem impossible for me to buy in terms of price, but felt was the holy grail for me. I only knew of it as that really pretty headphone that a few anime girls wore in some images...

I think they were something like $600 back in those days. I told myself I'd never spend that much. And so for a few years, the HD650 was unobtainable to me, but super interesting, and something I craved to experience one day.

By the time I experienced the HD650, I had already destroyed my original plan to never spend that much for a headphone. I had already tried the other mid-fi cans as well. Which at the time were more my flavor. Even so, the HD650 was a revelatory headphone. It completely changed my outlook on warmer, less treble-forward headphones. It paved way for headphones like the LCD2 which I also truly loved, despite them being a departure of my preferences, treble-wise.

So yes, the HD650 was a legend to me. In many ways, that hasn't changed. It's been plenty of years since, and many headphones have come and gone, but one thing has stayed constant: The HD650 is STILL an incredibly beloved headphone. I believe a good headphone is good forever, even if something new comes along that may do things better. So yes, nowadays, the DT880, K701/K702 don't get talked about as much, due to the overwhelming amount of competition. There's too many options, and even though they're still fantastic headphones, many people have opted to look into the next, shiny, new thing. A shame, as they too deserve a lot of love.

However, one headphone still lingers in people's minds despite it being long in the tooth in age, and all of its competition. The HD650. The legend that refuses to fade into obsolescence. I'd wager that in 10 more years, the 650 will still be around in some form, and remain beloved.

Which brings us to the latter years. As if the 650 needed some help, Drop injected immense interest in them by transforming them into the 6XX we know today, at a cost that would've sounded unbelievable all those years ago when I started my journey. No longer was the 650 'unobtainable'. Now, the masses could all truly forego all the nonsense and dive straight into one of the greatest headphones of all time. Scratch that, I wouldn't say it's one of the greatest headphones of all time. The HD650 is, to me, arguably the greatest headphone of all time. I'll explain.



Build Quality

It's funny to say that even at the time of the original HD650's release, the overall shape and design had been around for a long time with headphones like the HD580 Jubilee. Even so, I still believe the HD6XX design looks beautiful today. It is equal parts classic and modern looking. I've always loved headphones with minimalistic outer grills which expose the back of the drivers. It's a design choice that immediately gives me the feeling of it being high end. No tacky excess. Just tasteful elegance. In now classic Drop fashion, the 6XX is a super dark color with a slight gloss on the surface. It isn't overly glossy, and doesn't attract fingerprints. Now, the materials used aren't exactly high end, which has always been somewhat of a problem with the 650 and now the 6XX. They're mainly plastic, and they can be prone to cracking and chipping in particularly on the headband.

Drop tends to have a black color scheme to their variants of headphones, but the 6XX actually has a very dark blue color to it. In most light, the headphone looks a very dark grey to black, and for all intents and purposes will appear like that to most people. It is only under severe scrutiny and light that the slight bluish tint will expose itself.


Headband:

Starting with the headband, not much has changed with the 6XX.

The top side of the headband has the Sennheiser branding embossed on top in a darker tone. It's a subtle level of branding, and can actually be difficult to see unless shining light on it in a specific way. I like this understated way of labeling a headphone.

The underside uses the 650 style of padding, meaning that the fabric-covered padding will mainly touch the scalp at 10 and 2 on top of your head, with 12 o'clock being sunken in so as to not touch the top of your dome. I've heard complaints that people prefer the HD600/580 style of padding which utilizes padding in the center as well. I feel this two-end padding makes logical sense, as to force contact only on the sides, and leave the very top alone. As someone who has used a large variety of headphones, a top of the head hotspot usually makes or breaks a headphone's comfort, so I'm with Sennheiser on this one.

The extension arms seems to be made of some sort of light metal/aluminum (please feel free to correct me if I'm wrong). It has an incredibly generous amount of extension, where all but the biggest of colossal heads would have absolutely ample space leftover when maxed out. As you adjust, it has audible clicking noises, but no markers. You'll have to adjust by sight.

The forks that attach to the cups allow for minimal vertical and horizontal swivel adjustment, just enough to allow the cups to rest flat on most heads without any issues. Note that forcing the top of the cups inward would allow more degree of movement, but force the snap on attachment of the headband to the cups to come out of position. This actually makes it easy to detach the cups from the headband, if you ever wanted to swap the full headband assembly from the cups.

On the outside of the forks on the top is where the 6XX label and L/R are placed. On the inside is where the Serial Number lies on the left side, and Massdrop branding on the right side. The serial number is merely a sticker if for some reason you felt like removing it.


Cups:

The 6XX's cups are as nameless, logoless, brandless as the 650. The outside of the cups are the bare black grills you've come to expect from a 650, leaving exposed the rear of the driver mounting, which looks akin to an eye shape with a silver backing in place to break up all the exposed black plastic. I love this aesthetic, as mentioned before. Regardless of how long it's been around, it still looks modern today.

The bottom of the cups is where the connectors are placed, using the (proprietary?) connectors used in the 58X/600/650/660S) line of Sennheiser headphones. I can't say I'm a fan of this connector, as it requires quite a bit of force to force the cable into the housing, and I don't have confidence in the very small metallic plugs used for contact. But that's just me. It may not even be a problem. I wish Drop would've modified this to use a more universal type of connector, like 3.5mm or mini xlr. Not required, but it would've been nice.


Pads:

Ah baby, we're back to some good ol' velour. I could never go complain too badly when it comes to velour pads. The 6XX sticks to its 650 roots, with the same pad design and material. That's all I could ask for. No need for extreme changes here. They worked back then, they work today. The inner material is likely basic foam of the non-memory variety, which is also just fine. Keeps them feeling lightweight and breathable.

They are oval in shape with a long but narrow opening. I doubt many people will have a serious complaint about ears touching the inner lining or bottoming out, but then again, these types of nitpicks fall out of my general issues with most headphones. If I can tuck my ears into the openings, that's all I need.

The drivers have a foam covering which aren't directly attached to the pads, and merely rest on top of the driver cover. The pads are easily removable, though aren't exactly universal so don't expect easy pad swapping with anything other than aftermarket pads specifically designed for this form of Sennheiser headphone.


Cable:

This is one area Drop has decided to alter compared to the original HD650. Gone is the very long 9ft cable on the 650, and in place is a shorter, more manageable 6ft cable. Though I personally prefer longer cables (I tend to sit far away from what I plug my headphonbes to), I can definitely understand the decision to go with a shorter cable. I feel 6ft is generally the sweet spot in most cases.

The headphone side of the cable uses the typical dual mini plugs found on the 650 and its siblings. Personally would've liked a modified connector for something like 3.5mm, but it's not a huge deal.

The split could've been placed a bit further (6 inches further down would've been perfect). As it stands I feel it's too close to my neck. As the left and right side join, they remain encased in a nice rubber. Doesn't feel like super high quality or anything special, but I prefer a basic cable that isn't going to kink or have exotic materials that make a cable stiff or retain memory. I'm more than happy with the cable material here. It's not a grippy rubber, which other headphones may have, and drive me crazy.

The plug end to the source terminates into 3.5mm, with a 6.3mm snap-on adapter. The plug has a good amount of strain relief. I feel it's more than durable for daily use. No complaints.


Final Build Impressions:

The 6XX has a tried and tested design. The only issue I have with the build is the headband itself. I've heard they can be prone to cracking and snapping. I dunno if this was ever addressed in the many years the HD580/600/650 have been out, but I'd still be very careful with it. The unit I have on hand has a minor chip in the paint in the back of the headband, which doesn't ruin the integrity of the structure itself, but I'm quite surprised that it was even there in the first place. Thankfully it's only seen with some direct light. I do wonder.

The rest of the headphone's build seems very durable, and I doubt I'd see any major issues with it even years down the line. The extension arms and cups seem built to last. The pads are likely easily replaceable nowadays with many aftermarket pads available for these lines of Sennheiser headphones.

The cable's only questionable aspect for me would be the mini plugs themselves, and I don't really know how durable they are. Sennheiser has used them forever, so they probably aren't really an issue in terms of longevity.

All in all, I wouldn't feel the need to baby the 6XX, with the exception of exercising some caution around the headband. I'd say the 6XX's build quality gets a pass from me, with a slight reservation for the finish.



Accessories

The 6XX doesn't come with much, other than it's protective case, a booklet, and the included 1'4" (6.3mm) snap on adapter.

Case - A very nice case to throw them in to keep them safe in storage. It's quite large, and has a lot of inner foam to keep the 6XX protected. I would've preferred a carrying case, but this is a solid secondary choice.



Comfort


Weight:

The weight without the cable is 260g. Considering all my most recent headphones have weighed quite a bit more, the 6XX is refreshingly lightweight for a full-sized headphone. The lightweight nature doesn't automatically means it's built poorly either. I'd be more than likely to toss these around much more than most headphones I've owned, though I'd be careful with the headband.


Headband:

While the padding has a notch in the middle that alleviates any potential hotspotting on top of the head, the 6XX can still stand to be a little more comfortable on the head. It's generally comfortable, but I do find myself shuffling and readjusting them every once in awhile as the two areas of headband padding still has a minor presence that needs to be relieved during prolonged sessions.


Ear Pads:

The oval-shaped velour ear pads are fantastic for comfort. Very breathable, with enough density in the foam to keep the pads from bottoming out. The pads are very large, with openings that are equally large, albeit narrow. They should still allow for most ears to fit inside without feeling restricted.


Clamp:

If you know Sennheiser, you know that you need to expect some clamp. This is probably the least comfortable aspect of the 6XX. It is clampy by default. I absolutely recommend you stretching the 6XX over some books, a box, or whatever you can find that can let them rest with the drivers far away from one another. It will allow the clamp to be reduced significantly. The extension arms can handle the punishment, and if you feel you've overdone it, you can just bend them inward a bit and put them back in position for some moderate clamping.

Personally, I like some moderate clamp for security, but not as much as the headphones come by default. After having stretched them out and getting them to where I wanted, the 6XX is very good in terms of long term comfort.


Final Comfort Impressions:

The headband padding is probably the only area I'd want improved, but it's really not a big deal. The 6XX is one of those headphones I'd wear all day with just a few moments to readjust every hour or so. It's also one of the only full-sized headphones I can lay down in bed with. I can't think of many open-backed, full-sized headphones I could do that with.



Noise Control

As a fully open-backed headphone, you can't expect miracles here. Noise isolation is poor, as is to be expected. You will hear external noises quite easily. That being said, I do think noise leakage is not a huge deal. Certainly not ideal for a 'same room' noise control, though for controlling noise leakage into other rooms, the 6XX isn't that bad, and I feel a closed door is all it takes, even at high volume. It's certainly no planarmagnetic, which could function as mini speakers. Most dynamic drivers don't tend output sounds loud enough to travel to other rooms with an annoying amount of volume.

For me, as long as I can listen in a room with the door closed and not disturb people in other rooms, it's all the noise leakage control I'd need.



Sound

As I've stated earlier, The HD-650 (and by extension, the 6XX) is legendary in the audiophile community. Warm, full bodied, exceptionally balanced, without the egregious upper range that many headphones tend to have. Now, it's not perfect, but it's carved into a niche that not many other headphone can hope to contend with. The 6XX is pure, earthy, organic goodness.


Bass:

There aren't many open-backed headphones that I've heard with dynamic drivers that have a potent bassline quite like the 6XX. There are even less than can do it without making vocal sections sound overly boomy and unnatural. The 6XX somehow manages to bring out a lively amount of bass in its thump, rumble, and depth. It's not the CLEANEST bass you'll ever hear, but it's enhanced just enough to give the 6XX a character that leads with an enjoyable amount of raw energy. These are definitely fun sounding down low, even though the 6XX is still a headphone that will be known for its great balance and mellow, mild mannered presentation of sound overall. It's like an adult dressed for business, yet one who wears funny, multi-colored socks underneath the slacks. It knows how to be professional, but can party along with the others.

The bass has a nice amount of texture and lengthy decay, aiding it's full bodied presentation. It's not going to reach planar levels of depth, but it is still quite respectable for an open-backed headphone in this regard.

Checking frequencies, while low in volume, you can hear the drivers make a good amount of effort in outputting as low as 25hz. A great result, meaning most bass will be heard and felt, which in actual practice delivers in spades. So if you're someone who needs potency in their bass, without going full basshead, the 6XX will not disappoint.


Midrange to Treble:

To bring back how I felt about the HD650 many years ago, the 6XX has not changed my mindset on the midrange one bit. I don't think there's much that I need to say different from what I said back then, so I'll simply quote myself here (with some minor corrections). It is exactly how I feel even today.

"This is the star of the show. And when I say star... I mean, it is absolutely one of the best interpretations of midrange reproduction I have ever heard on any headphone. Once I heard the (HD6XX), it made me see midrange importance in a whole new light. The vocals are so sweet, so upfront, so rich, so haunting! Based on that aspect alone, I recommend this headphone to ANYONE looking for a headphone that does vocals some amazing justice."

During frequency testing (note: what I hear may not be indicative of published measurements and graphs, but is how I personally interpret the sound), from bass to early midrange, there was plenty of presence in all ranges. There is a bit of prominence at 3.5khz and 5khz (the headphone's loudest point), which may be the only two points of contention in terms of fatiguing aspects of sound. Personally, neither area is enough to cause a huge problem to my ears, though you may wanna take note if you're sensitive to those frequencies. Continuing on, there's a minor dip at 6khz, to slow rise back to 7khz, to another slow reduction in volume which then continues with a moderate, neither lackluster, nor overbearing presence up to 10khz. Beyond 10khz continues being present without being overly strong.

So while the 650 at some point was known to be overly dark or veiled at a point in time, the 6XX and latter variants of the 650 improved the response to become much more balanced and detailed, without over-emphasizing the details to the point of hurting its pleasant, mild mannered characteristics.

The 6XX is still quite revealing, considering how well balanced it is, though the upper range takes a back seat in forwardness.


Soundstage:

The soundstage on the 6XX is something that even back then with the 650 was something I didn't particularly find all that noteworthy. This can simply be due to the fact that the midrange is so focused and upfront, and treble isn't particularly a focal point of the 6XX sound, there's no logical way to give the presentation of its sound all that much space for a soundstage to work its magic. Realistically speaking, you're gonna end up sacrificing some midrange forwardness for soundstage, or vice-versa. That's not to say the 6XX doesn't benefit from DSPs that can enhance soundstages, but in its default state, the soundstage to my ears is merely whats to be expected, and that's borderline average for an open headphone.

Of course, with surround processing DSPs, whatever weakness the 6XX has in soundstaging and imaging can be mitigated considerably. As such, the 6XX can easily be a worthwhile headphone for things like gaming with a moderately big, virtual surround soundstage, though certainly not among the best in this regard. I'll mention more of this in the gaming section.



Amplification

At 300ohm, you will want to feed the 6XX some good, clean power. It has impedance spikes in the bass that can reach 500 ohms, so to mitigate the bass sounding starved and weak, I definitely recommend a moderately decent amp. Something like a Schiit Hel is a great starting point and should provide decent power for to cover the 6XX's base requirements. I hear the 650/6XX scales with better amplification, so take that as you will. You will likely get more out of the 6XX the better the gear that is paired up with it. All I know is that it sounds excellent off both the Hel as well as the Magni 3/Modi 3 combo.

As for what type of amplifiers to use, I think the 6XX is such a special headphone in that it will all depend on whether you want to offset its warmer, musical traits with more detail and precision of something like a detailed solid state amp, or if you want to enhance the already great inherent traits that it has with a tube amplifier. The world is yours with the 6XX. Experiment as you see fit.



Gaming

If you've read my impression of the HD650 and gaming, you'd know by now that I find these good, but not the most optimal of all gaming headphones. For instance, the cheaper models of old with the 555 and 595 up to the updated variants of the 558 and 598/599 do better for competitive gaming purpose do to a better soundstage and positional accuracy. The 6XX's soundstage is a little smaller, tighter, and harder to portray rear positional depth as those other Sennheiser headphones. Even despite these limitations, it's not as they are absolutely poor. They're fine. Not AMAZING, but it's not as using the 6XX will keep you from doing well in competitive gaming. The 650 and in turn the 6XX are of a higher tier of general sound quality, and add an additional layer of fun and immersion in comparison to those lower tier models. As such, I find the 6XX to be a better headphone for casual/fun, and in turn, general gaming as a whole.

Unless you are in tryhard mode, and need JUST a heavily competitive leaning headphone, the 6XX will suit most people just fine for all forms of gaming. Personally (and for over half a year as of August 2020), I've given up messing about with many different headphones and use the 6XX for all gaming purposes, whether casual or competitive. I have recently been pulled into playing a lot of Call of Duty's Warzone (battle royale) mode with my closest friends. I've only been using the 6XX during this timespan, with great results. I have been able to pre-fire through walls knowing there are enemies behind it simply by the audio cues.

I'm not the greatest Warzone player, but I have never felt like the 6XX has limited me in being able to correctly place enemy movement. Vertical placement is another thing altogether, but that is an issue with the game, not the 6XX. Until more games move to newer DSPs like Dolby Atmos via in game options, vertical cues are a limitation that 5.1/7.1 sound processors such as Dolby Headphone and Creative's SBX can't fully realize.

If I had to make a definitive choice of between any of those competitive leaning Sennheiser headphones, or the 6XX, I'd still put all my money on the 6XX, any day of the week. I'd rather take a headphone very good in most things, than a headphone amazing in one thing. The 6XX is pound for pound the better choice, generally speaking.

To sum up gaming purposes, these are great for casual/fun gaming, and good, not GREAT, for competitive gaming. If you're focused mainly on competitive over just general gaming, then perhaps you're better off with some other Sennheiser offerings like the 598/599, or headsets like the Game One/PC37X. For everyone else, the higher fidelity sound of the 6XX, with its rich bass, luscious midrange, and smoother treble will more than suffice for most other forms of gaming.



Personal Recommendations

Media:

The 6XX is a somewhat traditional all rounder. Meaning there's very little you can't use the 6XX with. It just works exceptionally well for whatever you throw at it. From just watching regular TV, podcasts, games, movies, music, you name it, the 6XX has you covered. It does all of it so well, you'll be hard pressed to be disappointed in what it can't do. Perhaps hardcore detail retrieval would be better suited for other upper midrange and treble enhanced headphones, but otherwise, there's not much here to dislike.


Practicality:

The 6XX is best suited for home and office use due to its slightly higher than normal amplification requirements, as well as open-backed design, meaning you won't want to be near others when using the 6XX. They certainly won't leak out through your office into another's listening space, but I certainly wouldn't go out to a public place with them on. I suggest keeping the 6XX at home near your computer setup or listening station.

They're also not exactly portable so I wouldn't recommend trying to throw them in a bag for transportable uses either.


Who Is It For?

The 6XX is for nearly anyone and everyone looking for a cost effective mid to high end headphone that won't break the bank. Drop has allowed the 650 to reach a wider audience with the release of the 6XX, and I insist anyone wanting a $200 pair of headphones to look long and hard at the 6XX. Unless you're a treblehead or mainly just detail focused, the 6XX is for those who just want to enjoy the rich, lifelike sound, and all day musical enjoyment. 2020 is a rather spoiled year for quality headphones at a low price, and it all starts (and may just stop) with the 6XX. I recommend the 6XX to practically anyone, especially those starting their audiophile journey. You may find that there's little to compel you away from the familiar loveliness that is the 6XX. It's that good.



Likes and Dislikes

Likes:
  • Lightweight
  • Price
  • Long term comfort
  • Bass
  • Midrange
  • Tonality


Dislikes:
  • Initial clamping force
  • Headband padding could be better
  • Wish Sennheiser updated the cable connector to something else
  • Headband durability may be questionable



Final Impressions

Going back to what I said in the introduction. Why are they, one of (if not) the greatest headphone of all time? When I say greatest, I don't mean the very best. There's higher end headphones that do many of the things they do, and probably do them better. However, from its pedigree, its affordability, its legendary cult status, its mass market appeal, the HD650/6XX is that one headphone that for the vast majority of people, know that they're in for a wonderful, consistent headphone experience.

It doesn't have to be the best to be the greatest. It just has to be that one headphone that you know you can tuck away, come back to years later and go, "Yeah, I remember why I love these so much." They're that morning cup of coffee. They're the fireplace in the middle of dead winter. They're that familiar, pleasant sensation of being...home. You put them on, and you know they won't make your ears bleed. Their timbre, their forward presence without being shouty or aggressive nature. Their smoothness, their well mannered balance that errs on the side of caution. You can wake up in the morning, and put these on and know they're gonna sound great without straining your ears. You can lay down in bed at the end of the day and know they'll soothe your body towards slumber. Their appeal is all-encompassing.

In case you haven't realized it yet, you really should experience these headphones at least once. If you're on the fence on what headphones to get in the price range, it's almost a guarantee that you should really set your sights on the HD6XX. It really is that simple.

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Sennheiser PC360 (*headset*)
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Sells for $180-250.
Seriously, if you want a headset, this is one is hard to pass up. Easily the best headset I have heard with a sound quality that doesn't make audiophiles cringe.

Clarity? Check. It slightly lags behind headphones like the AD700, K70x, Q701, and HD598, but for gaming, it is NO slouch. I can say that it COULD be clearer as a whole in comparison to headPHONES in their price range, but as far as headsets go, I highly doubt clarity would ever be a complaint. It picks up subtle details with ease.

Balance? Check. There is no part of the audio spectrum that I felt was truly emphasized over the rest. Well balanced. That's all I can say. Treble is neither too smooth, nor too sparkly. It sounded neutral. Fantastic.

Soundstage? Lagging behind the monsters that are the K70x and AD700, but is indeed no slouch. I'd say it has a bigger soundstage than the DT990. Fantastically large sense of space and airiness.

Directional Cues? Check. What can I say? This may actually be as good as the best when it comes to overall directionality. Trust me when I say that I could EASILY tell where sounds were coming from with the games I love to test.

Easy to discern front and back? Check. Perhaps the main shortcoming of Dolby Headphone (as some games just don't do this well even with the best headphone ever), and the PC360 got it down masterfully for those games that do rear positional cues well.

If you're in the market for a wired headSET, this should be the top priority. If you're looking for clarity, the PC360 does a fantastic job.

Comfort-wise, it's near identical to the HD598. The pads are wonderful and huge enough for your ears, but the clamp can be bothersome. Extend them to fit loosely, and they'll feel pretty good. Your mileage will vary. the velour headband padding is a step above the abundant amount of pleather on the 598's headband.

The PC360 is definitely a gaming beast.
Well balanced, but not really matching the punch in bass I like from funner cans, though the bass is enjoyable at times.
I highly doubt you'll be complaining about anything as you're precisely locating anything and everything around you.

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Sennheiser PC38X

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Where to buy: Drop.com as of September 2020 ($160-ish)

Click HERE to go to FULL PC38X REVIEW page with all IMAGES

Disclaimer: A special thanks to Drop.com for sending the PC38X out to me for review. As always, whether products are sent to me or not, I do my best in being 100% honest with my views and opinions. If I don't like a product, I will refuse to write a review of it, or at the very least mention what I don't like about them, though I like to focus on products that people would like or at the very least are interested in. The only bias I have is to my readers and making sure they know about good products.



Intro

Drop is back at it again, this time with a successor to the Sennheiser PC37X. The PC38X doesn't outright replace the PC37X, which remain in Drop's arsenal at a lower price. I find the price difference mostly negligible, and the improvements made with the PC38X are absolutely worth the difference, particularly if you're lacking a headset. Some people may immediately ask if these are just a PC-37X with new pads for added bass or any of the other sonic differences, with no other major changes. The answer is, no. The welcome note in the packaging states:

"Enjoy the best of two of Sennheiser's leading open-back gaming headsets: The PC38X combines the clarity and immersion of the PC37X with the impressive deep bass of the GSP 500.

This has been achieved by using a custom designed driver, which implements a heavier voice coil to deliver impressively deep bass for an open-back design, as well as careful tuning to deliver a rich and immersive sound experience."


Are these statements accurate? From my experience, I find this an incredibly accurate assessment of the PC38X. I have not heard the GSP 500, but if the bass on the PC38X is any indication, they are indeed deeper and more extended in bass than the PC37X.



What's In The Box?

I must say, I really like the small, plain jane, cardboard box used for the PC-38X. Less material, packed with all the essentials.

Pouch - A fabric pouch with 'DROP' printed on the surface. It's super soft, and large enough to fit the headset without any issues. Perfect to store the headset or taking it on the go.

Cables - A 3 meter cable that splits into audio and mic 3.5mm plugs. Also a 1.2mm cable with a TRRS plug for inputs that accept both mic and audio channels in one plug (like a mobile device).

Spare Velour Pads - My guess is that these seem to be just like the velour pads used on the PC38X's older siblings. A nice inclusion, which may have an impact on comfort and sonic characteristics, if subtly so.



Build Quality

Before I say anything of the PC38X's build quality, I have to tell you guys that I will be reiterating a lot of what I've said on the GAME ONE review (with some pasting of some statements), as the PC38X shares most, if not all design and build aspects, save for color scheme and outer cup grill design. I believe this design started with the PC360, then moved on to the GAME ONE, PC37X, and finally the PC38X. "Don't fix it if it ain't broke" must be one of Sennheiser's favorite proverbs.

The PC38X retains the typical dark color palette Drop uses for their variants, with little in the way of Gamer-esque flourishes (in contrast to the white GAME ONE, which was a step in the other direction with bright colors to appeal to the younger gaming crowd).

Frankly, I'm not a huge fan of aesthetics on the GSP line of Sennheiser headsets, so I'm quite thankful the PC line of headsets exists, as I find them to look much more elegant and classy, compared to the bulkier, gamery nature of the GSP line. Personal preference, of course.


Headband:

The PC38X's headband is kept strictly business, akin to the PC360 and PC37X. Mostly all matte black plastic. The underside has two area of cushions, thicker and more spread across the headband than the HD6XX, covered in the same, newer fabric material as the earpads (as opposed to typical velour or leatherette). There is a small gap directly in the center to keep the headband from hotspotting on the very top of your head, which I find to be the correct choice, as 10 and 2 on your head can deal with hotspots better than 12 o' clock.

The extension arms are thin but sturdy, with plenty of length for all head sizes. There are clicks when extending, but no notches or other markers to count, so it may not be the easy to get both sides to end up perfectly equal in size, if you find yourself obsessing over such small details.


Cups:

Typical to most Sennheiser headphones I've reviewed, the cups are oval in shape. There is minimal swivel (just enough for secure fit), but plenty of vertical pivot in the cups (45 degrees if my calculations are correct). In a step back to the more open design of the PC360, Sennheiser opted to ditch the slotted vent openings of the GAME ONE and PC37X, in favor of a more traditional mesh-style grill covering the drivers. These possibly give the drivers less resistance, allowing the drivers to pump out sound with less reflective surface area bouncing the sound back towards your ears.

The outer right cup houses the volume dial which I find slightly insensitive in terms of travel to volume change ratio. I find this to be a good thing, as minor volume adjustments can be made. Turning the volume all the way down doesn't completely mute the audio, yet goes low enough to allow for your attention to be diverted to the outside world. The volume dial also doesn't lose perfect channel balance at low volumes unlike other headsets with inline volume adjustments.

The outer left cup holds the lengthy boom mic which has a black matte rubbery portion in the middle to allow some bending. Positioning the mic upwards mutes the mic as labelled on the cup itself where the mic is attached. The bottom of this cup is also where the 2.5mm cable input is located, and only needs the detachable cables to be pushed in; no twist and lock mechanism. I find this to be more than adequate, and more versatile if cable swaps/mods are something deemed worthwhile. Just be mindful that it carries both audio and mic channels.


Pads:

A change from the previously used velour pads on the older headsets, the PC38X uses a denser foam padding covered in different fabric material. If I could make an educated guess based on subjective listening impressions, the pads seem to allow the PC38X to retain more of the low end bass decay compared to the velour pads that are also included with the PC38X as spare pads.

The pads are generously large, deep, and ultimately top notch in comfort. They snap off the headphone easily, where you can see a plastic ring permanently attached to the underside of the pads which snap back onto the small 'teeth' on the driver housing. This is one of the easiest attachment/removal designs I've seen on any headphone.


Cables:

As mentioned earlier, the PC38X comes with two cables in the package. A lengthy 3 meter cable which terminates into both a 3.5mm audio plug, and 3.5mm microphone plug. The cable seems to be paracord-style, with nice sleeving, and a durable feel.

The other cable is a short 1.2mm cable with a TRRS plug. It's the same quality as its longer counterpart. I see this as a cable to be used for devices close to you, such as a PS4's Dualshock 4 controller with audio input, or a mobile device.

I would have liked to seen a Y cable adapter for the longer cable that joins both audio/chat together into one TRRS plug, for people whose devices are considerably further than 1.2m.


Final Build Impressions:

The PC38X, is made of highly durable plastics that I feel will take moderate abuse without any major issues. There's really nothing bad that can be said of the build quality here.



Comfort

Weight:


At 285g, the PC38X is light for a full sized headset, though not the lightest pair I've used. It falls somewhere in the lighter side of the average, which allows for all day listening without any real strain. Personally, the PC38X is one of the more comfortable headphone/headsets I've used in terms of weight.


Headband:

The PC38X has a wonderfully fabric padded underside which rests comfortably on the head. I initially felt some discomfort, but after a period of adjustment, I didn't feel any hot or sore spots coming from the headband. You may need some breaks here and there, but you should be able to wear it all day without much fuss.


Pads:

The pads size and depth are large enough to fit most ear sizes, and deep enough to keep your ears from bottoming out and pressing against the driver enclosure. The pads are soft fabric, more dense than velour. I can wear the PC38X for many hours and not feel the need to take them off. The alternative velour pads are perhaps a hint more comfortable to due it feeling cooler on the ears.


Clamp:

This is the one debatable area in comfort for me, as it tends to be with most Sennheiser headphones. The PC38X isn't exactly super heavy on clamp, but it is moderate and enough for me to feel to stretch it out over some game/dvd cases. I do feel some unwanted pressure from the area around my ears due to the clamp. Not much, but enough to remove the headphones at random intervals to relieve some of that pressure. It's really no big deal, and something you grow accustomed to with Sennheiser headphones. The upside is the very secure fit you will always have with the PC38X. I find that setting the extension to be more than what you feel is your optimal length, can relieve some of that pressure.


Overall Comfort Impressions:

The PC38X falls under the list of headphones I can wear all day with a few breaks to relieve some clamp pressure. That's a win in my book, and I consider the PC38X to be generally comfortable overall. If I were to give it one of my old system ratings, I'd say "Very Good" even close to "Great". For most people, it shouldn't fall under anything less than great.



Noise Control

As an open-backed 'acoustic' design, the PC38X isn't for those who want supreme noise control, isolation, and leakage kept to a minimum. It's not the loudest open design out there (you'll find much more sound leak from planarmagnetics), but you definitely don't want to use the PC38X at loud volumes in quiet settings. Behind a closed door, there shouldn't any major issues disturbing others, however. External sources of noise can easily be heard through the headphone, so you may want to consider a closed-backed headphone/headset if external noises bother you.



Sound

I'll be the first to tell you that if/when I need to use a headset over a headphone, sound quality isn't at the top of my necessities. What I mean by that is that I'm not a very good multitasker. If I'm chatting while gaming or otherwise, it's often hard for me to focus on game audio. For example, when I play Call of Duty's Warzone, my game audio is set VERY low in volume, so I can focus on chatting with my mates. Of course, this is opposite of a competitive gaming mindset, where you'll mainly chatter to rely pertinent information about what's going on during the game.

That makes me a casually competitive gamer, where I mainly chat nonsense with my friends, but every once in a while I'll need to relay information to them. So I need a headset's sound quality to be good enough to highlight details and have a great sense of spatial awareness, even with such a limited volume. Does the PC38X pull through? Does it set itself apart from the PC37X/GAME ONE? If you're longing for an improvement over the improvements those headsets claimed over the original PC360, then yes. Yes it does.

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Uncompensated:

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(Note about the velour pads: My sound impressions were mainly done with the stock pads, as opposed to the spare velour pads. The velour may affect the sound in subtle ways, and if I ever feel comfortable enough to commit to sonic impressions without expectation bias, I'll share the difference. That being said, I DON'T feel comfortable, as it takes me too long to swap the pads, and the slight differences I hear may just be what I THINK is different, not what truly IS different. Hope you guys understand. If you still want to know, I think the bass gets slightly faster in decay, the sound gets airier, and a little more dry/not as full bodied. So I feel the velour pads may be less fleshed out, but more detailed. I'm not 100% convinced this is accurate, so your mileage may vary. Take this with a grain of salt.)

I was sent the graphs to showcase the difference, so extrapolate what you can out of it. For me, looks like there's very little difference in terms of response, other than past 10khz. That still doesn't highlight what I feel may be the body and decay differences, though that may just be expectation bias.

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Bass:

It's almost like Sennheiser wasn't done with tooling the low end musicality of their open backed headsets. Drop and Sennheiser has once again one upped their previous headset with even MORE musicality, particularly in the bass, where it has allowed the bass to reach even lower than before, as well as flattened out the bass to midrange. It's more balanced, and reaches lower.

While I said much of the same with the GAME ONE, it still wasn't a headset that I could personally just stick to for purposes outside of competitive gaming, including music listening and casual gaming. It does it well enough, but in the back of my mind, I'd want just a little more out of it. The PC38X's deeper bass really puts it much, much closer to my target sound. It's an incredibly enjoyable bass section that does justice to my bass influenced music without it sounding lacking in body or impact.

As far as frequency testing goes, the PC38X remarkably goes all the way down to 20hz. At my desired volume for music, the bass goes very deep down. I've heard planars with less presence down low. That lets you know that the PC38X is not playing around with bringing you information down to the depths. The bass is voluminous at at around 35hz-40hz which is my ideal range for immersive bass rumble. The PC38X is a satisfying headphone, and it doesn't even need to be basshead level to do that. While the PC38X isn't a basshead headphone, it should still satisfy most audiences. The extension and rumble certainly impressed me well enough.


Midrange to Treble:

If there is one thing you can almost always count on from Sennheiser, it's that their headphones will inherit a well balanced midrange without any areas of over emphasis, shrillness, or otherwise truly bothersome hotspots. The trend continues on the PC38X. Well balanced is exactly how I hear it, neither being too forward, or too spaced back. It sounds quite natural, linear, and highly detailed. It doesn't sound overly warm, nor dry. It's what I'd consider an ideal forwardness, and tonal character.

Frequency-wise, there is plenty of presence throughout the midrange with a slight dip at 1.5k, but back to good presence all the way up to a 5k peak, which slopes down at 6k, slight rise at 7k to its steepest level in the dip at around 7.5k, back to good presence up to 10k and extends and shimmers all the way up to my hearing limits at 16k. No part of the frequencies from midrange to treble come across overly harsh or piercing, though 5k sticks out the most in the transition from midrange to treble. Based on what I'm personally hearing, the only things I could see as an improvement to the tonal balance, is reducing 5k a few decibels, and raising 7.5k quite a bit. Otherwise, the rest of the sound fantastically present and without any glaring issues.

The spare velour pads shared the same general balance curve with the exact same 5khz peak and 7.5khz dip.

All in all, plenty of detail and sparkle without it feeling overexerted. The high end extension is actually one of the best I've heard in a long time. Usually, just past 10k I start noticing a massive slope into the nether with many headphones. The PC38X manages to continue its airy extension far longer than I would've deemed necessary, which is an absolute, welcome surprise. Considering how so many Sennheiser headphones end up soft and steered downwards in the treble, the PC38X has one leg up in terms of extension and shimmer.


Soundstage:

Soundstaging was a strength in the PC360, as well as the GAME ONE/PC37X, and I would've been incredibly surprised if the PC38X failed to deliver on a solid, open soundstage set by its predecessors. Thankfully, my expectations were happily met. Even in stereo, the PC38X sounds fantastically spacious, and holds plenty of air to allow objects in the virtual space to fill the room.

As I tend to mention in my impressions of headphones, soundstaging isn't a trait in headphones I hold to a particularly high standard (in stereo), though it is always a great boon when done well. A great soundstage has been a trademark of the HD5xx line of headphones that started with the HD555 and HD595. It moved on to the HD558 and HD598, and I assume would hold true with the HD599. There's a reason HD5xx line were popular among gamers, and why I believe Sennheiser modeled the PC360 and onwards after them. Soundstaging, and detail retrieval good enough to take advantage of it.

The PC38X can fill out a room quite nicely, and is absolutely brilliant when applying a virtual surround dsp for video games and other media, like movies.

I'll quote what I said of the GAME ONE's soundstage here. I've replaced GAME ONE with the PC38X below, though the statement is accurate to my beliefs, and applies to both.

"It isn't constricted and kept inside my head, but I'm not one to think that sounds just outside my headspace is considered huge. It is with virtual surround DSPs like Dolby Headphone, and Creative SBX where I can gauge how well a headphone or headset can fool me into thinking sounds are coming from around me as opposed to inside my head. In that regard, the PC38X (like the PC360 and PC37X), throws out a FANTASTICALLY large soundstage with a great sense of space and directionality. The PC38X for virtual surround gaming is an absolute treat. There is clear distance between positional cues in a 360 degree front to back circle. This means the PC38X is in the upper echelons of headphones/headsets tested for positional accuracy when gaming."


Clarity:

Clarity is something one should expect from a top notch gaming headset. For what good is a headset if it can't deliver the clarity needed for voice communication, positional awareness, and minute detail retrieval? The PC38X continues its reign of excellence, with clarity that picks up the subtlest of nuances. As the PC38X isn't truly steered towards warmth, and there is plenty of details all the way up to the upper limits of human hearing, there's little to say about the PC38X that isn't completely positive in regard to clarity. You'll be hard pressed to find anything lacking, other than perhaps a noticeable dip at about 7.5khz which may allow some sounds to come across as subdued if they land in this range. Aside from that extremely small range of sound, the PC38X won't fail to impress. There isn't much out there I've heard that would do better than the PC-38X's immediate clarity without sacrificing too much in other areas.


Sound Signature:

The PC38X is on the natural/warm-neutral side of tonal balancing, with bass that is linear and extends quite low, without sounding thin, nor emphasized. I'd consider it bass neutral, which will fit whatever you're listening to. Give EDM with a thumping bass line, and you'll find the PC38X thumping and rumbling with the best of them. Not any more, not any less than needed.

The midrange is also quite linear with a natural voicing, as well as neutral forwardness. It sits perfectly in the middle, neither pushing things forward, nor giving up too many rows backwards in virtual seating. Those that like a forward midrange may want something a bit more intimate, though for anyone else, I doubt they'll find any issues with the presentation.

Treble is detailed, sparkly (if just so), and incredibly well extended. Either than 7.5k hitting a bit softly, there's plenty of shimmer and sharpness throughout without overexertion. One of the best Sennheiser headphones I've heard in this regard.

Overall, I'd find it hard to call the PC38X warm-warm, or bright. It sits in between, if just slightly warm. A testament to Sennheiser's prowess in tonal balancing.



Microphone

Sennheiser is known for their great headphones as well as microphones. Thankfully, the PC38X continues this well known fact. I wonder if anything has changed from the PC360 days in terms of the microphone, but regardless, it's fantastic, and should keep your voice quality clean and clear. As you can hear, just like the sound coming off the PC38X's drivers, the microphone is pretty clear, with no sibilance or compression. I don't think anyone would have any real issues with this mic.

Below are a few examples, showcasing how the PC38X's mic sounds through various gear.









Amplification:

Gaming headsets shouldn't be hard to drive properly. This general understanding continues with the PC38X. I rarely ever keep my amplifiers in low gain, yet that's precisely what I did with the PC38X, as it sits in the sweet spot of the volume pot, on all of my amplifiers. You really don't need much. The PC38X sounds great off anything you hook it up to. My recommendation is a neutral, clean sounding dac and amp, regardless of power. Something to further aid its sharp detail and focused sound. To anyone worried about numbers, the PC38X is 28ohm, at 108db SPL @ 1khz. Very efficient.



Gaming

Sennheiser headsets of its kind have always been stellar gaming performers. The PC360 was an amazing realization of the HD595 turned headset. The GAME ONE/PC37X succeeded in making such an amazing design more musical and engaging without sacrificing the strong competitive gaming aspects of its sound. The PC38X further dips its toes into musicality and engagement while still remaining faithful to the strong gaming performance needed for competitive play. If you've felt you'd desire a more robust low end and energy from Sennheiser's open headsets, the PC38X should fit that need. The deeper low end (not necessarily bass heavy but well extended bass) really fleshes out the sound that was slightly missing from the GAME ONE/PC37X. It sounds more natural, balanced, and true to life than its predecessors.

The spacious soundstage, sharp details, great tonal balancing, top notch extension both down low and up top make the PC38X a prime candidate for best gaming headset. In virtual surround, the PC38X is among the very best I've heard for accuracy, positional awareness, and object definition. Testing something like Call of Duty's Warzone with both Dolby Headphone 2, and Creative's SBX, I was extremely aware of where all my enemies were coming from, and where all the loot was in my general vicinity. For the PC38X, it's a very simple matter. Just stellar positional cues, soundstage depth, and great imaging. Rest assured, the PC38X is a monster for gaming. You can't do wrong here in choosing the PC38X for all your gaming needs.



Personal Recommendations

Media:


Considering the PC38X hits deeper and sounds more natural than the past few open Sennheiser headsets, I feel the PC38X is the best all rounded open headset of the bunch. This makes it a great choice for a variety of media. That's the strength of having an all rounder. It may not be the best at any one thing, but it works well with everything. If you felt the PC-360, GAME ONE, or PC37X lacking, the PC38X may satisfy you in ways those headsets could not.


Practicality:

I'd consider the PC38X to make most sense in an office or home setting. Considering its open backed design, it wouldn't be my first choice for public use. Not that I'd typically consider any headset for outside home use. So if you want to game on a laptop in public, I'd advise the PC38X only in quiet locations.


Who's It For?

Personally speaking, I generally wouldn't opt for a headset over a headphone, but if you MUST have a headset, I don't see any reason why you would go for anything else in its price category if you're looking for an open-backed, audiophile level headset. It's a competitive gaming beast, without sacrificing much of casual engagement. It does it all so well.

If you already own the PC37X, perhaps there might not be a pressing need to upgrade unless you want an improvement in the low end extension, and want a more natural sound. Both are incredible at hardcore/competitive gaming. So the question is whether you want your sound to be more fleshed out and enjoyable. If so, then yes, the PC38X is worth the upgrade. Consider it a more perfected form of what Sennheiser would want from an open backed headset.

If you DON'T own the PC37X/GAME ONE, then I would absolutely recommend moving past those and jumping immediately to the PC38X. As far as headsets go, this is the absolute best bang for buck I've heard to date.

You know what I'd like to see? A headphone model of this headset, no mic. It would have my full on recommendation. Yes, the HD58X Jubilee and HD6XX already exist and are highly regarded, but those require and scale with moderate amplification. They're not as efficient, and aren't ideal when used with a larger variety of things like phones, and laptops without at the very least, a decent portable amp. That's where a headphone variant of the PC38X would fit in, for those that don't want a headset/microphone, and don't wanna use an amplifier. There are times I'd love to use the PC38X as a headphone (and I do), but making a product just for that purpose would be fantastic. Personally, I prefer the PC38X over the HD598, so I think it warrants attention. Just something to think about it, Drop.



Likes and Dislikes

Likes:

  • Great bass and treble extension
  • Tonal balance
  • Weight
  • Volume adjustment dial
  • Deeper, more natural sound from stock pads
  • Spare velour pads
  • Efficient

Dislikes:
  • Initial clamp
  • TRRS cable could stand to be a little longer
  • A little peaky at 5khz



Final Impressions

Not one to rest merely with a good product, Drop decided they wanted more than what the PC37X provided. The PC38X was the result. While it may not be leaps and bounds better than the PC37X, it does flesh out and improve on the sound with a better bass extension, and tonal balance, without giving up what makes these headsets so good for competitive gaming.

It's hard to find something to recommend from the Sennheiser camp in terms of Drop variants. I say this because they're ALL good. Sitting firmly within a slew of other Drop x Sennheiser products, all being fantastic, you won't be lacking for options. While not quite reaching the legendary levels of the 6XX, the PC38X fills out its own role as a headset, as well as being quite a bit more efficient, where amplification isn't required. It's always good to have a headset on hand, and I can't think of a better one anywhere near its price range, from any company. You're getting exceptional clarity, great tonal balancing, stellar gaming performance, and plenty of music enjoyment here. The PC38X isn't just a good headset, it's an audiophile level headphone, period. The fact it's more versatile than the other Drop x Sennheiser headphones makes it quite beneficial to fledging audiophiles, or those that just don't want to lug so much gear around.

If you're looking for a no frills, no gimmicks, solid banger of an open-backed headset that is good enough to replace an audiophile headphone, this is it, chief. The PC38X puts so many others to shame.




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Skullcandy PLYR 1 (*wireless headset*)
http://www.skullcandy.com/shop/shop-all
11199387_thumb.jpg

Sells for $180.
Before I get started, I again want to thank Gernard Ferril at Skullcandy for getting in contact with me and giving me the chance to review the PLYR 1. This makes the 4th product I've received from them, which I'm absolutely thankful for. The PLYR 1 (pronounced "Player 1") is Skullcandy's flagship gaming headset with all the bells and whistles you'd come to expect from a top of the line headset. It's almost fully wireless (save the XBox 360 controller/chat cable), with Dolby Headphone 7.1 virtual surround decoding, and a base/decoder box that doubles as a headstand. Basically, this is an alternative to fully decked out wireless headsets like the Astro A50s.

I have an unboxing video posted up on my new channel, HERE. It will give you a solid idea as to what to expect.

PLYR 1 features:
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  • Dolby 7.1 Surround (Dolby Headphone)
  • 3 EQ presets: Bass Mode, Supreme mode (flat response), and Precision Mode (for extra air, treble detail)
  • Wireless Audio
  • Pivoting Boom Mic (non-removable)

The base/decoder box/headphone stand has:
  • Power
  • Dolby Headphone button
  • Aux In (for external devices)
  • Optical Out (passthrough)
  • Optical Input
  • USB input to charge the headset
  • Mini USB for powering the base.

The PLYR 1 headset itself has:
  • Power Button
  • Master knob with the voice/game volume balance, and volume up and down.
  • EQ preset slider with 3 settings
  • USB input for charging
  • 2.5mm input for Xbox 360 controller/chat input
  • Non-detachable boom mic (flexible), mutes when flipped up

Build Quality:

The PLYR 1 is made up of some pretty durable plastic, heavier, and more solid than the SLYR. The design reminds me a lot of the newer Denon line, but without the horrible 'lip' at the ear cups. The PLYR 1 is a very nice looking headphone. Not extreme in it's design, but not understated either. I prefer it's design over the Slyr's. It's cups are non-glossy, textured in a street style pattern. The underside of headband is padded with soft cloth-like material, plenty to keep the headband from being uncomfortable. The left cup houses the microphone which is long, malleable, and easy to position any way you'd like.

The right cup houses all your buttons/functions. The power button is quite easy to find. The EQ preset slider is placed on the front side and isn't the easiest thing to find, though with some time, I didn't have any big issues finding it.

The Voice/Game/Volume 'stick' is placed near the power button, directly on the face of the right cup. I'm not the biggest fan of the stick, as it feels a bit analog and can be harder to 'feel' if you're adjusting the volume up/down or the V/G balance, basically not knowing if I'm hitting up or right if I move it somewhere in between the two, etc. My solution (as I never use a mic) is to immediately adjust the V/G balance all the way to the game audio side (G), which the headset confirms with two beeps. from there, I adjust the volume. If you adjust towards the voice side (V) all the way, you'll get a single, higher pitched beep. You'll want to adjust for game audio first, just to make sure you're getting a signal. There are instances where the headset drops audio completely (usually when switching a source, or a game booting up), and if you adjust for voice first, you won't hear game audio either way.

I understand Skullcandy wanting to have all these functions in one 'stick' for simplicity, but in the end, I felt it would have been better off having some buttons to press to separate each function. It ended up being harder to use over simple buttons, personally. I guess with time, it'd be second nature, however.

The ear pads are made up of the same material as the headband padding. Very soft, with plenty of depth, but a bit on the small side, so bigger ears may need to 'tuck' inside to have a circumaural fit.

On to the base/decoder box/headphone stand. The base is incredibly light. I personally would've wanted a heavier base, so it wouldn't slide around so easily, but that's more of a personal issue, as I'm constantly having to readjust the cables (using various sources for testing). I also would have preferred the power and Dolby button to be placed on the front, since there are times when you'll be switching from Stereo (for music) to Dolby (for games and DVD movies). Dolby Headphone doesn't discriminate and adds it's processing to all signals, which isn't a good thing for music and other 2 channel sources. It's a minor hassle having to reach around the back to switch it on/off.

Comfort:

The PLYR 1 is a pretty comfortable headset overall. It's not as featherweight as the Slyr, but it's relatively light. At first, it can be quite clampy, which makes the PLYR 1 lose out on points, but after leaving it stretched over my headphone amp, it loosened up. I think I overdid it though, as it was a bit TOO loose. I ended up placing a rubber band around the headband for a night, and it allowed the PLYR 1 to clamp to my head again. It's at a decent clamp, not as bad as it was when I first wore it.

The headband has a generous amount of extension, so it should fit all but gigantic heads. The pads are incredibly comfortable, and plenty deep, though they are a bit on the small side. They could stand to be quite a bit wider/longer to allow bigger ears to fit in without issue. The headband padding is just as good as the ear pads, and is an absolute non-issue.

Accessories:

Headset, base/decoder box, optical cable, 2.5mm (Xbox 360 chat cable), two usb cables. All you will ever need with the PLYR 1, though if you want to use external sources, you will want cables that terminate into 3.5mm to plug into the base's AUX IN.

Isolation/Leakage:

Like the SLYR, it's not the best at isolation/noise leak. It's not as bad as an open headphone, but I would expect better. Comparing it directly to Mr. Speaker's Mad Dogs, you can clearly tell that the PLYR 1 was lacking in noise control compared to the MD.

Microphone/Chat:

I'm not very experienced with headset mic capabilities, but I personally didn't have much if any issue with the microphone on the PLYR 1. It's malleable design ensures that you can position it any way you'd like to get it to pick up your voice properly.

Sound:

The PLYR 1 shares a lot with the SLYR. This was confirmed by Gernard Feril (Skullcandy rep) via email.


I asked if they shared the same drivers and frequency response:

So, the strengths and weaknesses of the SLYR were more or less the same in the PLYR 1. The PLYR 1 is a lively, energetic headphone, with boosted bass, but not overly so. Unlike its relative the Astro A50s, the PLYR 1 has less prominent bass which doesn't intrude it's mids or treble. It's a bassy headphone, make no mistake, but it doesn't hamper it's sound quality the way the A50's bass did.

Unlike the SLYR, I personally feel the PLYR 1 has less congestion, and a better sense of space. The sound breathes easier than the SLYR, which sounded a little more closed and two dimensional in comparison.

The wireless through its optical input is incredibly silent, with no discernible noise/hiss/hum. My only other wireless experience came with the A50 which had some background noise. The signal on the PLYR 1 (save for audio dropouts when launching PS3 games, which I'll touch upon later) was constant, distortion free, and clean.

The 3 EQ presets are as follows: (confirmed by Skullcandy's Head Engineer)



EQ1 (Bass Mode): It considerably recessed the mids, and gives the PLYR 1 a massive bass wallop. 8db is an overwhelming amount of bass, personally. I think 4db could have sufficed for bassheads, as the PLYR 1 is already bassy. I honestly didn't care for this preset. However, it is still better than the A50's bass heavy presets, which were just...not good at all.

EQ2 (Supreme Mode): The most natural of the 3, being mostly linear, though not completely. Like the Slyr, it's still bass emphasized, but as mentioned earlier, it's a nice bass boost that doesn't hamper the mids or treble detail.

EQ3 (precision Mode): This mode is slightly more v-shaped than EQ2, with a slight bump in bass and treble. The bass boost is subtle, and the treble boost adds a nice amount of air to the PLYR 1. The mids get ever so slightly pushed back, but it's benign, as the PLYR 1 still sounds relatively well balanced, despite the rise of it's higher/lower extremities. This mode has the most soundstage and air of the three, though ultimately, I still slightly prefer EQ2.

Before I get into the specifics of the PLYR 1's sound, I need to mention that I'm basing the majority of this review on the PLYR 1's EQ2 (Supreme Mode) preset, as that is it's inherent tonal balance without any EQ.

Sound Issues:

I found EQ1 and EQ3 to have distortion embedded in the signal when running Sinegen frequency sweeps. EQ2 had no such distortion. The distortion/noise isn't noticeable while gaming, and I had zero problems playing in EQ3, but just take note that the noise may be there. It's mostly in the lower octaves (most of the bass) that distorts pretty noticeably on Sinegen. Again, it wasn't noticeable while gaming.

Another issue is that the Auxiliary Line In on the base has some background hum that gets louder as you raise the volume. Regardless of source or cable, the hum remained. It reminded me of the hum I had on my Schiit Lyr tube amp. Ultimately, it's not a big issue while gaming. The hiss off the Mixamp Pro (2013) and Mixamp 5.8 were more noticeable than the low hum off the Plyr 1's Line In.

The last sound issue I had with the PLYR 1 is that the signal would drop indefinitely when going from the PS3's XMB into launching a game. It never dropped WHILE gaming however. On those occasions when I would lose audio, I'd either press the DH button or powered off/on the base/headset, which would then get the signal back with no further issues. I'll have to do more testing to see if it's just an issue with the PS3 switching from LPCM to Dolby Digital which causes the audio to drop.

Bass:

Like the Slyr, the PLYR 1 has a very full, lively, and fun amount of bass. I can't say anything I didn't already mention about the Slyr: "punchy, impactful, energetic bass that is quite present, but never overwhelming. It also has good speed and decay. Quite impressed with the SLYR's bass. A very good start. If I had to give the bass a quantity, I'd give them an 8. Plenty of bass for me. Not perfectly in line with mids and treble, but it's a GOOD emphasis."

Mids:

Again, like the Slyr, the PLYR 1 has similar mids: I'm used to v-shaped curves, with bass and treble emphasis, and recessed mids. Yet, the (Plyr 1) has some pretty (decent) mids next to the typical v shaped can. Slightly recessed next to the bass, but I'd say they're pretty in line with the treble. The SLYR's mids are slightly more forward, though I'm sure it's due to the more compact and intimate soundstage.

Treble:

Again, I felt the treble to be very much like the Slyr: "The treble is (ever so slightly) energetic, but it's not harsh. It's very close in balance to the mids for me. It is RARE for treble to be in the safe zone between too soft, and too harsh. The (PLYR 1) is DEFINITELY in that safe zone." The treble may be just a tad smoother than the SLYR, though it's close.

Soundstage:

The soundstage on the PLYR 1 is decidedly closed, but it's pretty airy and spacious despite being closed. From memory, it has a better sense of air and space than the SLYR, and so it performs a bit better for competitive gaming. In direct comparison to the Mad Dogs (which at the time of this review I was re-reviewing), the PLYR 1 sounds more open and spacious, though the Mad Dogs have better depth. On EQ3, the PLYR 1 gained a subtle amount of air and perceived soundstage.

Positioning:

The relatively decent soundstage for a closed headphone works better than the more congested SLYR's soundstage. Positional cues were relatively easy to pinpoint, though the soundstage depth wasn't stellar, and the imaging wasn't as clean and precise as some of the better headphones reviewed. If I were to score the positional cues, I'd give them a 7. Good.

Clarity:

The PLYR 1 isn't the most detailed headset or headphone I've heard, but for the purpose of gaming, it's pretty good. The flat preset is somewhat on a tonally neutral to slightly warm side, and I found the perceived clarity to be better on EQ3, despite it being more V-shaped.

Value:

For $180 MSRP, you get a solid wireless headset which includes it's own Dolby Headphone decoder and headphone stand. If you're a gamer and just want one very simple and affordable solution for ALL your gaming, music, movie needs, the PLYR 1 is going to be pretty hard to pass up.

Final Impressions:

The PLYR 1, like the SLYR is a winner by Skullcandy. I was very pleased by it's sound quality for music, gaming, and movies. Have I heard better? Of course. However, the PLYR 1 has a tonal balance that just resonates with my particular tastes. There are almost no headphones I have reviewed outside of Skullcandy's own SLYR that has the bass/mid/treble balance that I deem near PERFECT for my taste. The higher end cans I have reviewed have better quality, but their tonal balance isn't as dialed in to my tastes as the SLYR and PLYR 1. Paired with the fact that the PLYR 1 is wireless (and a very good wireless signal at that) makes it a must have for those looking for simple all in one solutions, despite a few drawbacks/issues with it's functionality and EQ presets having some distortion.

Final Scores...
There's nothing I can say about the PLYR 1's sound signature except that it's incredibly fun to listen to with all forms of media.
Due to a bigger soundstage, and sense of air that allows positional cues to stick out better than the SLYR, the PLYR 1 makes a better gaming headset overall. Depth isn't excellent, but overall, it does work quite well.
Initially a bit clampy, after some trial and error, the PLYR 1 is a pretty comfortable headphone, though some with bigger ears may have an issue with the small diameter of the pads.

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Sony MA900
11199390_thumb.jpg

Discontinued
The Sony MDR-MA900. MA900 for short. Modeled after Sony's own F1 and SA5000, the MA900 (like the F1) stands out in that there is a huge opening between the drivers and the rear side of the pads. I can honestly say I have never seen any other headphone with such an obvious lack of seal/isolation outside of the AKG K1000. It comes equipped with humongous 70mm drivers, which may be repurposed from the Sony XB1000, though unlike the XB1000, the MA900 is not placed in the Extra Bass line of Sony headphones, with good reason. I was always interested in the F1 for gaming/comfort purposes but I never took the plunge. I've since outgrown the desire to try the F1 and went on to pursue other ventures. With the release of the MA900, my interest in such a peculiar design was resurrected. The overwhelmingly positive impressions and reviews was the final straw, and I knew I just had to try them for myself if only to satiate my curiosity.

Build Quality:

Upon first glance, the build quality is suspect on the MA900. It is essentially two massive drivers surrounded in a black plastic-looking magnesium/aluminum alloy (it looks and feels like plastic to me) cups held by an incredibly thin headband that looks out of proportion with the massive cups. The cups are quite large, though for housing 70mm drivers, I expected, and have seen bigger. The color scheme is classic Sony black with silver Sony logos placed on the center of the outer cups with a thin silver accent separating the outer grill with the rest of the cups. The styling is pretty barebones overall. Not really what I'd call an aesthetic marvel, but they are inoffensive to the eyes, and won't bring attention to itself. I find the cups themselves to look quite nice, despite the basic, somewhat retro look.

The thin size adjustment mechanism is pretty standard fare, if a bit too loose for my taste. There are no markers/notches, so if you're OCD about having both sides at exactly the same length, you may need a measuring tool of some sort. On the center of the headband is a wider section covered in the same cloth material as the ear pads. The padding isn't generous nor is it horribly thin. It could stand to be a bit thicker, but with the MA900 being so incredibly lightweight, the headband is ultimately quite comfortable, if just a hint of a minor annoyance in comparison to everything else on the headphone.

The ear pads are placed on an angled portion of the cups (thus angling the drivers for optimal sound quality), and like the headband padding, are made up of a very breathable, cloth material. The pads used, paired with the huge cavity between the pads and the drivers ensure that your ears will stay cool for many hours. The ear pads are quite thin and lack density, and will flatten out quite easily. This is perhaps the most disappointing aspect of the MA900's design in terms of comfort. That's not saying much, as even though the pads flatten out, the pads are still incredibly comfortable. Still, had thicker, taller, denser pads been used, it would've improved the comfort to a legendary level. The driver cover is also made up of similar cloth material. Placed normally, your ears will more than likely press against the driver cover lightly, but for the vast majority of people, it won't be an issue.

The left cup houses the relatively thin and lengthy non-removable cable which terminates into a 3.5mm plug (6.3mm snap on gold-plated adapter included) with 'Thailand' embedded on the plug, letting everyone know where the headphones were made. The cable, while on the thinner side, isn't of the horrible, 'grippy' rubber material, and is instead smooth, quite flexible, and very lightweight. Neither the plug, nor the entrance to the headphone itself have robust strain reliefs, so I'd be careful in yanking the cable.

I believe they went with such a thin, seemingly frail design with some concessions made to it's build quality in order to keep the MA900 incredibly lightweight and non-intrusive on the head and ears. I don't expect the MA900 to fail me in terms of it's build, and I'm moderately careful with my headphones. So, it's not the sturdiest headphone, nor is it just going to crumble in your hands. I personally feel like they can be tossed around in a bag without too much worry. I'd mostly just be careful to not trip/run over the cable. In the end, I forgive Sony for going with this design, because I'm an absolute fan of their comfort. So much, that the MA900 is now the only headphone I wanna put on my head. Seriously.

Comfort:

This is perhaps the single most defining trait of the MA900. The MA900 is undeniably, and inarguably one of the most comfortable headphones I have ever worn. It seemingly weighs absolutely nothing when you put it on. The headphone just rests on your head with just enough clamp to keep them from slipping and sliding around unlike the 3d wing design and incredibly loose fit of the Audio technica AD700. No, really. You can compare with some other top tier headphones in terms of comfort, and the MA900 will still put them to absolute shame.

Is it PERFECT? No. The headband could be just a little more plush to make it truly disappear on the top of the head. The pads can stand to also be more plush, to both keep from flattening out, and to keep the ears from lightly touching the drivers. That being said, the driver cover is of similar cloth to the pads and headband and won't crush your ears, so it won't offend the ears compared to something like the premium Beyerdynamic DT770/880/990 which have a tendency on crushing ear due to their shallow pads. Every once in awhile you'll have the urge to readjust the MA900. That's about the only real gripe I personally have.

Despite these very minor annoyances, there's arguably no real competition from all the headphones I have worn (and I have worn many). The MA900 truly stands alone as the king of full size headphone comfort. Only those with a strong aversion to their ears touching any material may find them uncomfortable.

Design Issues:

The MA900 has a few things that I feel are worth noting. When adjusting the size, I STRONGLY advise on actually holding the headphone on the exposed rubber pieces where they extend, and adjust the headphone by holding the solid arm piece with the other hand and pulling. Don't just yank the cups down while they're on your head, and don't adjust the size by holding the headband and pulling down on the cups or the arm piece as you can cause the rubber pieces to slip out of the headband and expose the wires. Protect the rubber piece between the headband and the cups by holding that specific piece tightly when adjusting. Trust me on this.

Also, as previously mentioned, the cable doesn't have a proper strain relief, so make sure not to yank on it from either the entry point to the headphone itself or the headphone jack. With proper care, the MA900 shouldn't have any build quality issues despite it's thin, light design. If you're somewhat abusive to your headphones, then perhaps the MA900 is not for you. However, I don't see an issue coming up with tossing them around. Just be careful with the cable itself.

Finally, this may not really be an issue, but I need to mention that the MA900 is sensitive to ear placement. It's possible to reduce bass and make the MA900 slightly more holographic sounding by placing your ears closer to the rear side of the pads. I personally recommend wearing the MA900 in it's natural position, with the ears as close to the center as possible to ensure you get the intended sound quality. The one benefit I find by wearing the MA900 with the ears close to the rear, is that your ears will breathe a little more, and won't touch the driver cover.

Accessories:

The MA900 comes with a 6.3mm gold plated adapter attached to the plug. It also comes with a rather gaudy looking gold carrying pouch. The pouch doesn't even have a Sony label on it, but at least it's functional. I would've preferred a black, cloth pouch like those that came with the Sony XB500.

Isolation/Leakage:

I'll make this easy for all of you. If you're looking for isolation and noise control, skip every open ear headphone, especially ones as open as the MA900. The MA900 by design is incredibly open, to the point of having a large gaping void between the pads and the driver housing. This means that the sound of the MA900 will leak out as much as if you're holding the MA900 in your hands with the cups spread apart. If holding a pair of headphones in the air with the cups spread apart is too loud for you (at your listening level), then the MA900 won't help matters.

Sound:

The Sony MA900 has comfort and price in the bag. Does the sound hold up? Absolutely. The Sony is what I consider a true all-rounder, doing many things well, with no glaring flaws other than a slightly polite treble response. It won't be the best at any one thing, but do all manner of things well. Tonally warm, well balanced, with some fantastic imaging, and a large, spacious soundstage. The MA900 in all honesty, shares a lot with the HD650 with some key differences, which I'll touch upon in the comparison section.

Bass:

The MA900's bass is actually quite impressive. For an open dynamic headphone with such a large leakage point in the hole between the pads and the drivers, the bass is surprisingly pretty competent and hits with convincing authority. It hits hard when a song calls for it, and is well in line with the mids every other time. Note that there is a noticeable sub bass roll off, so don't expect a massive low end rumble from these. Mid bass is more than plentiful, and could even be seen as ever so slightly emphasized. More bass than the AKG Q701, and about on par with the K702 65th Anniversary, despite the latter having more linearity in the bass that extends and reaches lower. Feed the MA900 some music that asks for bass, and the MA900 won't disappoint for anyone looking for good, balanced bass. Bassheads need not apply.

Mids:

This is without a doubt the star of the MA900's show, and it's greatest strength. The MA900's warm, organic tonality is thanks mostly in part due to it's realistic voicing, and fleshed out mid section. Thankfully, the mids don't come out as shouty or over-emphasized due to the mid bass staying relatively on par with the mids, giving the MA900 a linear curve that doesn't particularly add emphasis to anything. The large, spacious soundstage places some distance between you and the vocals in the virtual space, so the MA900's mids aren't as intimate as something like the LCD2, HD650, and K702 Anniversary. It is however still the area in sound that brings to the most attention to the MA900, with zero mid recession. If you love natural sounding, clear vocals, the MA900 is a safe bet. One of the best mid sections out of all the headphones I've owned.

Treble:

If anything can be considered to be the weakest area of the MA900 and the least likely to grab attention when it comes to the sound signature, it would definitely be the treble region. The MA900's treble is not the final word on energy, sparkle, and aggression. However, it's definitely not veiled or overly rolled off. The MA900's treble is on the smooth side, inoffensive, and almost entirely non-fatiguing. It doesn't extend as well as brighter, more treble oriented headphones, sacrificing some hyper detail and upper clarity for overall listening comfort. If you want a headphone to analyzing hyper details, the MA900 is not it. However, if you're looking for a headphone that won't shatter your ears with sibilance, and instead give you a pleasant amount of non-fatiguing treble, the MA900 will be right up your alley.

Soundstage:

Following in the footsteps of my HP-800 review, the MA900 follows suit as a tonally warm headphone with smooth treble still manages to have a large, spacious soundstage. The smoother presentation causes instruments and sound effects to sound thicker, but a little less defined, and less cohesive in the virtual space (like the K702 Anniversary). However, this is in comparison to the more analytically inclined headphones like the AD700, K702, and other, more treble oriented headphones like the DT990.

Positioning:

This shouldn't come as a surprise due to the fantastic imaging, large, spacious soundstage, and very balanced sound: the MA900 has some fantastic positional cues. While the positional cues aren't as tightly defined as other headphones like the K701 and AD700, placement is spread apart, and easy to locate in the virtual space. Like the K702 Anniversary, the notes are on the thicker side, just robbing positional cues of just a little bit of breathing room, but when there is already so much available virtual space, it's nothing truly to be concerned about. The MA900 makes for a fantastic competitive gaming headphone, with no sacrifices made to its immersion for fun oriented gaming. What that means is that if you're looking for a headphone that will easily locate enemies, or other sound effects, yet do great with other forms of gaming, the MA900 makes a compelling argument for your hard earned money.

Clarity:

Thanks to the MA900's fantastic mids, and overall linear response, there really is nothing that blocks the vast majority of details. The treble's smooth and inoffensive nature may bottleneck and mask the upper range's last bit of extension and hyper detail, but as we all should know by now, mids are where the vast majority of sound is, and the MA900 has plenty of it. There is plenty of clarity otherwise. The MA900 may not be the most refined and technically proficient headphone out there, but for most uses, clarity is not going to be a problem.

For gaming, there's not going to be anything that performs well above the MA900 in terms of sound-whoring, unless you want to sacrifice the realistic tone, immersion, and pleasant signature for pure analytical use.

Amping:

The MA900 has a very interesting design, in that there is an impedance compensator, allowing the MA900 to be used with basically any standard headphone amp without having to worry about the output impedance altering the MA900's frequency response curve. The MA900 is actually quite efficient, and incredibly sensitive to boot. A portable amp would be basically all the MA900 needs. For gaming purposes, nothing in addition to something like the mixamp would be necessary.

Value:

The Sony MDR-MA900 represented one of the greatest values I've seen for ANY headphone. There is so much it does right, with very few caveats, which really aren't even based off it's fantastic sound. In my opinion, the MA900 stood nearly uncontested in the under $200 price bracket. A serious headphone for your money. That being said, the MA900 has been discontinued, and prices have shot up.

Final Impressions:

Great sound, truly amazing comfort, minimal amping requirement, and (at the time) relatively affordable price. It also does most forms of music genres, and all forms of gaming very well. What more can you ask for? The build quality and incredibly light weight doesn't inspire the most confidence in terms of durability, but with some care, I don't see the build being problematic. The Sony MA900 will now be my baseline and point of reference for all headphones in the $200 price range (even though it is no longer sold). The MA900 is quite possibly one of the easiest headphones to recommend for anyone that isn't a pure basshead or in need of isolation.

Final Scores...
Warm, immersive, and balanced bass that kicks with authority when asked for. The sub bass is a weakness in terms of immersion, but when so much content focuses on mid bass, it really isn't a detriment to the MA900's fun factor.
The large soundstage, paired with great balance, and fantastic positional cues make the MA900 a truly sublime, competitive gaming headphone. The positional cues aren't as incredibly well defined as some of the more analytical or treble emphasized headphones, but overall, there is little to complain about for competitive use.
Despite the minor annoyances of the thin headband padding and ear pads, and your ears touching the driver covers, there just isn't much out there that stack up to the MA900 in terms of long wearing comfort. Incredibly light and heatproof make the MA900 an absolute comfort legend. As stated earlier, if you have a strong aversion against your ears touching any material, these may not be for you. Considering how long I've used the Koss KSC75/KSC35, which always press on the ear, the MA900's softer driver cover which doesn't press as hard, is mostly a non-issue that will need just a little readjusting once in awhile.

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Tritton AX Pro (true 5.1 *headset*)


Sells for $170.
This is my first and LAST 5.1 headset. I couldn't believe it was worth $189. The sound quality was absolutely mediocre, more on par with $30 headphones (KSC75 excluded). Now to the meat of the reason anyone would get this: The 5.1 speakers. If it's better than virtual surround, it sure could have fooled me, because I wasn't buying into that gimmick. There was a noticeable gap between the drivers when a sound switched from one driver to the next. Sure, you can TELL where sounds are coming from if you pay attention to which driver is currently putting off noise, but I'll take the complete 360 degree soundfield Dolby Headphone has to offer over the AX Pros. The AX720 is better, and cheaper, plus the AX720's amp can be used with other headphones. There is absolutely no reason to own the Ax Pros, unless you want to see just how inferior it is to a good headphone paired with Dolby Headphone.

Comfort-wise, I didn't find them bad or great. They do their job, though for a sealed headphone, they are comfortable. Same as AX720.
Fun: 4/10 (Bad)
Competitive: 6/10 (Decent)
Comfort: 7/10 (Good)



Tier A: $300+

AKG K702 65th Anniversary Edition


Sells for $400-$500
The K702 65th Anniversary Edition. Limited to around 3000 units worldwide, sold at a premium, with a new headband, memory foam pads, gunmetal-like color scheme, and supposed retuning of the hand-picked drivers. I found the name to be a mouthful, so I decided to call it the K702 Annie, or just Annie. Thankfully, the name stuck. So from here on out, I'll be calling it the Annie.

Bass:

Sound-wise, this is the most significant change coming off the older models. The Annie presents bass quite well. You can consider it slightly above neutral. Natural if the source doesn't have a need for bass, and quite full and involving when the need for bass is there. There were times where I found them to have more bass than even the HE-400. Overall, it certainly does not, but make no mistake, the bass can be quite full, layered, textured, and infectious.

What it improves over the Q701 is that the bass is no longer situational. It doesn't just hit with really bass heavy songs. It hits at all times, in a very natural way. Put on a bassy track, movie, game, etc, and the Annie WILL impress bass-wise. Make no mistake. I always found the Q701 and especially the old K701 to be slightly below neutral, bass-wise. The bass would decay too quickly, and wouldn't hit with enough energy to give a sense of naturality. No longer an issue with the Annie. Unless you're a basshead, I don't think there will be much to complain about here. If you like accurate, yet full bass, the Annie will impress. They are also absolutely stellar for movies in Dolby Headphone.

Mids:

The mids on the K701/K702/Q701 have always been forward. However, due to the very large soundstage, they didn't come across as intimate. That large sense of space made the mids seem pushed back, even though they were actually forward in the mix compared to the bass and treble. The Q701's extra push in bass over the old K701 filled out the sound more, making the mids more natural than before. The Annie further improves on the mids by integrating them even more with the bass and treble. Due to the fuller, warmer sound signature, the mids are still forward, but not as distant due to a thicker sound. The mids are an absolute strength on the Annies. They remind me mostly of the HD650's mids, albeit with less intimacy due to the bigger soundstage. The HD650's strength is in the intimate mids due to a smaller, more closed in soundstage, placing the mids quite near you. The Annie's mids aren't HD650 special, but still fantastic.

The older models had some form of upper mid peak that caused some fatigue with certain music and the like. I personally have not heard any upper mid peak on the Annie, leading me to believe that the stronger bass, and warmer tone fleshed out and softened that peak to non-fatiguing levels. In this instance, the Annie shows what the Q701 would be like when perfected.

Treble:

The treble to me, has been a strength for both the Q701 and Annie. Both are detailed, yet smooth, still packing energy without being fatiguing. As mentioned before, the fatiguing area of the older AKGs was in the upper mids, and not the treble.

Soundstage:

Oh, that soundstage. The K and Q models have all been known to have some truly immense soundstage width, and good depth. The Annie follows suit with equally large soundstage, despite the overall sound being thicker which further integrates sound cues with the soundstage, making it not as apparently airy. Notice that I said 'not as airy', and not 'smaller'. This is both a pro and con. The thinner sounding K701 (old) had an incredible sense of air due to the thinner notes, which were't full sounding in comparison. This made notes easier to pick up, despite not sounding as natural as the Q701 and especially the Annie. What all this means, is that sound effects on the Annie occupy more of the space around you in comparison to the older models, for an overall meatier/weightier sound.

Positioning:

Though I discussed the thicker body of sound making the soundstage not as airy as the old K701 and to a lesser extent, the Q701, positional cues were not hampered in any way. This means that you can expect amazing performance with Dolby Headphone. Lots of space for positional cues to do their magic. Surely among the best that I have reviewed.

Clarity:

The Annie's warmer, less immediately detail oriented sound signature compared to the older models does not mean they lack clarity. The Annie is a very revealing headphone, just as the Q701 is, though it shifts the focus a bit more towards warmth, and musicality. The Annie is in a place that reaps the benefits of both warmth and detail focus, though if you put it next to the old K701, then yes, it will come off as less detailed, as you're it isn't dry, sterile, or particularly analytical.

Amping:

As with the older models, the Annie is very sneaky in terms of amping requirements. It needs minimal amping to play loudly, but the AKGs are notorious for craving as much power as 600ohm headphones. The Q701 was one of the most amp reliant headphones I had ever heard, and changed the most out of any dynamic headphone I ever heard and reviewed here. You will get away with moderate amping, but believe me, you will be doing a disservice to all the Ks and Qs by skimping out on amping. If you're gonna spend this much money on these headphones, you shouldn't feed it weak power, IMHO. They will reward you. The Annie is definitely the easiest of the models to power in terms of sounding good, but they benefit from good amping. Still, if you absolutely can't do with much amping, the Annie sounds quite full and refined off lesser equipment compared to the other models.

Build Quality:

Made of a durable plastic, and well thought out design, I find the build quality to be quite good. I wouldn't toss them around haphazardly, but they'd definitely survive some abuse. The detachable cable is like the non-Anniversary models, which isn't the thickest I've seen, but certainly very malleable, flexible, and light. It certainly does it's job, though I would have expected a more rugged, or fancier cable for this very limited edition variant.

Compared to the non-Anniversary models of the K701/K702/Q701, the headband is thinner in width when viewed from the top/bottom, with a widening of the area where the AKG branding is located. The biggest difference (and it's incredibly significant), is that the underside of the headband no longer has the notorious (7-8) bumps, and is instead completely smooth. This basically turns the Annie from a torture device to a godsend in headband comfort. There is no padding, but it is absolutely unnecessary as the headband perfectly molds to your head, distributing pressure evenly across where it rests. The bumped headbands were notorious for digging into the scalp, especially on the center one or two bumps. Why it took AKG this long to rectify this issue the vast majority of people had is beyond me, but it's finally done.

The headband also has the added benefit of allowing bigger heads to fit due to less stiffness, and more space. Prior to the Annie, I basically needed the other models to be fully extended for them to fit my head. This caused a lot of tight, downwards pressure, which in addition to the hard bumps, didn't lead to the most comfortable headband design. It took me a few days to adjust to the older models, but I didn't find them as problematic as most people still do.

The pads are the second most significant change from the older models. They are made of memory foam inside velour. Very dense and molds to your head shape MUCH more than the older model pads. This causes a better seal, which is more than likely the main reason why the sound signature is warmer, and more bassy (though no consensus or proof that it either is or isn't what causes all the sonic difference between the older models). Other than those two main differences, the Annie is physically a rebadged K702.

Comfort:

As previously mentioned, due to the new headband and new pads, the Annie has made a substantial boost in comfort over the older models. I would say that from what I've read, the K701/K702/Q701's comfort is hypothetically a 5/10 (for everyone else). The Annie, however would more than likely jump up to a 9/10 in comfort. Yes, the headband change is that significant. The removal of the dreaded bumps would basically satisfy ANYONE who had issues with them on the older models, and even those that don't have issues with the bumps.

The pads are arguable, as the older pads, while more firm, breathed a little easier than the new memory foam velours. In either case, neither are sweat inducing or uncomfortable, personally. I find the older models to be not as uncomfortable as most people would lead to believe, but the Annie provides a noticeable boost in comfort either way.

Accessories:

Nothing but a 6.3mm adapter. Just the goods.

Isolation/Leakage:

I don't know if it's just me, but even for a fully open headphone, I found these to not leak out as much as most open cans. I'm pretty sure it's due to the pads. The sound does not escape from the pads, but from the grills, and I find them to be pretty good at keeping sound in despite it's openness. I found the older models to leak out quite a bit more, more than likely due to the velour pads being a bit more breathable.

Value:

At around $375, the Annie is a tough sell, especially for those who own the later K702/Q701s (not sure on the newer K701). The non-Annies consistently sell for around $200-230. If you're fine with their sound signature and comfort, it's quite hard to recommend the Annie, despite the addition of warmth, bass, and overall tonality. The Annie brings out what was lacking in the older models, for sure, but the jump in price may not be worth it to some. If you haven't owned any of the standard models and can afford the Annie, I highly recommend jumping straight to the Annie if you feel the difference in signature is worth it to you.

Final Impressions:

In the Annie you have: very balanced, warm, detailed, spacious, god tier in positional cues, fun, engaging, and extreme comfort. If it sounds like I'm gushing about them, that's because I am. There is VERY little to complain about here. This is my idea of a perfected, well balanced headphone. The Annie is one of my absolute favorite headphones ever, and due to it's comfort, musicality, and gaming prowess, the Annie would be one of those headphones I could live happily with even if it was my only headphone.

Final Scores...
The bass is mildly above neutral to my ears, while still maintaining good accuracy, giving it the injection of fun that the other models lacked without being too emphasized to hamper it's overall well balanced signature. The soundstage paired with it's tonality, give it a great sense of immersion for ALL manners of gaming and movies, etc. I base this value on overall package, and not just bass emphasis. The Annie is one of the most impressive and fun headphones all around.
These are like the Q701, with a trade off of pure analytical detail-whoring, for an overall better balance between fun and competitive. Positional cues are just as good.
A significant leap in comfort compared to the older models due to the flat/smooth headband which allows for more extension. The memory foam velours contour to head shape incredibly well, and aren't as sweat inducing as pleather/leather. The Annie is a light headphone as well. The only problem I foresee others having is that due to the size of the pads (like the older models), the pads may rest on the jaw which may cause some discomfort.
It's no secret how fantastic the Annies are to me. They will remain one of my top recommendations for all around purpose.

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AKG K712 Pro
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Street Price: $379
Where To Buy: Amazon.com

Before I begin, I'd like to personally thank guide contributor and friend, Evshrug for sending these out to me for review.

The K712 Pro, the latest and greatest AKG headphone to supersede the (in)famous 7xx line (K701, K702, Q701, K702 65th Anniversary Edition being the previous models) as AKG's best mid-fi headphone. I have been wondering just how different the K712 Pro is to my dearly departed K702 65th Anniversary. Turns out, not much (I wouldn't doubt that some people would find them near identical), but there are differences, however subtle they may be. Also need to mention that my K702 Anniversary was one of the earlier ones sold that had flatter/shorter pads, which may be the main difference between the Annie and K712's sonic differences. The K712 Pro had a lot to live up to, seeing as the Annie is more or less my favorite open dynamic headphone to date.

Build Quality:
Rating: Great

I'll basically paste what I've said about the K702 65th Anniversary, as the build is absolutely identical to the Annie. The only differences between the color differences (Annie is gunmetal with blue bars and accents, K712 Pro is black with orange bars and accents).

Made of a durable plastic, and well thought out design, I find the build quality to be great. I wouldn't toss them around haphazardly, but they'd definitely survive some abuse. The detachable cable is like the non-Anniversary models, which isn't the thickest I've seen, but certainly very malleable, flexible, and light. It certainly does it's job, though I would have expected a more rugged, or fancier cable for these higher priced variants.

Compared to the non-Anniversary models of the K701/K702/Q701, the headband is thinner in width when viewed from the top/bottom, with a widening of the area where the AKG branding is located. The biggest difference (and it's incredibly significant), is that the underside of the headband no longer has the notorious (7-8) bumps, and is instead completely smooth. This basically turns the K712 Pro from a torture device to a very comfortable headphone. There is no padding, but it is mostly unnecessary as the headband perfectly molds to your head, distributing pressure evenly across where it rests. The bumped headbands were notorious for digging into the scalp, especially on the center one or two bumps. Why it took AKG this long to rectify this issue the vast majority of people had is beyond me, but it's finally done.

The headband also has the added benefit of allowing bigger heads to fit due to less stiffness, and more space. Prior to the K712 Pro and K702 Anniversary, I basically needed the other models to be fully extended for them to fit my head. This caused a lot of tight, downwards pressure, which in addition to the hard bumps, didn't lead to the most comfortable headband design. It took me a few days to adjust to the older models, and I didn't find them as problematic as most people still do.

The pads are the second most significant change from the older models. They are made of memory foam inside velour. Very dense and molds to your head shape MUCH more than the older model pads. This causes a better seal, which is more than likely the main reason why the sound signature is warmer, and more bassy (from my experience with using a Q701 with the Annie pads, I found the Q701 to sound 99.9% the same as the Annie, with a slightly brighter tone which may have just been driver variation).

Accessories:
  • Velvet carrying pouch: One of the best carrying pouches I've seen bundled with headphones. It's thick and feels great, though it won't protect a headphone from much except dust and scuff/scratches.
  • Long coiled cable (black)
  • Straight cable (orange) w/6.3mm screw on adapter

Comfort:
Rating: Amazing

As previously mentioned, due to the new headband and new pads, the K712 Pro has made a noticeable boost in comfort over the older models. The headband change is significant for comfort. The removal of the dreaded bumps would basically satisfy ANYONE who had issues with them on the older models, and even those that don't have issues with the bumps.

The pads are arguable, as the standard 7xx pads, while more firm, breathed a little easier than the new memory foam velours. In either case, neither are sweat inducing or uncomfortable, personally. The new memory foam pads molds to the shape of one's head, leading to no uneven pressure. I find the older models to be not as uncomfortable as most people would lead to believe, but the K712 Pro would more than likely satisfy those who have problems with the older pads.

The K712 pro is easily one of the most comfortable full-sized headphones I've ever worn.

Design Issues:

There really isn't anything to complain about with the K712 Pro. If anything, some may not particularly like how big the cups are, but that's the nature of a full-sized over ear headphone. AKG has more or less perfected their 7xx design, fixing all of the previous issues people had with them (headband bumps being the main problem). The only thing I can see improving upon this design is to add some padding underneath the currently bare headband strap, which would further drive the comfort towards perfection.

Isolation/Leakage:
Rating: Poor

The K712 Pro is a fully open headphone, and as such, it is expected not to perform well for noise isolation/leakage. As I mention time and time again, reports of open headphone's leak tend to be severely exaggerated. Yes, you may bother someone in the same room, but never someone in another room, even with the door open. Unless you need absolute silence in the same room, open headphones don't leak so loud as to bother most people, possibly even if they were in the same room.

Sound:
Rating: Amazing

People will undoubtedly complain about the incremental improvements constantly being made to their 7xx drivers, but to those who haven't experienced every little upgrade (or even those who have) will find the K712 Pro to be the their strongest headphones yet based on their 7xx drivers. What you get in the K712 Pro is the most musical, and fleshed out variant, with a noticeable addition of bass, warmth, and pleasing tonality. AKG had previously made most of these improvements with the K702 65th Anniversary (aka Annie), but the Annie had some trade offs, particularly in the sense of spaciousness (not necessarily soundstage itself), and upper range clarity and detail (which were slightly lessened due to a smoother, less fatiguing upper range). The Annie was a slightly different flavor of the K712 Pro sound, with a thicker body of sound, more intimacy, and smoother, slightly more organic sound. I'm exaggerating the differences, as they are subtle, but a good ear can tell them apart.

The K712 is the perfect middle ground between the standard 7xx airy sound, and the Annie's warmer, more fluid presentation.

NOTE: I'm basing my assessment of the Annie with it's ORIGINAL memory foam pads, which AKG has since replaced with a taller memory foam. The new pads on the Annie may have closed the gap even more between the two headphones to the point where it may be harder to discern the differences in sound quality. I haven't heard the Annie with new pads, so I can't personally confirm. Just something to keep in mind, in case those with a newer Annie don't agree with what I say here.

Bass:
Rating: Excellent

The K712 pro's bass is quite well balanced and always present, favoring midbass over sub bass (which rolls off a little compared to the K612 Pro which maintains it's bass to very low levels, though isn't energetic and forward as the K712 Pro). The bass is full, fluid, and rich, creating some warmth and body to the meat of the K712's sound. Because the bass is very, very similar to the K702 Annie's bass, I will quote most of what I said about those, with a few edits:

Sound-wise, this is the most significant change coming off the older models. The K712 Pro presents bass quite well. You can consider it mildly above neutral. Natural if the source doesn't have a need for bass, and quite full and involving when the need for bass is there. Overall, the bass can be quite full, layered, textured, and infectious.

What it improves over the standard models is that the bass is no longer situational. It doesn't just hit with really bass heavy songs. It hits at all times, in a very natural way. Put on a bassy track, movie, game, etc, and the K712 Pro will impress. Make no mistake. I've always found the Q701, and particularly, the old K701 to be slightly below neutral. The bass would decay too quickly, and wouldn't hit with enough energy to give a sense of naturality. No longer an issue with the K712 Pro. Unless you're a basshead, I don't think there will be much to complain about here. If you like accurate, yet full bass, the K712 pro will impress.

Mids:
Rating: Great

The K712 Pro's mids sit between the 7xx's mids and the Annie's more upfront and intimate presentation. The K712's mids sound pushed back in comparison to the Annie, though not pushed back in the way of recession, but more because the soundstage is large and nothing is exactly upfront and in your face. The lower mids are aided by the lean towards bass that the K712 has, which results in a warm, and tonally realistic voicing compared to the standard 7xx and even the incredibly balanced K612 Pro, which comes of a little dry in direct comparison.

The one downside I see in the mids is that the patented AKG upper mids peak is still somewhat present, causing certain sounds to have an artificial etch to them, and seem out of place next to the K712 Pro's general warmth and smoothness. It isn't as pronounced as the standard 7xx models however, and the warm tonality and fleshed out signature of the K712 mitigate the fatigue a bit compared to the standard 7xx.

All in all, the K712's mids are more or less balanced with the rest of the sound, and are never lost or masked.

Treble:
Rating: Great

The K712's treble maintains a level of sparkle some found lacking on the Annie. The treble is generally smooth with some upper end peak as usual of the 7xx line, cutting off some extension as well as the fatigue that can be associated with too much treble in those ranges. The K712's treble adds some much beneficial air to the soundstage, as well as clarity and detail which isn't typical of warm/smooth headphones (which tend to roll off in the treble range).

I personally have to say that I really love the K712's treble as it isn't an everyday occurrence to find warm headphones that sparkle in the same way as the K712. I also love the original Annie's smoother, less fatiguing presentation, but it did come across more subdued. I'd say the K712's treble is generally more favorable, and more likely to please most people.

Soundstage:
Rating: Excellent

While the original Annie had a large soundstage, the thicker body of sound and smoother treble made the soundstage sound more restricted and congested compared to the standard 7xx and K712. The K712's soundstage is spacious, and excels particularly in width. The soundstage is dimensional, holographic, and layered. The K612 Pro didn't have the same dimensionality and layering in direct comparison, despite it's large size.

Positioning:
Rating: Excellent

A large soundstage, generally linear balance, and great detail is a recipe for success. The K712 excels in positional cues, much like the standard 7xx line, but with more body, and fullness. One can argue that it won't be as masterful for competitive gaming focus due to the standard 7xx model's tilt towards analyzing and detail-retrieval, but the K712 doesn't give up much in the way of those things, and adds in extra immersion.

Clarity:
Rating: Excellent

Objectively speaking, the standard 7xx models as well as the K612 Pro have a clearer tonality over the warmer, more musical K712 Pro. That being said, the refinement, musicality, and tonality of the K712 Pro is more natural sounding and realistic in comparison. The standard 7xx sounds artificially boosted for clarity, which may be good for raw detail, but bad for enjoyment. The K712 has excellent clarity, and I don't feel like I'm losing much of anything when choosing the K712 over the standard 7xx models.

Amping:
Necessary

The K712 Pro doesn't require much to sound fantastic, but as with all 7xx models, they scale up with better gear and amping. I would recommend a decent desktop amp for these. That being said, I enjoyed the K712 Pro with the Fiio E12, and didn't feel I needed much more. I can easily live quite happily with the K712 Pro and FiiO E12.

Personal Recommendation?
  • Movies, Music, In General? Yes
  • Gaming? Yes

The K712 Pro, is among my very favorite headphones I have ever heard, and currently my favorite open dynamic for all around use, even over the Philips Fidelio X1. If you're looking for the best all-rounder under $400, the K712 is one my absolute top recommendations. While I prefer the original Annie (flatter pads) for certain things (the mids and intimacy for music), the K712 has a better sound signature due to a clearer upper range and better sense of space which will benefit a larger amount of media, including gaming.

As a cheaper alternative, you can get a standard 7xx, and if you order some K712 pads for it, it essentially becomes a cheaper Annie/K712 Pro alternative for around $100 less than the Annie and K712 normally go for. It may not be completely identical, but it will be close. You also get the benefit of having both the standard pads as well as the K712 pads for easy swapping and tonality change. Your mileage may vary as driver variation needs to be taken into account. I recommend the K702 most for this, since it has a bumpless headband, while the K701 and Q701 still have the uncomfortable bumps, though will also benefit from this pad swap in the same exact way.

Final Impressions:

The K712 Pro has proven to be the best mid level AKG headphone in terms of musicality, refinement, and organic tonality. Yes, it doesn't stray far from that well known 7xx sound, but it eliminates most of what people disliked about them, while adding nearly all the things that were lacking (bass, warmth, organic sound). If you happen to like the standard 7xx and wished for more warmth, bass, and musicality, with less upper mid/lower treble fatigue, the K712 Pro demands your attention. I admit I was skeptical at first, seeing how much I love the original Annie and heard that the K712 reduced the intimacy. My fears were quelled, as the K712 gained it's own benefits over the smoother, original Annie, mainly in the addition of air/less congestion and upper range clarity.

I'm actually quite in love with the K712 Pro overall, and I find it to be a great endgame headphone for those without deep pockets. It's a safe bet to say that the K712 Pro is a headphone that I can recommend to practically anyone.
The most immersive AKG headphone I've heard to date. Excellent bass response, natural sound, and spacious soundstage makes for a very fun headphone.
While the standard 7xx models may be more detail oriented for easier soundwhoring, the K712 Pro is no slouch with great clarity without the expense of immersion and fun factor in general.
Sharing the same exact comfort I loved in the K702 65th Anniversary, the K712 Pro is among the most comfortable headphones I've ever worn. Auto adjusting headband, soft memory foam pads, and light frame. Not much more you can ask for.
The K712 Pro is amazing, plain and simple. If you want a great all rounder that does practically everything well, the K712 Pro is an incredibly easy recommendation.


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Audeze LCD-1

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$399 as of November 2019
Where to buy: Audeze
MAIN Review (WITH ALL IMAGES) First Posted HERE.

Disclaimer: A special thanks to Audeze for sending the LCD-1 out for review. I contacted Audeze directly though it seems they hadn't thought about the LCD-1 and its performance for gaming purposes, hence why I wasn't contacted first. Fair enough, though I do believe any headphone that performs well for general audiophile applications will tend to, at the very least, perform competently in the gaming landscape.

As always, whether products are sent to me or not, I do my best in being 100% honest with my views and opinions. If I don't like a product, I will refuse to write a review of it or at least mention what I don't like about them, though I like to focus on products that people would like or at the very least are interested in. The only bias I have is to my readers and making sure they know about good products. On to the review.


I came upon the LCD-1 through Head-fi's main page, and was immediately interested in testing them out. A lightweight Audeze LCD planar, in a lower price bracket? Sign me up! I had to see what they could bring to the table. I still think the Audeze Mobius is one hell of a versatile offering, but not one that would satiate the general audiophile that prefers using their own gear, in a more...standard source-dac-amp-headphone setup. I don't see why the two couldn't co-exist, as they hit two very different demographics. One that just wants a swiss army knife approach in a headphone, and one that strictly abides to the rawest, bare essentials form of headphones.

The naming scheme may seem confusing at first, as the original LCD-1 was a completely different headphone that Audeze sold in very, VERY limited quantities. It wasn't until the LCD-2 that Audeze became a household name for audiophiles everywhere, and it's my assumption that they decided to bring in the LCD-1 name back as a way to separate their tiers of LCD headphones. I definitely do understand the logic behind this, if that is indeed the reason. Not that the LCD-1 should be regarded as the lowest tier of anything. It just happens to be the entry point to Audeze's LCD-line, is all.
Build Quality

At first glance, and at a distance, the LCD-1 seems to share a lot of design traits as the Audeze Mobius. It's just that, some key design traits, and not a copy/paste form factor. I'm actually quite surprised Audeze didn't just reuse the Mobius's body and accommodate for differences like no longer needing the space for a battery, an internal dac/amp and other key Mobius-specific features. Instead, it seems the LCD-1's design stands out from the Mobius in some significant ways.

The LCD-1 looks like complete business. Not much in the way of design frills here. I can appreciate the utilitarian design. It's not a boring headphone, aesthetically, but it doesn't call attention to itself. From its modest form factor, to its simplistic black and silver color scheme, it certainly wouldn't stand out in a local electronics store. I certainly don't mind this at all. Not everything necessitates extravagance.


Headband:

The LCD-1's headband, isn't as lengthy as the Mobius in terms on the top side, as the extension area is placed higher up and further away from the cups. The headband is also now fully covered in leather material, with plastic ends where the extension begins. The underside of the headband has a longer section of padding compared to the Mobius, which, while not as thick and plush as the material on the Mobius, extends further out, leading to a more ideal fit. It wraps around the head better, while with the Mobius, you can sort of 'feel' that the padding is directly on top of the head.

While the size adjustment is placed higher and closer to the headband, it is identical to the Mobius in terms of how it extends, the materials, and even the noise it makes as you change the size. Below the size adjustment section is the last bit of the headband space, which is essentially to long plastic bars. Near the area that meets the yokes is the collapsing mechanism, allowing the LCD-1 to collapse towards the headband, for much smaller footprint, and easier portability.

The yokes/forks look similar in design to the Mobius, but there are significant changes. The Mobius swivels inward while the LCD-1 swivels outward. This means if you were to place the headphones around your neck, the cups would face outward with the Mobius, while with the LCD-1, it is the pads facing outward instead. I personally prefer the Mobius approach, though I would think this was an intentional choice due to the LCD-1's collapsible nature, something the Mobius lacks. Not a big deal.


Cups:

Moving on to the cups themselves, the differences between the Mobius and the LCD-1 are many. The oval shape of both headphones are nearly the same in size, though the LCD-1 is considerably thinner. Noting the obvious changes between the open-backed vs closed-backed natures of the headphones, the LCD-1's pad mounting mechanism is limited to just 4 pegs. A simpler design, which I find more appreciable. It's still somewhat proprietary, meaning pad swaps to other designs aren't going to be easy.

Moving back to the outer side of the cups is the typical 'A' slotted pattern that Audeze has been using of late. Very nice aesthetic. Behind the open slots is a grill which I almost question as appearing a bit closed. I wonder if the LCD-1 could benefit from a finer mesh grill instead, or none at all. Moving on to the bottom of the cups are the ambiguous 3.5mm inputs. Ambiguous as in regardless of which side of the cable you plug in, you'll always get the proper channel. Interesting.

While the first review unit I received had a minor issue with cable insertion feeling a bit loose, and it would slip out of its optimal insertion point and loose either the channel or some of its quality, Audeze assured me this would be fixed on final release, which I'm happy to say is completely true. The finalized unit I received upon personal request completely alleviated my previous complaints.

The 3.5mm inputs on both cups grip on to the plugs easily and hold them in place without any issues. The connection between the plug and jack have a satisfying click when fully inserted, and take a moderate pull to unplug. Thank you Audeze.


Ear Pads:

Moving back to the pads, removing them exposes the magnetic bar array protected by a very fine mesh screen, which the Mobius lacked. As for the pads themselves, they're noticeably smaller than the ones on the Mobius in both overall size, shape, and depth. Lambskin leather material is used, with a fine cloth screen covering the driver opening. I'll state plainly that I much prefer the pads on the Mobius. The walls were taller and the opening was larger. The LCD-1's ear opening is quite a bit small, so some people may have problems getting their ears to fit inside completely. It's a snug fit, for sure.


Cables:

The LCD-1 comes with a really nice, 6ft sleeved cable. The source side terminates into a 3.5mm plug with ample strain relief. Included is a snap on 6.35mm (1/4") adapter. On the headphone side is the dual 3.5mm plugs (also with ample strain relief) that go into the cups, and are reversible. This means you don't have to worry which one plugs into which cup. They will always output the correct side of audio. Pretty cool, though this means some other cables may not work. For instance, the cables I have for the Edition XX are 3.5mm but don't work with this headphone correctly.


Final Build Impressions:

While I do see the pads being a point of contention due to its small size, I don't think the LCD-1 has anything else truly problematic in its build quality. Aside from the minor nitpicks, the plastics used seem quite durable, where I'm sure the LCD-1 could take a lot of day to day abuse. I wouldn't recommend stepping on the LCD-1, but I certainly believe you can toss them in a bag with wild abandon and not have to worry about a thing. Great build quality.



Accessories

Outside of the necessary cable and 6.35mm (1/4") adapter, the LCD-1 comes with a Certificate of Authenticity, and zippered travel case as bonus goodies. The travel case is small, suggesting the headphone be placed inside in the collapsed position. The inside of the travel case has a netted area on the top side, which is where you'll place the cable. The bottom side where the headphone rests has a flap wrapped in velour material as a wall to separate the cups from one another to prevent scratches. All in all, a nice extra to have, and should protect the LCD-1 well enough from minor to medium impact shock.



Comfort

Audeze headphones are somewhat hot and cold in terms of comfort. Most of the usual complaints would likely focus on the incredibly heavy weight, which is not a factor here with the LCD-1. Others would complain that the pads lead to a pressurized cabin feeling which I too have felt in other LCDs. Again, not so here. Then there's the new headband found on the bigger LCD siblings which I lauded as essentially the greatest headband design out of any headphone I have ever experienced. Super comfortable, as if you're not wearing a headband at all. Sadly, ALSO not found on the LCD-1. The LCD-1's comfort falls more under what one could expect from the Mobius than what one could expect from other LCD headphones. Give or take a few key differences.


Weight:

At 250g, the LCD-1 is Audeze's lightest full-sized headphone to date, and the difference is quite obvious. The closest comparison would've been the discontinued Sine DX which weighed 50g more. The LCD-1 feels light in almost all regards. You can easily wear it all day, weight being the least of anyone's concern. A huge step up from essentially any other Audeze headphone.


Headband:

The closest point of comparison would be the Mobius here. The LCD-1's lengthier area of padding makes it a more comfortable fit on top of head. Less likely to induce hotspotting. That being said, it's still a far cry from their bigger LCD headband design. That would've pushed headband comfort up quite a few levels. I truly hope Audeze finds a way to incorporate that style of headband for all of their full sized headphones in the future. Possible Mobius and LCD-1 successors included.


Ear Pads:

This is probably going to be the LCD-1's least favorable area in terms of comfort for the majority of people. The pads really should've stayed in the realm of Mobious pad dimensions. The hit in size makes it a bit harder to get bigger ears to fit inside comfortably, where perhaps some people may even have a more 'on-ear' level of fit which would be a travesty in terms of comfort and maybe even sound quality degradation. Personally, I can only speak for myself. My ears fit well enough, though it's definitely a tight fit. As for personal gripes here, you all probably known my disdain for leather pads in general, which doesn't help matters, though I can't knock Audeze here. That's personal preference. I certainly don't expect every headphone out there to have fabric covered pads.


Clamp:

I'd put the LCD-1's clamp as being moderate, but at a good level. Not loose, and not clampy. My personal taste would lead me to ask for just a little less, but that's really just personal taste, and not an issue with the LCD-1 whatsoever. It's in a good place here.


Final Comfort Impressions:

If I could score the LCD-1's comfort and give it a specific rating, I'd say it would fall under 'Very Good', personally. This could be great for those who don't mind leather pads and their ears fit well enough inside, and it could be just good for those who have large ears and have problems with the pad size. Weight is excellent, clamp is generally fine, and headband comfort is very good. Really, it all depends on how the pads fit with your ears.



Noise Control

As an open-backed planarmagnetic, you can expect the LCD-1 on not being master class at handling external noises or keeping your audio from leaking out. This one is strictly for quiet, private room listening. It contradicts its portable nature, but alas, the only places I'd pack it up and lug it around to is between home, hotel, and a personal office at work. You'll definitely want at least one door closed between you and the next person.



Sound

I didn't quite know what to expect from the LCD-1. Perhaps a repeat of the Mobius in its default preset? But then again, the Mobius is closed-back which alters the presentation in direct comparison to an open-backed headphone like the LCD-1. Yet, surely it would replicate a lot of what one comes to expect from Audeze. The big, upfront "wall of sound" Audeze headphones are known to have? To be frank, not quite.

While my Audeze experiences are quite limited, one could say Audeze has its own house sound. Yet the LCD-1 brings its own unique flavor that separates it from its siblings. In its own bubble, the LCD-1 brings enough of its own personality to keep it from being overshadowed by its older siblings, or similarly priced cousin in the Mobius.

While I've known Audeze to have a sort of thick, bold, warm, bigger than life presence to its sound, the LCD-1 is more in its own lane, not needing to immediately impress with a big, bombastic bass line, immediate vocal placement, or soft, ever pleasing upper registries. So what sets it apart? Let's see.



Bass:

I have absolutely no doubt in my mind that the bass on the LCD-1 will be the most debated aspect of the LCD-1's entire frequency chart. Is it bass light? Is it bassy? Does it have impact and energy? These are the kinds of questions that will have very different answers depending on who you ask. If you come from a warmer, more Harman Target focused balancing from other headphones, you'll likely find it to be just shy of bass neutral. If you come from dynamic headphones that are aimed at neutrality, and not really well extended, you may find the LCD-1 to have more than enough bass. In reality, the truth is somewhere in between.

While I've seen a particular graph and how the bass is portrayed in that graph (which I do more or less agree with), it being almost a completely flat line to the depths, but a just a level below the general 'line' of the rest of the higher frequencies from midrange and above, it doesn't really paint the whole picture.

The LCD-1's bass extends to the depths incredibly well, as one would expect from a well performing planar. However, extension and impact are two very different things. What this means is that the LCD-1 can hit the lowest notes with realistic presence and atmosphere. However, coming off warmer, slightly above neutral basslines, the body and energy is a little on the thinner side. The LCD-1 doesn't hit quite as hard as one would likely expect, meaning it isn't super impactful or attention seeking. It's not like the Grado White I previously reviewed, which had a non-existent lower bass extension, but pretty punchy mid bass and energy. The LCD-1 extends where the Grado doesn't dare tread, and the bass is just as tight, detailed, and textured, though not as punchy. The oomph, the guttural, primal impact isn't quite...for par. It's just slightly...SLIGHTLY less than what I'd like on that front.

That being said, it's not as if there isn't a good amount of impact in certain situations. While the LCD-1 isn't what I'd call my first choice for bassy music, because it doesn't excel in highlighting these genres, it DOES benefit quite a bit from tracks that are ample enough in their bass presence. Especially if the tracks are deep and ambience creating, rather than focusing on raw energy.

Make no mistake, if you like bassy music, they will sound fantastic on the LCD-1. It just isn't what I'd consider top choice in bringing that kind of music to life.

The LCD-1 prides itself on details, which extends to its bass. The nuances, the granularity and rawness of its texture, rather than the gravitas of it. I actually really enjoy hearing my electronic music from the LCD-1 because it allows me to pick up on the subtler, more discreet aspects of the bass, rather than just the mere, surface level presence. It allows a whole new take on all my favorite music, without giving up the enjoyment.

The raw warble of 25hz is displayed cleanly and clearly, solidifying how consistent Audeze is at bringing out headphones that extend as low as anyone could possibly need. The LCD-1 may not be a bass monster, but there is no aspect of bass that will be missing information. It is simply master class here.

In short, when it comes to the bass, I'd say that overall, it's bass neutral if only JUST. The slight, SLIGHT reservation of punch and energy is offset by its excellent low depths, and brilliant detail within all ranges of bass.


Midrange To Treble:

The LCD-1 has what can be described as a very natural, neutral, colorlessly toned midrange. The low midrange to central midrange is essentially ruler flat to my ears without central emphasis or recession, in either tonal qualities or forwardness. It simply sounds... accurate. Correct. As intended. I can see that if you come from warmer tonalities, the midrange may sound a little on the brighter side, but I honestly feel this is more in direct comparison to something richer, and not in the overall sense as to how something should sound. The LCD-1 really sounds like a tool made for mastering, for using as a baseline for which other headphones should be tuned from. Not to mean it sounds analytical and lifeless.

This extends beyond pure scientific purposes. The midrange in music is elegant, refined, detailed, and wonderfully present without overstepping its bounds, or sounding lost behind other aspects of the LCD-1's sound. It's coherency and conciseness lead it to becoming one incredible powerhouse for midrange performance. It treads the line on musicality and detail retrieval much better than it has any reason to be. It sounds like a high end headphone to me in this regard. How Audeze got it to sound this well tuned is laudable.

I don't think there will be many people who can sit there and complain about the general midrange performance on the LCD-1. They'd have to be actively looking for a push towards a more lush, organic presentation, or sharpened as a surgical instrument for pure detail analytics. For me, you get a fine balance between them with the LCD-1.

Its transition to the treble regions continues in excellence.

Running frequency tests, I could only hear a minor dip to my ears at just past 1.5khz, with perhaps its biggest peak being just past 3khz at around 3.5khz or so. The rest is highly detailed without it being overwhelming with a soft dip at around 7khz, to some real presence at 8khz up to 10khz. There's a slight fall after 10khz, but it stays present and extends well past it.

All in all, outside of the peakiness I hear at 3.5khz, I honestly can't say I found anything that sticks out like a sore thumb throughout the rest of the mid to treble range. It's all present and detailed, without glaring sharpness and over prominence.

What surprises me is that the LCD-1 eschews the typical upper midrange blunting that Audeze tends to impart to its LCD headphones. So in many regards, the LCD-1 may come out as a better balanced headphone than its bigger counterparts, with more immediate detail retrieval. I can safely say that from the few Audeze headphones I've tested and reviewed, the LCD-1 is absolutely the most balanced and neutral of the bunch.

So once again, unless you're looking for a specific coloration in the midrange and treble, I doubt anyone will find anything to truly fault with the LCD-1's rendition of these ranges. It is one of the best qualities the LCD-1 has, if not THE best quality.


Soundstage and Imaging:

The soundstage on the LCD-1 is probably one area I would've hoped to have been a little better to me, at the very least, in its raw stereo performance. That being said, I don't put much attention to soundstaging in terms of a true stereo source, no surround processing added. I simply don't care how big soundstages are normally, because surround processors I tend to use when gaming already expands the soundstage enough for my needs. (Gaming is generally the only time I truly pay attention to the size of the soundscape.) That's not to say I don't enjoy headphones with inherently large soundstages. I definitely do, but it's not directly tied to my overall musical enjoyment. Larger inherent soundstaging does correlate to better performance out of those surround processors, but it isn't the final word on whether a headphone can articulate a virtualized sense of space. I'd say soundstage depth is more important than sheer size.

As such, the LCD-1's soundstage, while not in the same 'wall of sound' type of presentation found in something like the LCD2, isn't what I'd consider big. It's rather average without stand out traits to differ it from the norm. While again, this isn't a bad thing, I didn't find it to have particularly excellent depth either, which isn't something I've come to expect from planarmagnetics. It's all rather average to my ears.

Imaging fares a bit better, as the detail and definition of objects is potent on the LCD-1. There's no haze or fuzziness to be found in object location and visualization, making it excellent in this regard, though the lack of a large area of space and depth keeps it from being a top recommendation in terms of these aspects of its sound.


Clarity:

The LCD-1's clarity is what I'd consider high level. Its fantastically neutral, linear balance, paired with it's great sense of detail, nimble speed, texture of its bass and midrange, and definition, make the LCD-1 one of the best headphones I've heard anywhere near its price range. It didn't even need to sacrifice musicality in order to achieve this either, making one of the best headphones I'd recommend for those that want high levels of detail without compromising much in the way of immersion and overall enjoyment.


Sound Signature:

The LCD-1's tonality is decidedly neutral, with a linear curve from bass, to mids, to treble. The bass is linear and fully extended down low, though it's a hair shy in body and impact. Midrange is well balanced and placed right in the neutral line in terms of either forwardness or tonal temperature. Treble is sparkly and extended without it being piercing or overly enthusiastic. There is no veil to speak of, and while it isn't what I'd call smooth or fatigue-free, it dances a fine line between detailed and just enough restraint to keep it from turning the LCD-1 into a bright headphone. Those who would call the LCD-1 bright are likely just used to darker, warmer, smoother headphones. You want bright, get a Grado. This ain't that.


Amplification

Audeze made this with the specific intent on being incredibly easy to drive off even a smartphone. It's highly sensitive, and doesn't take much to push to a high volume. That being said, its neutral tonality allows it to inherit some of the signature from your source and amplifier. Having tested the LCD-1 with the petite Schiit Fulla 2 and 3 against my Schiit Magni 3, I did notice a repeated outcome of the LCD-1 sounding more fleshed out and natural out of the Magni 3 over the Fulla's internal amplifier. It sounded more true to life out of the Magni 3, leading me to believe the LCD-1 can improve with better amplification, or at least have some synergy. You ask any audiophile, they'll always tell you any and every headphone scales up, no matter how easy they are to drive. However, it's not essential. The LCD-1 sounded fantastic out of the tiny Fulla alone.


Gaming

While I wasn't all that impressed with how soundstage and imaging mixed in stereo applications, I was more than content with the LCD-1's prowess in virtual surround. It's not the absolute best in the long list of headphones I've used for gaming, but it certainly does well enough here to give a full recommendation for all gaming necessities. It may not be the most ideal headphone if soundstage is that is truly important to you, but for those who use virtual surround processing, the LCD-1 is quite capable, with accurate virtual speaker placement, staging, and definition of objects in that virtual space.

Its excellent depth and extension in bass also makes it quite immersive, though not on the level of something more pronounced in mid bass impact and raw energy. I wouldn't worry much about how'd it fare for fun. It's really good in this regard.

For analyzing and extracting information out of competitive gaming, the LCD-1 is a high level headphone for this use, due to its balanced, detailed sound, with crisp upper end, without crossing the threshold between being detailed, and being murder on the ears.


Personal Recommendation

Media:

Really, there isn't much the LCD-1 can't do. In terms of what to use them for, the neutral signature, high details, and deep extension allow the LCD-1 to work well for any manner of things you throw at it, though it may not specialize in heavy bass necessities, which I would least likely recommend it for. If only because if you place a lot of importance to those genres, you'll want a bit more body, energy, and presence than the LCD-1 provides. Other than that, really, go ahead and enjoy them for basically anything, and everything else. The LCD-1 is one hell of a do-it-all kind of headphone.


Practicality:

As far as practical uses, while the LCD-1 is portable, its open backed design really hamper it from being something recommended for public areas. Outside of home use, which it will exceedingly well in, I recommend using the LCD-1 for private office or hotel use. Perhaps you can take it out to a park bench, but prepare to hear everything else around you along with your source.


Who Is It For?

The LCD-1 to me would me a perfect offset to a darker, smoother, warmer headphone. Whereas one may like a specific flavor or coloration in their main headphone, the LCD-1's neutrality and well behaved demeanor allow it to highlight things that your other headphone wouldn't. So if you were into an LCD-2 or HD650/6XX with their richer, thicker, smooth presentations... the LCD-1 would back that up with extra attention to detail and nuances that a warmer headphone may not be tuned to highlight as proficiently.

The LCD-1 can absolutely work as the only headphone you can ever need, with the understanding that the energetically bass influenced genres wouldn't have the same dynamics and impact to them. If you're not really into that sort of music, the LCD-1 truly excels in all other areas. It's less for immersion building, and more for proficient showcasing.



Likes and Dislikes

Likes:
  • Accuracy, Balancing, Tonality
  • Bass Extension
  • Midrange
  • Clarity, Details, Speed, Texture
  • Lightweight
  • Sound quality well above expectations

Dislikes:
  • Slight lack of bass energy, body, impact
  • Soundstage size/depth is merely average to my ears
  • Small earpad openings
  • Proprietary pad mounting makes it harder to pad swap
  • Reversible cables may make it harder to find regular alternatives, would've preferred a typical L/R cable orientation



Final Impressions

The LCD-1 is special. The tonal balancing is spot on, the extension on both ends are excellent, and the level of performance is undeniably impressive overall. I think outside of the soundstaging not being its best trait, the ear pads being a bit questionable in size, there is little about the LCD-1 that people will find to fault. In some ways, there is something about the LCD-1 that I like over the bigger LCD offerings. The LCD-1 seems more... mature in the way it handles it sound. The bigger LCDs seem more imposing, more direct, more immediate. Like they have something to prove. The LCD-1 has no qualms about staying in its own lane, offering a sublime, musical, yet precise experience. And I love it for that. Audeze, you've done it again.

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Audeze LCD-2
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Original LCD-2 (Rev. 2) DISCONTINUED. Replaced by LCD2C.

Before I begin, I would like to personally thank Justin at Headamp for allowing head-fiers like myself to test out the Audeze LCD-2 at home for a few days. Without him and Headamp, I would have most likely never been able to demo these stellar, and extremely expensive headphones. The LCD-2 are one of the most popular, and highly regarded former flagships to date. Until the LCD-3's release, the LCD-2 was arguably known as the best headphone in the world in the $1500 or less price range. It's most popular and direct competitors in the price range at the time were the Hifiman HE-6, the Sennheiser HD800, Ultrasone Edition 8 and Signature Pro, among some others.

Build Quality:

I must say I'm not a big fan of the LCD-2's aesthetics. It has a very retro look to it, as if these were made in the 1940s. I'm sure there are many fans of it's look, but I'm not one of them. It looks clunky, way too large, and borderline utilitarian, in my opinion. The cups are made of wood (there are rosewood and bamboo variants, bamboo being lighter). I was sent the bamboo LCD-2, which I was hoping on, as the LCD-2 is quite heavy as is. The grills are black, with the Audeze grill design, with screws that protrude holding it in place. The headband adjustment is basically two long cylindrical rods, which look durable, but ugly as sin. The headband is padded with leather bumps, which aren't as offensive as the AKG K701/2/Q701 bumps. They aren't extremely soft, but get the job done. The cable input is a 4-pin XLR, which is leaps and bounds better than Hifiman's horrible screw-in type of connector.

The connectors are angled, which I'm a big fan of, as they allow the headphone cables to stick out a little in front of you, and not directly fall on your shoulders. The removable headphone cable looks straight out of 1940 as well, with small cables covering each channel and stuck together. While it's not the prettiest cable, I am a fan, as it's relatively flat, and should be mostly tangle-free. The termination is a very thich 6.3mm (1/4") plug, which screams rugged and durable. Unfortunately, there is no 3.5mm adapter of any kind, so you may want something like the Grado 1/4" to 3.5mm cable to connect to smaller devices. Due to the fact that the LCD-2 is actually pretty decent on lesser equipment (doesn't need a lot to sound good), you might wanna invest on such an adapter if you have a portable amp here or there. The LCD-2 is definitely not for portable use, but it can at least be transportable and enjoyable in that method.

The included pads are made of real leather (none of that pleather nonsense). They are angled, and VERY thick. Not the softest kind, but not hard either. I feel they are the right amount of firmness, personally. Audeze also sells vegan pads (which are more akin to something like velours) if you're like me, and prefer non-pleather/leather material.

As I briefly mentioned, the LCD-2 overall is a very retro, very heavy, very big, and of utilitarian design.

Comfort:

The LCD-2 is not exactly what I'd call comfortable. The weight is definitely a factor. They also have some clamp, which can be a bit strong. I'd bend the headband out to lessen this, but as these are not mine, I've left them untouched. I don't mind it's clamp personally, but I would prefer a bit less. My biggest issue is that even for an open-design headphone, they have that airplane cabin-pressure feeling once you put them on. It's as if the pads find a seal, and you get that suction feeling. It's a bit surprising and unpleasant, but the feeling goes away after awhile.

As always, leather builds up heat and induces sweat, but the effect is somewhat better with leather compared to pleather which tends to add stickiness into the mix. Thankfully, as I demoed the LCD-2, Florida was going through a pretty strong cold front, so the pads didn't bother me much. I still would have preferred the vegan pads, but beggars can't be choosers. The headband on the first day of use put pressure on the top of my noggin, which was quite uncomfortable. After a day, I was able to get used to the feeling. Certainly not as bad as the AKG headband bumps which never disappear off the head.

Overall, I'd say the comfort on the LCD-2 is passable. Not the worst, but not great. It's between decent to good.

Comfort is noticeably improved with the vegan/leather-free version, as it allows the ears to breathe, no sweat inducing leather, and the headband's bumps is softer, though not as plushy as I would like. Even better than the vegan headband is if you acquire the foam padded headband. The headband is made of durable metal, but the underside is line with very soft and comfortable foam, boosting comfort even more. With the foam headband, there is basically no pressure/hotspots, and all the weigh is distributed evenly. This leaves just the pads/clamp/weight to potentially cause discomfort.

Accessories:

You get the headphone, the cable, some stickers, and an AMAZING hard case. The case looks like it would survive a nuclear blast. Very impressive, to say the least. Not exactly something I'd keep in the the open, but it should offer extreme protection if you desire to use it.

Isolation/Leakage:

As an open-ear headphone, the LCD-2 isn't exactly isolating. It lets external noises in, and leaks out a LOT. You definitely do not want to use this in a room with people, or even in a separate room with the door open.

Sound:

To the meat of what everyone really wants to know. What does a $1000 headphone sound like? I must say... FANTASTIC. The tonal balance is quite warm, rich, creamy, and oooooh so seductive. The frequency response of the LCD-2 is VERY linear up until the upper mids, which then gently rolls off to a smooth treble range. This makes the LCD-2 like the HD650, in which is brings in a thick, musical, and non-fatiguing sound signature. In short, if I were to put the HE-400's bass with the HD650's mids and treble, with a pinch of refinement, the concoction would sound something like the LCD-2.

Is it all magical? Unfortunately, no. The LCD-2 has it's weaknesses. Number 1 being that the treble isn't what I'd consider natural. It's rolled off a bit. The smooth treble leads to very little airiness in the sound and somewhat congested and small-ish soundstage. Can't have it all, it seems. Let's get into the specifics...

update: The vegan LCD2 (leather free) mitigates the weakness in treble/congestion. It's slightly more open/airy, with a hint more treble sparkle. The downside is that it's not as velvety smooth as the leather LCD2. The difference is slight, and they're both quite warm/smooth, but it should be noted that there is SOME difference in tonality/treble section.

Bass:

The bass. Dear god. The bass. Incredibly full, textured, and very, VERY deep. Due to the extreme linearity of the LCD2's response, I can't say the bass is emphasized, because it is PERFECTLY in line with the mids. Seriously, if you look at the published graphs, you'd see, there is absolutely no real emphasis anywhere. Does that mean the bass is neutral and not very strong? Yes and no. The LCD-2 has bar none, the best bass I have ever heard on any headphone. Not the MOST bass, just the best overall.

While I personally prefer the Denon D7000's fun fueled bass with it's emphasized and omnipotent sub bass, it isn't accurate, and doesn't have very strong mid bass. It also tends to add bass where there shouldn't be none. The Ultrasone Pro 2900's bass is incredibly agile, and sharp, but lacks quite a bit in the sub-region. The LCD-2's bass is full in all areas and not just certain frequencies. When a source demands it, the LCD-2 hits like Thor's hammer, and in all other cases, presents itself very naturally. There is absolutely no lack of bass here. Just accurate, and always involved in a proper manner.

The closest competitor (with very similar bass) is the Hifiman HE-400. The LCD-2 further improves on the type of bass the HE-400 is known for with even more texture and fullness. Headphones should strive to have the type of bass that the LCD-2 has. It's that good.

Mids:

If you have read my HD650 review on this guide, you know how absolutely entranced I am by it's mids/vocals. What if I told you the LCD-2's mids are even better? That's right. The LCD-2's mids are incredibly intimate, haunting, and realistic. I have never heard vocals sound as if the singers were singing in the same room. This is as close as it's come to that. The best word for me to describe the mids is: NATURAL. Natural, organic, realistic, very detailed, and spine-chilling. Don't get me wrong, the HD650's mids are very, VERY close to this, but the LCD-2 just has that extra step that makes them stick out even more for me. Amazing. Absolutely.

Treble:

The treble range. This is the LCD-2's weak point in terms of it's frequency response. In order to make the bass and mids as special as they are, something had to give. Unfortunately, it's the treble range. Technically rolled off and smooth. This gives the LCD-2 lose out on air and soundstage, which leads to congestion/stuffiness. The lack of air paired up with the incredibly full notes tends to clash sounds together in comparison to other headphones with more treble, which is the LCD-2's biggest shortcoming. Personally, the treble is the least important aspect of sound to me now, as most music is in the bass and mids region of the sound spectrum. Treble aids in perceived clarity with sparkle and air, but it's not essential or integral. The LCD-2 is not undetailed or veiled sounding. However, the treble does lack sparkle in comparison to more neutral offerings. That is undeniable. This is one area that it truly shares with the HD650. However, I feel the LCD-2 is quicker and more aggressive, so it doesn't sound laid back like the HD650.

Update: The vegan (leather free) LCD2 has treble quite close to the bass/mids, just slightly rolled off. This means, that the treble range's weakness is a little more improved. In order to gain that slight bit of clarity/treble, a hint of warmth/smoothness was lost, though the vegan LCD2 is still decidedly on the warm side of neutral. Good news is that the bass and mids sound just like the leather LCD2. What this means, is that vegan LCD2 has a slight hint of sparkle, whereas the leather LCD2 is slightly smoother and warmer.

Soundstage:

As mentioned before, the lack of air and the congestion due to it's smooth treble response leads to a soundstage that is more akin to a closed headphone. Like a closed headphone with a large soundstage, but disappointing for an open headphone.

I directly compared the LCD-2 with my K702 65th Anniversary which is also warm/smooth.

The LCD2 is a bit intimate and closed in. The LCD-2 for gaming (with Dolby Headphone) fared quite a bit better. Soundstage opened up, with a very good sense of depth and relatively decent width. Not very large, but there was ample space to allow positional cues space to do their magic.

Update: Having recently acquired a pair of vegan (leather-free) LCD2s, I have to say the suede-ish pads breathe easier, and gives the sound more space and air. It's no K702, but the soundstage is medium sized, with nice separation in comparison to the leather LCD2.

Positioning:

Positional cues were surprisingly very good. I had zero issues locating sound placement, though lesser headphones with less thickness made it easier to pinpoint sounds. The LCD-2 is one of the better headphones I have heard in terms of rear depth, which is incredibly beneficial for positional cues.

Clarity:

Clarity for gaming is actually pretty good. That linear response in bass and mids gives the LCD-2 quite a detailed sound for gaming, even borderline analytical at times (like the HD650, which was also surprisingly detailed for gaming), while softening just the impact of the more annoying sounds like gun fire and glass shattering enough to reduce ear fatigue. You get fullness AND clarity. Not many headphones that do both.

Update: The vegan LCD2 (leather free) is even clearer than the leather pads, where the highest peak in the treble is just under the main bass/mid line. This in practice = very linear sound signature, which means almost all areas of sound are in line with verything else. For gaming, this means a very detailed sound. The leather LCD2 first reviewed had a bigger treble roll off, so it was a little warmer and smoother in comparison. They both sounded near the same, but the difference is there, albeit, very slightly.

Amping:

The LCD-2 is surprisingly easy to power for a planar magnetic headphone, requiring minimal amping to sound good. I was able to use it with the Mixamp alone, though I would still recommend some amping to truly make this $1000 worth the purchase. No reason to skimp out here when you've aready spent so much money on the headphone alone. The LCD-2 is known to scale up quite a bit, as it can handle a ridiculous amount of power, despite not needing much to hit the ground running. It certainly improved in refinement when I used paired the Mixamp up with my Compass 2 which does 2 watts at 50ohm. The LCD-2 can handle even more than that.

Value:

Value is certainly questionable. It costs an exhorbitant amount of money, and you can get by with much, much less for gaming in particular.

Final Impressions:

The LCD-2 is a truly stunning headphone with the best bass and mids I have heard to date. That being said, as far as gaming goes, there are headphones better suited that cost MUCH less. It however, a top tier headphone that will impress on almost all fronts with few weaknesses. You get lots of warmth, musicality, fullness, and truly organic sound. Treble, air, and congestion are it's weaknesses, but the overall package is so fantastic, you can forgive these faults once everything is taken into account. This is one headphone I suggest people use for gaming if you happen to own them, though I certainly wouldn't buy them with gaming as the top priority. It is certainly better for non-gaming needs, though hold their own for gaming, especially for casual/fun gaming.

Final Scores...
Incredible warmth, bass texture, mids, and fullness, for lots of immersion.
Great clarity and detail, decent soundstage in Dolby Headphone with good rear positional cues.
Heavy, and clampy, but not completely offensive. It's passable. Vegan version is easier on the ears, with less heat buildup. The vegan headband doesn't dig in as strongly into the scalp as the leather headband. The foam headband is even better. Softer, and no pressure on top of the head whatsoever.



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Audeze LCD-GX

$899 MSRP as of August 2019

Where To Buy: Audeze
Review first posted HERE

Disclaimer: A special thanks to Audeze for sending these out for impressions and review. As always, whether products are sent to me or not, I do my best in being 100% honest with my views and opinions. If I don't like a product, I will refuse to write a review of it or at least mention what I don't like about them, though I like to focus on products that people would like or at the very least are interested in. The only bias I have is to my readers and making sure they know about good products.

After the spectacular and incredibly versatile Mobius, you'd probably think that Audeze would sit back and let the Mobius stand out as their sole product that would target the gaming crowd. Well, it appears it was far from what Audeze was planning. They instead decided to tap into their LCD line and bring out a more conventional headphone-turn-headset with their new LCD-GX. Their aim was to bring out an LCD class quality headphone, albeit with lighter weight, incredible 100dB/1mW efficiency, and a brand new cable with embedded boom microphone. It looks like Audeze is quite serious about being a household name among gamers. That's a market sorely lacking in high level, audiophile products, saved only by a few products from companies like Sennheiser, Audio-Technica, and Beyerdynamic. Now we can add Audeze to that short list, bringing alongside it their superb take on planarmagnetic technology to the gaming market. Per Audeze, it uses a modified/different magnetic circuit compared to other their other LCD headphones, and has no fazor implementation. What that entails is something new and unexpected, though it is still unmistakably an LCD in name, looks, build and sound quality.



Build Quality:

The LCD-GX (I'll call it the GX for the remainder of this review) is essentially like all the other Audeze LCD headphones. A very distinct design that is 100% Audeze. You simply can't mistake the Audeze aesthetic for anything else. It is a very industrial, no nonsense, rugged, durable design. When I owned the LCD-2 (two times, mind you), I would have told you how much I wasn't a fan of the looks. Well, it seems that the older headband and wood were the culprits that just weren't suited to my tastes, because the simple change to a newer headband, rounded out cups, and black magnesium on the GX makes a world of difference to my eyes. It all visually flows better.


Headband:

Last time I had an LCD headphone, it used the questionably bumpy headband that leave really bad sore spots on top of the head. I had the default leather variant, then bought the leather-free variant of the LCD2, and then finally ended up buying an LCD-1 headband which while not as durable in terms of materials used, the foam was flat and spongy, and much more comfortable than the replacements used during the early days of the LCD-2. The LCD-1 headband was considerably better in comfort, but it was on the itchy side due to the exposed foam. I could see how that may have been a factor in changing the design and materials used.

Thankfully, not long ago, Audeze once again upgraded their LCD headbands. Now they simply use a thin, flattened metal with a split in the middle, and beneath that, a suspended leather strap with perforations, presumably to allow for less heat buildup, and less contact surface. Regardless of the reason, the new headband system is an extreme improvement in both comfort and aesthetics. The headband alone would turn the LCD line into a, "deal with the comfort so you can get some magical sound" to, "oh my god, why don't all headphones use this headband"? Yes, it's that extreme a change in the best way. At the moment, I can't think of a better headband from ANY manufacturer. In terms of full size headphones, no other headphone's headband disappears off my head the way this one does. I've looked at my guide trying to find a headphone with better headband comfort and I believe the only two contenders off memory are the Stax SR-407's leather strap, and MrSpeakers Mad Dog's comfort strap.

The Headband piece that attaches to the steel extension rods are held in place by 4 screws, so you know they aren't going anywhere. Very durable, and highly unlikely to ever break. On each square piece is the Audeze logo/branding, with L and R indicators on the inner side.

The steel rods have notches for various size extensions. Each notch audibly clicks as you adjust. I quite like this design, really. It's functional, and durable, and will not show any real wear no matter how much you adjust the size. The rods also allow the cups to swivel outward 45 degrees or so, so there should be enough give to fit any head shape.

The metal yokes that attach directly to the cups are painted black and have Audeze and LCD-GX printed on opposing sides. They allow the cups swivel vertically almost with enough freedom to swing the drivers outward.


Cups:

Not much has changed in terms of cup design from my long gone LCD2 of old. The cups are still humongous and head enveloping, the bottom still has angled mini-XLR inputs on each cup, and the pads are still glued on. The GX has changed to a plastic enclosure for the cups as opposed to metal or wood, which I feel is the correct choice. This isn't some cheap plastic. This is the kind of plastic you can toss about without ever worrying that it will so much as make a slight creak. It's built like a tank.

The outer cups, like all LCD headphones have the Audeze 'A' grill design, with a red mesh backdrop, which contrasts beautifully, making the grill design stand out more than all the other LCD headphones before it, in my opinion. The black and red aesthetic is typical in the gaming world, yet Audeze somehow managed to make it look classy and elegant with the GX. It doesn't look like a gamer headphone. It looks like complete business, no games. No tacky, RGB bling bling here.


Pads:

The GX retains the leather pads Audeze has used for many years now, since they updated from the original, thinner pads. The pads are incredibly thick and dense, to where they have almost perfect seal even though the headphone is open backed. The openings are oval shaped, and are quite cavernous, and should provide plenty of space for most ears.

My biggest complaint about the pads is that they are still glued on, so replacement isn't a simple affair. Considering I still have a pair of highly abused leather free LCD pads (and as some people may know, I have a slight aversion to leather/pleather pads), I would've liked to easily swap and test out. I truly hope Audeze finds a way to make LCD headphones where pads are easy to swap out without glue. Maybe the next one, Audeze?


Cables:

The GX comes with two cables. The standard headphone cable is around 2 meters long, braided from top to bottom with a black, shiny material finish. Dual entry mini-XLR on the headphone side that are easy to connect/disconnect as with all Audeze LCD headphones. On the end is a rather robust, large 1/4" Neutrik TRS plug. Unfortunately there is no 3.5mm plug hidden underneath, nor an adapter to find for this cable. Considering how efficient the GX is, I don't see it unreasonable to believe some people would likely connect the GX to small devices. They'll have to rely on getting an adapter of their own, though I advise on NOT getting barrels that change from 1/4 to 3.5mm as those can put a lot of stress on your 3.5mm inputs. I recommend buying an adapter cable with a female 1/4 side, a small cable run, and then the 3.5mm plug, like THIS.

The second cable is what turns the GX into a headset. It is surprisingly longer than the standard cable (2.5 meters?), with a more typical, rubberized black material finish. It's pretty standard in thickness and flexibility. The headphone side comes with Rean branded mini-XLR dual entries, however, the left side holds the flexible gooseneck microphone, which is easy to bend and twist to your preference. There is a small puck at the split which is where you'll find the mic mute switch. On the opposite end is a small, thin, 3.5mm TRRS plug. As it is TRRS, don't try to use the 1/4 adapter without the splitter or you'll get messed up audio from your devices. This cable is for devices that have a mic channel like smartphones, and other combo headphone/mic inputs. Depending on device, you may have to use the included headphone/mic splitter. The review unit I was sent didn't have this, though luckily, I already had a splitter on hand.


Final Build Quality Impressions:

No surprises here. The LCD-GX is built like an absolute tank. Unlike the other LCDs that use wood, you're less likely baby the GX, as the magnesium body is less prone to accidental damage. The only thing I'd be cautious of is the standard audio cable's mini-XLR connectors which don't seem to have as durable strain reliefs like the headset cable. Not that they seem fragile, but I wouldn't rest the GX with the angled connectors faced down putting strain on them. The headband, the yokes, the pads, and the cups all look like they'll take everyday abuse. I'd consider the GX build quality to be well beyond excellent in nearly all regards.

The sole negative being that the pads are still glued on, and replacing them usually means potential damage from the adhesive ripping off part of the pad upon removal. This is something Audeze's design team needs to update sooner than later. The headband and cables are already easily replaceable, there's no reason why pads should be semi-permanently placed either.



Accessories:

I received a pre-release model of the GX, and so I can't say for certain how the final package will look like or what it includes. Once the GX releases, I'll probably update the review to reflect what's included. For now, you can expect the two sets of cables, one standard, one with the microphone. I believe the final product has a headphone/mic splitter, and 1/4" adapter. Though I believe, that's for the boom mic cable, and would've liked to see some 3.5mm adapter cable for the standard audio cable, considering the high efficiency of the GX, for more versatility in what you can use it with. For example, the GX is definitely sensitive enough for my phone, but I don't want to constantly have the mic near my face when using it. This is why they should've had some 3.5mm adapter for the regular cable.

I don't particularly care for items being included that may raise the price of a headphone that are unnecessary, so these bare essentials would be fine with me.



Comfort:

Disclaimer: I'm not the best person to talk about comfort, mainly because of the use of the choice in large leather/pleather pads. That immediately puts Audeze's LCD headphones in a steep, uphill battle for my personal comfort, as I really, really don't like that style of earpad on almost any headphone. I know many of you simply don't mind leather pads, which is why you have to take my thoughts here particularly with a grain of salt. Now you that understand that, please continue on!

The GX's comfort is something that absolutely surprised me, considering my memories of the LCD2 and its...questionable comfort. The GX may look a lot like the LCD2 I remember, but the comfort is improved in some significant ways.


Weight:

At 420g, the GX isn't light by typical headphone standards. That being said, it is considerably light by LCD means, and if you've ever experienced any LCD headphone outside of their MX4, you'd know 420g is featherweight by comparison. Most LCD headphones run well over 500g to nearly 700g. In addition, the headband will make those 420g feel like a bit less.


Headband:

The headband is the LCD-line's saving grace for comfort. The suspension-style without typically accompanied strong downwards tension really helps in spreading the weight all around your head. I've had lighter headphones that feel heavier because their headbands didn't distribute weight this efficiently. The headband is also so comfortable, I rarely notice it on top of my head. I always felt excess padding wasn't necessary if a headband wrapped around the head properly. This proves it. Just a soft touch from the leather is all that was needed. To say this is one of my favorite, if not my favorite style of headband out of all full-sized headphones says quite a lot. I think headband comfort will be one of the last things you worry about with the GX. It really is that good.


Ear pads:

The GX's pads, like the LCD2 pads of old, are something I personally don't care for and would want to replace immediately with some leather free or, at the very least, fabric topped pads like Dekoni hybrids. I'm really the last person you should take advice from in terms of pads with leather material. They're all generally lacking for me.

What I will say about the pads is that they're incredibly thick and dense, that you shouldn't worry about your ears bottoming out and touching the driver enclosure. The cavity is also very large, so you shouldn't expect any uncomfortable pinching of the ears.

I do need to note that, while the GX is open-backed, the pads create a seal on the level of some of the best closed-back headphones, where you'll feel the pressure of a 'seal' almost as if the GX was closed-back. This may or may not be a point of discomfort, though with some time, the pressure does disperse. This may also be in part with the clamp. I'll quote what I said many years ago with the LCD2, as it also applies here:

"My biggest issue is that even for an open-design headphone, they have that airplane cabin-pressure feeling once you put them on. It's as if the pads find a seal, and you get that suction feeling. It's a bit surprising and unpleasant, but the feeling goes away after awhile."


Clamp:

I'd consider the GX on the slightly clampy side as that is where most of the force keeping the headphone on your head will be. The thick, dense pads will be what tends to keep the GX completely secure to the head. You will feel the pads pressing towards your head.


Final Comfort Impressions:

I have to say the GX's headband makes weight a non-issue. The headband essentially disappears on your head, leaving almost all feelings, positive or negative to the clamp, and the pads. So headband comfort is bordering perfection to me.

Weight-wise, the headband really makes the GX's heft irrelevant, so I'd consider the weight comfort good. The LCD2 in comparison was rather mediocre in comfort because the weight was absolutely noticeable.

The feeling of clamp may change with different pads, but I'll say it's clampy to me. The pads really feel like they're putting some pressure on my head. Clamp comfort: Decent, not great

Again, the pads affect my thoughts on comfort, and it could turn a decently comfortable headphone to something much more comfortable alone. In the end, I'll just say that for me personally, the GX's comfort is good. Better than the LCD2 especially in weight and headband comfort, around the same as the LCD2 for clamp and pad comfort. I theorize that with leather-free/velour pads or even something like Dekoni hybrid pads, the GX's comfort could be summed up as great or even better than great.

My thoughts on comfort really should be taken with a grain of salt because if you're perfectly fine with leather/pleather pads, your impressions on comfort may be considerably more positive.



Noise Control:

While the GX is open-backed, it doesn't leak out as much as other open-backed headphones, particularly other planarmagnetic headphones like the Edition XX and Ananda by Hifiman. In terms of isolating from outside noises, don't expect miracles, but I do find it to attenuate external noises better than other open-backed headphones, so you may find it to work decently enough. As always, be mindful of others when listening to open-backed headphones, the GX included, but you can rest assured that one door closed between you and the next person is plenty of noise control here.



Sound:

The GX is as I've come to expect from an Audeze LCD headphone, and that is a good thing. The first thing that immediately jumps out at you is that wall of sound. The GX is in your face with a big beautiful, bold presence. It is rather surprising, considering gaming conventions would lead you to think that a more spaced back, spacious sound would be more ideal (and it does tend to be), but the GX does things in its own way that give it different strengths as opposed to typical, dry, gaming oriented headsets.

It's very linear from bass to midrange, with a tilt towards warmth, and with a soft upper midrange. What is different from my expectations coming from the LCD2 is the shimmer and crispness in the treble range. Back in the old LCD2 days, I did mention that despite its obvious lean towards warmth and significantly smooth treble, the LCD2 was still a surprisingly potent headphone for gaming due to how it was still quite detailed and clear in most frequency ranges. The GX one ups that by also adding upper range sparkle in the mix, leaving it more ideal for gaming purposes. If Audeze was going to orient the LCD sound to work better for gaming, the GX comes close to achieving what I believe would have been the ideal tonal balance without sacrificing what makes the LCD sound so memorable. It is still 100% Audeze LCD underneath all the gaming nomenclature.


Bass:

The GX has what you expect of an Audeze LCD: big, bold, beautiful bass. And not in the "hey thump, thump, boom, boom basshead baby" bass. I'm talking about that, "I'm an LCD, and if you want bass impact, body, texture, speed, and control, here it all is, presented in a linear, non-disruptive manner. If you want energy, I'll give it as much as you'd like." Where it differs from the LCD2 of old is in that it feels even more controlled, and less omnipresent. It's here to work harmoniously with the delectable midrange, and upper end sizzle. Make no mistake, it can rumble and thump like you expect from an LCD headphone, but it does it when it is absolutely required. Bass heavy music, action games, etc. The bass is there waiting to be unleashed.

It is cavernous, and subterranean. Even at 20hz you can just hear the grumble of the beast waiting to be unleashed, without so much as a whimper of it being strained. Nothing sticks out, and nothing is missing. Everything is in its place. Rest assured, the GX has the bass you've come to expect of a good planarmagnetic, particularly a good Audeze LCD. It's hard to come up with what to say about the GX's bass that hasn't already been said or expected. Personally, I believe Audeze has asserted itself as one of the best in the business when it comes to bass. The GX continues to prove why.

The only downside is that the body of the bass does warm up the sound quite a bit, so don't expect it to lend itself to a big, airy, soundstage compared to less fluid, dry sounding headphones.


Midrange to treble:

The midrange is another aspect on the GX that I've come to expect from Audeze after experiencing the LCD2 so many years ago, and more recently, their Mobius. It's full-bodied, meaty, sweet, upfront, and just..organic. It is deliciously present. The GX has one the best midranges that I have experienced. If there is one aspect of sound I could take with me and transplant it to other headphones, it's the midrange. That being said, that upfront midrange may not be the most ideal spacing for gaming, but it does allow for sounds in that area to never be missed in the background among other noises. It does however, end up making the soundstage feel intimate and smaller than other, further spaced out headphones.

As far as frequency tests go, I'd say that there is a slight dip between 1.4khz and 2khz, but it's only slight. After that, the rest of the midrange to treble up to 7khz is present without being overbearing or piercing. Just past 7khz there is a drop off to possibly the lowest point being around 7.5khz. After that, there is a rise to a very present 10khz point, which continues even to 12khz, with some noticeable extension up to 15khz to a lesser degree. What can be said of the GX's upper range, is that it's no slouch. It seems Audeze corrected the overly soft nature of the LCD2's upper midrange to treble here. This makes it a prime candidate for some good detail-orientation in gaming, without sacrificing the low end to achieve it. Based of my memories of the LCD2, is quite a stark difference. The GX is not a soft, sleepy headphone. It does have low range warmth up to the midrange, but it does not sacrifice the treble range, save for a 7.5khz dip, which isn't completely devoid of auditory information. It isn't a collapse of that range, just a slight blunting of it.

In the end, the fantastic midrange paired with minor upper end sparkle is quite beneficial to detail oriented gaming, and I can see why Audeze have leaned towards making this the gaming sound of the LCD-line. Where it doesn't benefit gaming is in the soundstage ending up not being as big, so air and room space is more intimate.



Soundstage and Imaging:

With no processing:

I'll be blunt in saying I feel the GX isn't the most open sounding headphone out there. It's not particularly wide in soundstage size. It is, however, equipped with good height, and depth, with excellent imaging properties. It paints a pretty vivid picture. The Edition XX in comparison has a larger soundstage, but imaging definition is hazy and diffused, whereas the GX defines objects more cleanly. So while the soundstage is not conventionally large next to more spacious sounding headphones, the imaging and object detail is strong, and as such, stereo soundstaging is perfectly suitable to my ears. I don't put much stock in soundstage size for stereo purposes, so the GX's innate soundstaging is perfectly adequate. That being said , the GX's strengths make it quite suitable for virtual surround conversion, which I place far more importance to when gaming.


With surround processing:

Virtual surround dsps help project the GX sense of space outward very convincingly. The GX's inherently strong imaging and soundstage depth aid it in being more natural, and less headphone-esque. This helps make the GX a very good choice for general gaming, and movie watching in virtual surround. This is not a surprise, as even though the LCD2 had a massive sonic wall that seemed to restrict soundstage in it's raw, unprocessed stereo form, the LCD2's soundstage opened up nicely with virtual surround dsps. The GX works even better in this regard, making it a far more ideal gaming headphone when surround processing is utilized.


Clarity:

The bold, upfront bass and midrange make it quite a simple affair for the GX to retrieve details down low and in the middle. It will expose flaws in these regions. The upper midrange is softer of note and less focused, but is still quite respectable. The GX's strength over my experiences with the old LCD2 are that the treble range is no longer fully blunted down and glossed over. There is some sharp bite at 10khz and above, offering more top crystallesque detail that would've been less obvious on the LCD2. The GX isn't aimed at being hyper clear headphones where upper midranges are emphasized. Instead, the GX ultimately leans on the thick, warmer, enveloping sound. Don't expect treble brightness, but do expect some presence.

The GX is in a place where volume level will be important in either making the GX come off a bit soft, or strong in detail focus. If you're a low level listener, the GX may be lenient and full bodied where clarity isn't the prime importance. Personally, I believe the GX will appeal more to moderate to higher level listeners in terms of providing the clarity that it absolutely does have.


Sound Signature:

Warm balance, full, bold, thick, linear bass and midrange, softer upper midrange, sharp, present 10khz treble with good extension, without brightness. Overall warm tilted, not overly smooth.

Bass: The bass has fantastic texture and clarity, despite its strength and body. The bass won't bloom or cave under enermous pressure given from today's electronic music. The GX will grab hold, and exude a commanding presence.

Midrange: The lush, upfront, naturally voiced midrange puts you essentially in the front row. Upper midrange is below neutral line, but not overly so

Treble: Below neutral, with 7.5khz softness, 10khz sparkle, good extension. Fatigue-free, no veil

Soundstage: Intimate though tall with excellent depth/imaging



Amplification:

The GX is incredibly efficient even for a planar. It takes less on the volume pot compared to Hifiman's Edition XX and Ananda, both which are also highly efficient. The GX also seems to scale with some power, so amplification can also be warranted, though not necessary at all for great enjoyment out of the GX. I can barely touch the Schiit Magni 3's high gain mode due to how efficient the GX is.

As for what flavor of amplification, I do believe a neutral solid state will be ideal due to the already forward, full-bodied sound. The bass is bold and quick, the midrange is full and forward, and the upper end does have some zest and shimmer, though its still a softer upper range than more detail oriented headphones. Something to enhance its sharpness and clarity seems best for the GX.



Gaming:

I'm not particularly worried too much about stereo soundstage for gaming, and the GX does not change this for me. As long as imaging is strong, stereo gaming will be just fine on any headphone, which the GX clearly has an advantage in. So if you're someone who doesn't use virtual surround dsps and prefer raw stereo when gaming, the GX with its excellent imaging and depth should suit you very well, as long as you're not expecting a bunch of air and space. Personally, stereo gaming tends to sound flat to me regardless of whatever headphone I use, so I don't really place much importance here. The GX does all that I would require of it well, like say...using it for the Nintendo Switch which is limited to stereo.

As far as virtual surround gaming goes, I'll be completely real in saying it wouldn't be my first choice if hardcore gaming is the only priority, as I believe headphones with a more spaced back sound and wider soundstage are more ideal. The upfront nature of its sound is less ideal compared to headphones that I'd typically recommend for serious gaming. That being said, the GX offers a more, in your face, action-packed immersion. This would make the more casual, less competitive gaming quite a bit more fun. Things like horror or single player shooters would arguably be more impactful on the GX compared to other headphones. The virtual surround still benefits the GX greatly in providing a very good gaming soundstage. If you're someone who isn't overly competitive and play more for fun and other casual necessities, the GX is absolutely a blast to use. If hardcore/competitive gaming is your main purpose, I think there is better to be found elsewhere, where a dry, detail orientation is more ideal. You would sacrifice immersion and auditory enjoyment, for a calculated sonic advantage. Personally, I don't play games competitively, so the GX is well suited to my needs most of the time.

For those who are used to my old method of gauging gaming performance...

Fun: You will have great enjoyment out of fun/casual gaming where your performance compared to others isn't a big concern. The deep, atmospheric tonality really highlights how fun gaming with headphones can be. The GX's depth really allows for easy to discern positional cues whether in front or behind you, making it a great weapon for picking off targets hidden from sight. Make no mistake, the LCD-GX is a blast. Yes, a bigger sense of space would have made the GX nearly perfect, but it really isn't a necessity here.

Hardcore/competitive: There are better options than the GX, simply due to the fact it's not a dry, bright, detail oriented headphone. The tonal balance just isn't ideal for this specific purpose, which, while not optimal for competitive gaming, is beneficial in nearly every other regard, so I'll glady take that loss. Not that the GX ain't detailed. It truly is, but it's not the main focus. The one other aspect that could've benefited hardcore/competitive gaming is a better sense of space and air, but that too, is at odds with its forward, intimate sound. You truly can't have everything.



Microphone:



Having done some basic mic recording tests, I found the GX's mic to be perfectly adequate for my needs. The voice is clear, there's no unbearable background hiss, or overly nasal compression. I'm not the final word on microphones and their quality, but I doubt there'd be many who would complain about the sound quality here.

Functionally-speaking, there's not much on the GX mic. A simple mic/mute switch. No volume wheel or anything, and I'd guess it's likely to keep the signal path as clean as possible.



Personal Recommendations:

Media:

Audeze is aiming the GX at gamers, and yes, it can game, very well in fact. However, I find myself having a hard time separating it from Audeze's roots with the LCD line's sultry, dulcet tones that lean more on musicality more than hardcore gaming. Yes, it tilts the tonal balance to be less so than before, yet it can't escape its innately warm, forward, lush sound.

As such, if you're going to use it for gaming, I think it presents itself better with dark, moody games focused on ambience and atmosphere. Or games that better connect you to the characters and world, and less on multiplayer, frenetic, detail-mongering games where audio reproduction is less a pleasure inducing aspect of the game, and more a dry, impersonal, competitive necessity. It can still do that sort of gaming just fine, but I wouldn't reach for the GX if that was my priority. Even Audeze's own Mobius would be better suited at being less about enjoyment and more about getting a competitive edge, with its full suite of tools and sound enhancing presets.

Get the GX for the beautiful sound it makes, not for the tasks of hyper detail retrieval and brute forcing sound cues.


Real world practicality:

These are definitely 'keep at home' headphones. While this is technically a headset, its open-backed nature makes it a poor choice for lan or public events due to lack of noise isolation, and its massive size. It is certainly rugged enough to throw in a bag if you wish to take it with you on your travels, but it'd be better suited to more private settings.



Likes and Dislikes:

Likes:
  • Forward, impactful, immersive sound
  • Deep, balanced bass
  • Luscious midrange
  • Headband comfort
  • Highly efficient
  • Light for an LCD headphone
  • Build quality

Dislikes:
  • Glued on pads, not a simple process to replace
  • Intimacy of the sound may not be ideal for the specific purpose of competitive gaming



Final Impressions:

The Audeze LCD-GX is somewhat of a confusing headphone for me. Perhaps it's my own preferences and beliefs in what makes a headphone 'gaming-centric', but I do feel that calling the GX a gaming headphone first is selling it short.

While I absolutely believe it's a good headphone for the targeted purpose of gaming, I believe it makes a better headphone for far more uses outside of just gaming. I think for the purpose of purely competitive gaming, Audeze would have to dramatically adjust its headphone design to something different. What that would be, I don't yet know. But then, it just wouldn't be an LCD.

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Audeze Mobius


$399 as of April 2019
Where to buy: Audeze, Amazon.com

Review first posted HERE

First of many surprises, I do believe the Mobius is the world's first planarmagnetic "headset", world's first wireless/bluetooth planarmagnetic, and world's first internal head-tracking planarmagnetic headphone. Audeze is swinging for the fences with as many buzzwords you can fit into one extremely well designed package.



Build Quality:

To begin with, the Mobius stands apart from any Audeze planar I've personally seen. I would've expected another classic Audeze headphone: formal, fancily-dressed, laden with wood, heaviest of weights, and utterly behemoth in size. Instead, the Mobius came dressed like one would expect of a properly engineered bluetooth headphone, not in any way typical of Audeze.

Durable-looking plastic is its main ingredient (which I have zero problems with, mind you), likely to keep costs down to hit a specific price point.


Headband:

A standard plastic headband with the bottom dressed in very plush, uber comfortable faux-leather in the center. The size adjustment is fairly typical and akin to something you'd expect from Sennheiser, with a easy adjustment that clocks, but have no visible markings.

Cups:

The cups are oval-shaped, with a fully enclosed outer shell that house the power button, mic on/off, and power led indicator on the left outer cup; nothing on the right cup, though internally, I believe houses the battery (good for up to 10 hours of wireless playtime). The cups can lay flat for portable use/resting around the neck, and have enough swivel to fit any head shape. The bottom of the left cup is absolutely packed with all the interface you'll ever need: volume slider, microphone volume slider, aux/3.5mm input jack, usb type c input (for it's charging and PC audio side of things), microphone jack, and 3D button.

If that wasn't enough for you, the 3D button is a shortcut for other functions:

one button press: re-centers the headtracking of 3D mode
long press: toggles 3D on/off
double tap: switches from USB, AUX, Bluetooth

The mic volume slider also has shortcuts (subject to change). Pressing down on the volume slider switches from:

7.1 audio: PC picks up the Mobius as a 7.1 sound device. Use this if gaming/media playback and want to utilize the virtual surround capabilities properly

Stereo (formerly labeled as '2 channel'): Standard, PC picks this up as 2 channel...surprise. 16bit/48khz.

High Res: High fidelity two channel playback in 24bit/96khz. 3D button capabilites are disabled in this mode (no virtual surround or headtracking features).

Single press followed by sliding the mic volume up or down will change EQ presets:

Default, Footsteps, Ballistics, Music, Racing, RPG, Warm, Flat

The power button has shortcuts as well:

Long press when off: turns Mobius on
When on: long press: Bluetooth pairing mode
Holding it longer AFTER bluetooth pairing mode: turns the Mobius off


Ear Pads:

While some of you may know I'm not the biggest fan of faux-leather pads, Audeze has managed to give the Mobius a very ample amount of padding while minimizing surface contact area. The end result is that the Mobius sits comfortably on the skin, with an oval-shape opening, keeping the ears from bottoming out and pressing onto the drivers or pressing up against the pad walls. I'd like the skin contact area to be lined in cloth, velour or something similar (like Hifiman's focus pads), but that's just me.

Cables:

The Mobius comes with 3 basic cables: 6ft USB C to USB A, 6ft USB C to USB C, and 3.5ft 3.5mm aux audio cable. All your bases are covered here in terms of cables.

Final Build Impressions:

While the Mobius isn't the hefty beast one would expect of Audeze, it is made of some generally durable plastics that shouldn't offend anyone. The Mobius looks like it can take some moderate abuse, though why would you abuse planarmagnetic goodness like this?



Accessories:

Aside from the cables mentioned above, you get a boom microphone attachment. On the Audeze website, you have add-ons you can purchase for extra: a headphone stand ($24), and a carrying case ($39). I don't have the headphone stand , but I do have the carrying case.

Optional Carrying Case:

A black, clamshell carrying case with a zipper to open/close. The outside is tough and doesn't cave in to pressure easily. There is a nylon handle/strap for easy carrying.

The inside has a molded cutout to rest the Mobius in, as well as the top lid having a netted pouch that velcros shut, and clearance behind the lid and netted pouch where you can place other items in. All in all, a very nice case with rugged enough protection that I easily recommend for those wanting a case.

Update: (3/10/2020)
Cryo Pads (
buy on Audeze's website for $40 HERE):

I contacted Audeze a few weeks ago to see if they could send me a pair of cryo pads for testing, as well as an updated LCD-1 to see if they fixed the plug insertion problem I had on the review unit (thankfully, they did).

This one has been a long time coming, and I'm very late talking about it, but Audeze sells an optional pair of pads that instead of just memory foam inside of its protein leather exterior, the cryo pads instead use pads with gel filled material. I'll quote Audeze here as they essentially said all I needed to say. I'll include my own thoughts on these bullet points. The Cryo pads are...
  • Dual-layer structure consisting of a memory foam base filled with professional-grade silicone gel, ensuring shape retention and heat reduction over extended gaming sessions!

Personally-speaking, the winter hasn't generally been too hot or cold here generally, and as far as heat-reduction between the stock pads and the cryo pads go, I haven't felt any major changes between them either positively nor negatively. That's not to say that there AREN'T benefits, but it's likely because I didn't really have any major issues with the stock pads to begin with. The Mobius has some of the best stock pads I've used that were protein-leather based. I'd say the cryo pads may make more of a difference during hotter temperatures, which I'll try and update during the hotter months of the year. As of right now, I don't have a particular preference in this regard. I think they're both really excellent.

  • Malleable gel material adapts to the unique contours of your head, ensuring greater comfort - even with glasses on!

As far as shape retention goes, I think the cryo pads much more dense internals allow for better malleability around obstructions like glasses, and a variety of head shapes, so if you ever found yourself lacking seal with the stock pads, the cryo pads are the way to go. That being said, I didn't have any problems with the stock pads in terms of how it molded around my head, nor do I wear glasses. The stock pads do compress and bottom out quite a bit easier than the gel pads, so if you find yourself being constrained by the compression in the stock pads, the cryo pads may be exactly what you need.

  • High-Grade Protein Leather looks and feels like organic leather.

I can't say much here as I already felt the stock pads looked and felt like really high quality leather pads. The same thing can be said of the cryo pads. While neither will dissuade me from preferring suede, velour, or other fabric type of pads, I really don't have a problem here. Audeze has managed to keep me from missing that type of material. I can wear the Mobius for hours a day without any major issues, whether I'm using either the stock or cryo pads.

  • Easily replaceable so that you can change between standard and gel-filled earpads.

As stated, the Mobius, while having a proprietary mounting design on their pads that won't allow just any pads to be used (though you can finagle some pads on, like Shure's 1540 Alcantara pads), the Cryo pads simply snap on to the Mobius in the same way as the stock pads. There's not much to differentiate them aside from a difference in the driver cover having the new Audeze logo and an L/R indicator (both in an icy blue color), while the stock pads merely have L/R indicators.

To sum up my thoughts on the Cryo pads, at $40 I think they are a safe investment for anyone that has any comfort or fitment problems with the stock pads. I can't say if they are better or worse than the stock pads in terms of temperature control and long term comfort as I didn't have any issues with the stock pads.

As far as sound quality differences... this too is something I couldn't say was better or worse with any confidence. This is something I would consider a good thing, as I prefer pads NOT mess with the sound quality of a headphone. If anything, the sonic improvement may be for those who couldn't find a good seal with the stock pads, or felt the stock pads bottoming out and pushing the drivers right up to their ears. The cryo pads more or less ensures the drivers stay at a consistent distance whether during the first hour or a whole days' worth of gaming.

You can buy the cryo pads here on Audeze's website for $40, and it comes in all of the Mobius stock colors. Unfortunately for me, I was sent the grey colors, while I have the bronze Mobius. Oof. Lol.



Comfort:

Weight:

The Mobius is among the lightest planarmagnetic headphones I've personally tested, and generally a non-issue. I believe it is around 350g (correct me if I'm wrong please), which isn't the lightest headphone, though definitely light for a planar. I feel the weight is distributed well, and shouldn't pose a problem for most people.


Headband:

Headbands are either hit or miss in general, but I feel the Mobius is definitely on the right side of things, with ample cushioning, with no hot spots or sore spots even after many hours of use.


Ear Pads:

As mentioned earlier, I'm not generally a fan of faux-leather ear pads, but the shape, depth, and minimal skin contact surface, paired with the ample cushioning, makes the Mobius' ear pads quite comfortable, and amongt the best faux-leather ear pads I've tested. From memory I can't recall a better pair of faux leather ear pads in terms of comfort and keeping my ears cool.


Clamp:

I'd say the clamp on the Mobius falls under 'moderate' pressure. If anything, this may be the only area in comfort I'd personally want improved, as I prefer less pressure in general. I can see moderate clamp starting to cause minor aches during long listening sessions. Clamp is a highly debatable subject, and can easily fall under personal preference.


Overall Comfort Impressions:

The Mobius is in a range of comfort I'd consider quite good, despite personal preference of less clamp. Outside of clamp, the comfort easily lands in the spectrum between very good and great. I don't see many people having a problem with the Mobius whatsoever in terms of comfort. Even though my preference is fabric-covered pads, these fall under one of the best in comfort outside of my typical preferences.



Isolation/Leakage:

It's been a considerable amount of time since I've last played with a closed headphone of any kind, but I'd say the noise leak and noise isolation are absolutely good enough for my use. I couldn't see the Mobius being a problem to use in a quiet room, or in a loud environment.



Sound:

Undoubtedly the most important factor: How does the Mobius sound? Surely a headset packed with so many features at a lower than typical Audeze price-points would have to compromise in sound a bit? Well, I'm happy to say that if they sacrificed somewhere to bring us the Mobius, the sound definitely was not compromised.

Note: Default is the intended frequency response of the Mobius. As such, this will be the main setting used for this review. The other settings will alter the tonal balance of the Mobius in subtle, but various ways, which I'll leave for you guys to figure out. This would be 8 reviews if I spent time trying to write down the sound differences between each. If you like the inherent Mobius sound but want subtle tweaks, chances are there is a preset that may lean towards your preferences.



Bass:

The bass on the Mobius is what I absolutely expect of Audeze: This is some good bass. And not in the "bassheads, come out and play" type of way, though audiophilic bassheads may or may not find solace here. The bass immediately reminds me of the classic LCD-2 Rev. 2 bass. It is big, meaty, and well present, in a way that only planars are capable of, without the excess mid bass energy associated with basshead-friendly dynamic headphones. It reaches as low as deemed possible without any protest, with the deepest of rumbles and omnipresence. It hits with absolute, resolute, authoritative impact, but not overly so. Decay is medium-fast, texture is rich, and despite it's boldness, is actually completely linear with the midrange, where there is little in the way of invasiveness.

There is a little bit of excess warmth in the lowest regions of male speech where it can sound a bit growly, but otherwise, the bass is here to play with the rest of the sound instead of dominating over it. That being said, make absolutely NO mistake: It will absolutely, undeniably hit you in the face given the right music tracks. But that's when bass is called for and not whenever it feels like.

Doing frequency checks: I felt the presence even down to 25hz, with no degree of weakeness all the way to the midrange. The bass is intoxicating and meaty enough to satisfy all who love bass, unless you want dronish, one note affairs, or those who don't put as much importance as the midrange or upper end sparkle.



Midrange to Treble:

Oh what a lovely, juicy, fluid midrange it is. The midrange is upfront and center, with a tonal quality as realistic as any I've heard. Easily amongt the very best midranges I've heard. It's absolutely wonderful. Male speech, as mentioned before can have an overactive lower octave, but only slightly. In general, everything about the midrange to me is lifelike and engrossing, with a focused presence. It just sounds...correct, to my ears.

You would think that despite having said how linear the curve seems to be on the Mobius, I've mentioned how meaty and impactful the bass is, and how focused, fluid, and lifelike the midrange is, leaving one to assume that the treble likely took a backseat, leaving the Mobius as a warm, overly smooth sounding headphone. Well, that simply isn't true. The treble is absolutely present and clean sounding, despite it not being too highlighted. It maintains a very fine balance with the bass and midrange, where one would think the treble is basically on par with either. To my ears, the treble is quite present yet just a hint (A HINT) south of absolute neutrality. What I mean by that is that it's very close to complete balance with the bass and midranges, but has some cleverly tucked in regions that soften the impact of annoying treble ranges, and highlights the best regions that add clarity and sparkle, like 10khz.

One would say it's neutral treble and I wouldn't disagree. This absolutely is NOT the LCD2 of old. There is an undeniable treble presence here, and it's at a level that I'd consider incredibly well balanced. I'd say that had it not been for the strength of the bass on the Mobius, it would be a deadlock between all ranges. To my ears, the treble is just expertly balanced here. No glaring peaks, sibilance, or overly glossed over sections of stuffy, blanketed treble.

Frequency check: Peak prominence at 3.2khz, biggest recession points at 6khz and 7khz, but not overly so. Mid to treble ranges are generally detailed and present, and upper treble at 8.5khz is the strongest point after 3.2khz, but not super hot. 10khz sparkle is present but not over-emphasized. In short, Audeze has a very desirable frequency balance that is neither too soft, nor too bright. I've heard much more expensive headphones with much worse frequency balance control. Audeze did very well here.



Soundstage:

Stereo mode, 3D off:

Soundstage, as always is not something I pay particular attention to when using headphones in stereo (as opposed to when I use them with any form of virtual surround, which the Mobius DOES have as an option.) That being said, I review soundstages in their pure, untouched, stereo forms. Only two closed planars really surprised me in terms of soundstage: the MrSpeakers Alpha Dog, and Ether C. The Mobius has good depth, good height, average width to my ears. I feel the Mobius has particularly excellent frontal projection, despite an average size soundstage typical of closed headphones and planars in general. It is one of those few headphones that with certain music tracks is able to trick me into thinking I'm listening to my front speakers, not headphones.

With the 3D surround on:

To say it transforms the soundscape, soundstage, and soundfield would be an understatement. More on this in the gaming section, and 3D button specific sections.



Clarity:

The Mobius has a decent amount of clarity, thanks to it's very linear response, not masking any region outside softening a few treble ranges, though not ones that stifle perceived clarity.

The bass leaves the midrange well enough alone in the vast majority of examples, and the treble sparkles without being overly pronounced nor stuffy and veiled.

It's not as clear as the brighter, detail oriented headphones out there, but for a neutral to warm leaning closed headphone, it does an admirable job.

Clarity changes when engaging it's 3D surround mode, in which the Mobius takes on a slightly brighter, airier, more detailed tonality, which makes it great for detail-attentive gaming. This zaps the bass a bit, so you may wanna change the preset to 'Music' or 'Warm' if you want to bring back some of the bass and warmer characteristics.



Sound Signature:

Tonality: Neutral-warm tonality, linear, authoritative, but controlled bass, luscious midrange, neutral-warm treble with moderate sparkle.

Bass: Linear, sub bass is cavernous, mid bass as impactful as necessary, not overly energetic. Slight excess bass energy in lower frequency male speech. Bass decay/resonance is medium speed. Rich texture.

Midrange: Warm neutral, linear, up front and center, organic, lifelike, natural. Excellent. No annoying areas in the transition to lower treble. Slight dip at 1.5khz, 3.5khz-4khz transition is the pronounced but not overly sharp.

Treble: Warm neutral/south of neutral, with sparkly upper end. Not soft, not pronounced. Walks a fine line between smooth and sparkly. Warm, but not WARM. Upper end extension is high. 3.2khz prominence, 6khz-7khz dip, 8.5khz peak, 10khz-12khz lively but not piercing. 13khz drop off.



Gaming:

As Audeze first foray into a gaming headset, you would expect that it needs to deliver, and I have to say, gaming with the Mobius has been a treat. As one would expect of a deeply immersive experience that a meaty bass, rich midrange headphone would give, the immersion factor is absolutely stellar. This is one incredibly fun headphone to use. It is vibrant and dynamic, with some pleasant prowess in terms of clarity as well. Headphones tend to lean towards either immersive gaming, or competitive, detail oriented gaming. Well, I can easily say the Mobius can easily serve as either. I guess that is what an incredibly linear response can deliver, yet without any 'flat' sound boredom.

Now for the real treats.

How well does it's 3D surround sound function? As someone who started with the tried and true Dolby Headphone, who has dabbled with Beyerdynamic's Headzone surround dsp, then THX Tru Studio, and for a few years up to now having used Creative's SBX Surround, with the latest being Sennheiser's SGX, I can say I was absolutely surprised by how effective Audeze's surround solution is. Here are my past and current experiences:

There are many other virtual surround dsps, but these are the ones I'm accustomed to and found worth using. In my nearly decade long audiophile life, you can say I'm more than well acquainted with what Audeze is attempting here with its base virtual surround implementation outside of the headtracking.

So is the Mobius' implementation of surround worthwhile when compared to tried and true dsps that have thrived before its inception? Short answer? Abso-freaking-lutely.

The surround emulation just works. It instantly reminds me of something akin to Creative's SBX surround, give or take a bit of rear positional depth. Positional accuracy is correct, with the only negligible shortcoming being that blind testing front/rear positional cues aren't as easy as with Dolby Headphone or SBX. Now, this is a problem I personally feel ALL surround DSPs have. It's just one of those aspects of virtual surround that take a little more than just sound to convince. Action on screen relative to what you hear goes a long way into 'tricking' your brain into hearing sound cues as being 'behind you'.

Now, I won't go out of my way and say it's the best one, though that may be purely on preference. I'd rate its virtual surround as an 8/10. It's great. I can without question use the Mobius competitively and not ever feel like its positional cues are a detriment.



3D Button and Its Effects

To add what the 3D button does and its effects for more than just gaming, let me clarify:

Base Surround Emulation:

For best results, you need to change the mode to 7.1 (though head tracking does work in 2 channel mode to a lesser extent).

Upon engaging virtual surround, the sound signature of the Mobius becomes slightly brighter (though still retains the Mobius traits of linear signature with deep AND punchy bass, just a little less so, but with equally present midrange, and neutral-ish non-fatiguing but clear treble). It becomes considerably more airy, which is to be expected. You're going from a typical headphone's audio, to something that simulates a room with speakers. That's right, you honestly should not compare basic stereo mode with 7.1 virtual surround/head tracking mode, because the presentation of sound is COMPLETELY different. Again, it's like going from headphones to then taking your headphones off and listening to speakers inside a room. Not exactly the same, right?

Well, the immediate difference is how the sound goes from inside your head to several virtual feet in front of you, at the very least when it comes for stereo content. If you're listening to music, it's like there are a set of speakers in front of you. If playing 5.1/7.1 content, it's like you're in the middle of the action, and things are happening all around you. Now, you may think "well, regular headphone gaming I feel like I'm in the center of it all." No. Just no. There is no comparison. You're still limited to two channels giving you audio that is more or less in and around your headspace. Virtual surround is like you're listening to speakers quite some distance from you, hence why I say NEVER to compare between them. You wouldn't compare a headphone's soundstage and imaging directly with speakers, so don't do it here.

Mobius's surround emulation is distinct, with clear positional cues, note-worthy airiness and soundstage size. You are enveloped in a large sound field that is further aided by the wonderful, wonderful headtracking. Thankfully, the reverb is kept to a minimum (though that depends on the software's room ambience setting), so it doesn't sound overly artificial like some other virtual surround DSPs like Dolby Headphone, which may have better rear positional discernibility, but at the expense of fidelity. I think most users would take the Mobius interpretation of virtual surround over Dolby Headphone.


Headtracking:

As if virtual surround wasn't enough, Audeze decided to throw in an incredibly functional headtracking feature that not only works, but works amazingly well.

To start, it begins with you facing what you deem is the front (or in my case, the TV screen). You then press then 3D button to center the headtracking. From that point, ANY head movement will be tracked by the Mobius. So if you were to turn around, the audio that is supposed to be in front of you will come from behind you. To give an easy example: say you're using this feature while listening to music, well it's exactly like you're listening to speakers in front of you, and whatever direction you turn to, the audio will still be coming from where the speakers are obviously located. It's something you have to experience to truly understand and appreciate.

Now, for music, I'm a headphone purist, in the sense that I would just rather listen to the Mobius with the 3D/surround/headtracking turned off. However for sources that have a 5.1/7.1 mix like movies, video games, and tv shows, I absolutely swear by the surround and headtracking.

For gaming in particular it adds an extra layer in dimensionality, as no longer do I have to 'think' of the sound as it ALWAYS being in front of me, so if say, my head were slightly angled in another direction, I would still know where sound cues are at on the screen, because the headtracking makes it possible to pinpoint EXACTLY where sounds are coming from relative to where I'm facing and not just where it is at relative to the screen. It's not only immersive, it's absolutely beneficial, if even by just a little bit.

I think this will absolutely be a game changer in the future, if the gaming industry pays attention.


Final Impressions on Surround and Headtracking:

Surround sound alone is something I deem incredibly important in gaming, especially headphone gaming. The Audeze Mobius' implementation is a fantastic new alternative to all the existing surround dsps out there. In addition to its headtracking, it may as well become a brand new favorite for many people. Audeze already had a bang up headphone without even going into the gaming and surround features. With them, Audeze has come out the gates swinging for the fences.



Bluetooth:

I'll be the first to admit I don't have a lot of experience with wireless audio. Outside of a pretty good pair of Koss PortaPro wireless, Jaybird X2s iems, and gaming headsets: Creative Soundblaster Jam, Astro A50, Skullcandy Plyr 1, I don't expect much from wireless audio.

I can EASILY say that I'm positively blown away by how amazing the Mobius sounds in its Bluetooth form. I mean, it sounds the almost the 'same' to my ears. I mean that in a way that I don't notice any sound signature differences. It sounds clean, crisp, clear, and if there is any compression, I honestly can't tell. I would absolutely fail a blind test between bluetooth and USB. I'm sure there are differences, but I'm not gonna strain myself to the point where I trick myself into thinking one sounds better than the other. That is the highest praise I can give.

We can sit here and talk about headtracking, and whatnot. To be honest, I think I was just as impressed by the bluetooth sound quality. Yes, it's that good. Fight me.

Bluetooth does have quite a lot of latency in all but the LDAC codec, so gaming through Bluetooth isn't advised.

In terms of battery life, Audeze rates these for around 10 hours of playback. While far from other wireless headphones, I find 10 hours to be enough for the majority of a day's use. I don't ever really past 8 hours of headphone use a day, so 10 hours is fine for me, especially when I'd be using these mainly through the USB mode.



Microphone:

At the time I was sent these, I had a pre-release and a final release Mobius models, and mixed up the microphones, so I'm not certain which was which. I don't feel comfortable giving microphone impressions, so I truly apologize for those looking for this.



Audeze HQ Software:

This program is where you can customize all manner of things on the Mobius that can't be accessed on the headset itself. Before describing the main sections, let me talk about the right section which has indicators of whether the Mobius is turned on/off, which mode the 3D is in (Off, Manual, Auto), the battery percentage, the mic volume level/mute, and whether the device is connected through USB. The top right of the software has a question mark button which sends you to an Audeze webpage with Mobius technical questions (worth looking into if you still have questions about many aspects of the Mobius).

As for the software's sections themselves...


HTRF Personalization:

Here you have sliders for 3 settings: Head Circumference, Inter-Aural Arc, and Room Ambience. These are important in giving you the best experiences with the 3D audio. Head Circumference and Inter-Aural arc settings are done in inches and I suggest a measuring tape to get proper sizes. Room Ambience goes from 0-100, and drastically changes how the virtual surround dsp sounds in soundstage size and reverb. I believe the default is 35. I personally use 50 which has a little more reverb, but gives positional cues some room between me and the edge of the soundstage.

This section also has a 3D model of a head that gives you current pitch, yaw, and roll of the headset as you move your head about. This will reset and centralize when you press the 3D button on the headset when in 7ch or Stereo modes. Hi-Res mode can't be adjusted as it disables headtracking functions, though the software still picks up the headtracking movement.


Sound Profiles:

This section makes it easier to change between the various EQ presets. Flat, Default, Foot Steps, Ballistics, Music, Racing, RPG, Warm. As stated in the beginning, Default is...the default option, although in the software, Flat comes before default.


Device Info:

This section informs you of the software's version, as well as an image of the headset's outline describing various areas of the headset itself.


Firmware:

A simple section describing firmware version, as well as a button where you can update the firmware of the headset itself. The method of updating sends you to another site which personally could've been made easier, as it tells you to copy to google drive, log in, and some other steps which I found a minor hassle. That being said, the update process itself is painless and easy and only requires the headset be placed flat, pads face down until the process is complete, and only needs a power cycle.


Final software impressions:

The Audeze HQ software is quite simple, intuitive, and attractive. I do wish the right section could also be adjusted here instead of just being indicators, though that's just a minor gripe. I sometimes forget, and try to toggle the 3D mode here in the software which is impossible. All in all, it's a no frills, easy to understand program. It is worth installing mainly because it is necessary for the HTRF customization. The EQ preset changes here is a nice bonus.



Personal Recommendations:

The Audeze Mobius is possibly the easiest product to recommend to everyone outside of console specific gamers. It's a stellar music headphone, gaming headset, and general media monster. Outside of possibly those who want something analytical, bass heavy/light, I don't see how ANYONE else would not consider these.

Even if you don't care about virtual surround, or even headtracking, the Mobius IS STILL a stellar audiophile headphone in both usb AND wireless bluetooth modes. I don't talk much about the aux cable mode, because bluetooth is so good, you won't find a need to connect a cable unless it's for the usb specific uses. I promise you.



Likes and Dislikes:

Likes:
  • Planarmagnetic
  • Self driven (no dac/amp needed)
  • Wireless capability via Bluetooth
  • Great virtual surround
  • Amazing Headtracking
  • So much bang for the money
  • Stellar sound quality from usb AND bluetooth


Dislikes:
  • No full console capability outside of standard aux cable into controller on PS4. Not sure on XB1 or Switch, though if they have a headphone jack somewhere you'll get basic stereo capability.
  • Aux cable input isn't passive, so no benefit in using your own dac/amps.
  • Aux cable input may be unnecessary because bluetooth sound quality is just that good.



Final Impressions:

Had Audeze released a barebones headset, that didn't have surround, headtracking, or even wireless capabilities, the Mobius would STILL get a full recommendation from me. Based off sound quality alone, I was instantly enamored by the Mobius. Audeze specifically asked for general concerns or advice for them on what I think needs fixing. I told them that I honestly wouldn't change a THING of its sonic traits. I mean, speaking purely in terms of sound signature and quality, the Mobius is 100% READY to go. I do NOT want anything about its inherent sound changed whatsoever.

How can I give critical feedback to a product I can find no real fault in?

It's been quite a while since the Mobius released from the early impressions I posted online. In the end, I didn't find I had to change much of anything from back then. The noise floor issues have been fixed, the glitches have been ironed out. The Mobius is the complete, feature-rich, package.

I don't even want to begin trying to understand how Audeze was capable of cramming so much into a product like this that isn't worth a zillion dollars. I don't wanna know, I don't wanna ask. All I know is that it exists, and you absolutely should get it. Even if JUST for the Bluetooth, I'd argue for it.



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Audeze Penrose


$299.00 as of December 2020
Where To Buy: Audeze
Click HERE for full review with images

Disclaimer: A special thanks to Audeze for sending the Penrose and Penrose X out to me for review. As always, whether products are sent to me or not, I do my best in being 100% honest with my views and opinions. If I don't like a product, I will refuse to write a review of it, or at the very least mention what I don't like about them, though I like to focus on products that people would like or at the very least are interested in. The only bias I have is to my readers and making sure they know about good products.

I initially received a pre-production version of the Penrose, and then was sent a release version of the Penrose X. All testing was done on PC and PS5 (the Penrose X currently works with full functionality on PS5). The bulk of my impressions is of the Penrose X, though you should not anticipate any internal differences between them other than the X's ability to work on Xbox (with the usb dongle having a toggle switch which allows Xbox functionality). So when I speak of the Penrose, I mean BOTH, though testing was done mainly on the X. So this review is applicable for BOTH the Penrose and Penrose X.


Intro

Not one to rest on their laurels, Audeze wasn't content with just releasing the fantastic and versatile Mobius, and its impressively high end gaming headset, the LCD-GX. Expanding their reach, Audze has now landed on to the wireless gaming market. The Penrose and Penrose X is targeting the new generation of consoles, the PS5 and Xbox Series X. No doubt they'll face heavy competition in the space, though I'd venture a guess in saying that very few will match Audeze's efforts, with features like their beefy 100mm planarmagnetic drivers, which few traditional drivers can match in size and quality. Definitely less so for other gaming headsets, particularly ones aimed at wireless convenience. So far Audeze has showcased nothing but absolute winners to me, and the streak continues with the Penrose offerings.

I won't bore you guys with the details that can be easily found online in the product description, so let's get into the things I CAN bore you with.


Build Quality

Note: As the Penrose is physically very similar to the Mobius save for button functionality, I'll be reiterating what I said about the Audeze Mobius here. I will be mentioning the key differences as they come up.

The Penrose is 99.9% identical to the Mobius, which itself stood out from the other Audeze headphone. It's smaller, lighter, and made with durable feeling plastics. It may not look as premium as the LCD line of Audeze headphones, but I feel the Penrose (as well as Mobius) is well built without any worries of fragility.


Headband:

A standard plastic headband with the bottom dressed in very plush, faux-leather in the center. The size adjustment is fairly typical and akin to something you'd expect from Sennheiser, with a easy adjustment that clicks, but have no visible markings.


Cups:

The cups are oval-shaped, with a fully enclosed outer shell that house the power button, mic on/off, and power led indicator on the left outer cup; nothing on the right cup, though internally, I believe houses the battery (good for up to 12 hours of wireless playtime).

The cups can lay flat for portable use/resting around the neck, and have enough swivel to fit any head shape.

The bottom of the left cup is absolutely packed with all the interface you'll ever need: volume slider, microphone volume slider, aux/3.5mm input jack, usb type c input (for its charging and PC connection to change software specifics), microphone jack, and multi-function button. Below are the functions of each. Bear in mind that Audeze can change some of the functions and shortcuts of the things below, so if they're different at a later date, don't blame me. D:

  • Volume Wheel - The volume wheel contains a secondary function. By double pressing the wheel in, it will link back to the last Bluetooth device. I was not able to test this, and attempting to connect two different bluetooth devices so I could link back to the other was unsuccessful. I have no idea what this implies, but whatever it is, nothing indicates me that it's functional at the moment.

  • Mic Volume wheel - Pressing down on the mic volume slider and adjusting it up or down will change the volumes between game and chat balance. I was also not able to test this function. PS5, PC, Bluetooth, none would change in balance between the volumes of either no matter how hard I tried. Update: Per Audeze, it does work on Xbox (which I don't have in my possession), so I believe this function may not make any sense for the regular Penrose which can't connect to Xbox consoles.

  • Multi-function - Self explanatory. It is a button shortcut for other functions. One button press changes the source between wireless, AUX, and bluetooth modes. With a long press, you'll trigger the wireless pairing mode (not to be confused with bluetooth pairing mode).

  • Power Button - Long press to turn the Penrose on/off. Double clicking the power button when on the bluetooth source will go into bluetooth pairing mode. There's also more functions like single clicking being play/pause of audio and answer/ending calls, as well as slightly shorter long press rejecting incoming calls.

  • Hard Reset - Press in volume, mic volume, and multi-function button for 5-10 seconds. I would've used this once with a pre-production unit as it froze and wouldn't let me turn it off. Before I knew of this shortcut, I instead just let the battery drain completely overnight. This was on the pre-release Penrose, and I haven't had this issue on the Penrose X which is production version.


Ear Pads:

While some of you may know I'm not the biggest fan of faux-leather pads, Audeze has managed to give the Penrose a very ample amount of padding while minimizing surface contact area. The end result is that the Penrose sits comfortably on the skin, with an oval-shaped opening, keeping the ears from bottoming out and pressing onto the drivers or pressing up against the pad walls.


Cables:

The Penrose comes with 3 basic cables: 6ft USB C to USB A, 6ft USB C to USB C, and 3.5ft 3.5mm aux headset cable (mic and audio channels). All your bases are covered here in terms of cables.


Final Build Impressions:

While the Penrose isn't the hefty beast one would expect of Audeze, it is made of some generally durable plastics that shouldn't offend anyone. The Penrose looks like it can take some moderate abuse, though why would you abuse planarmagnetic goodness like this?



Accessories:

Aside from the cables mentioned above, you get the detachable boom microphone attachment designed by Shure. This has been updated from the prior boom mic that came with the Mobius. The mic end looks more premium and looks like a miniature version of an LCD headphone's outer cup grill design.

You also get the USB dongle, which transmits the source audio to the Penrose wirelessly. Unlike the normal Penrose which has no switch, the Penrose X comes with a dongle that houses a switch that toggles between Xbox and PC. The PC side enables its standard USB protocols and will work exactly like the non-X Penrose dongle. You may find it working with much more than PC. I'm not Audeze, so I'm under no legal or contractual obligations, meaning I can tell you that through testing, I found the Penrose X's dongle working through PC, PS5, and even the Nintendo Switch Lite (with type C to USB A adapter cable). I assume the product description omits PS5 and MAC compatibility, due to both companies being in direct competition with Microsoft. Of course to carry official Xbox support, they're not going to mention the competition. Let's leave it at that, and take it as a nice surprise. I still recommend the regular Penrose if you do not ever plan on getting an Xbox, as that is the only difference, and you get OFFICIAL support.



Comfort


Weight:


The Penrose is amongst the lightest planarmagnetic headphones I've personally tested, and generally a non-issue. I believe it is around 350g, which isn't the lightest headphone, though definitely light for a planar. I feel the weight is distributed well, and shouldn't pose a problem for most people.


Headband:

Headbands are either hit or miss in general, but I feel the Penrose is on the right side of things, with ample cushioning. After prolonged periods of use, there's a minor sore spot on my head, though I have to mention that during testing, my head was clipped short. Those with a bed of hair may not notice any hotspotting. I didn't mention it in my Mobius review, likely because I hadn't cut my hair at the time.


Ear Pads:

As mentioned earlier, I'm not generally a fan of faux-leather ear pads, but the shape, depth, and minimal skin contact surface, paired with the ample cushioning, makes the Penrose's ear pads generally ok for comfort, and amongst the better faux-leather ear pads I've tested. From memory I can't recall a better pair of faux leather ear pads in terms of comfort and keeping my ears cool. You may need some rest periods to let your ears cool off.


Clamp:

I'd say the clamp on the Penrose falls under 'moderate' pressure. If anything, this may be the only area in comfort I'd personally want improved, as I prefer less pressure in general. I can see moderate clamp starting to cause minor aches during long listening sessions. Clamp is a highly debatable subject, and can easily fall under personal preference. I recommend stretching the Penrose over a folded pillow overnight to loosen up the clamp a bit.


Overall Comfort Impressions:

The Penrose is in a range of comfort I'd consider good, despite personal preference of less clamp. Outside of clamp and some headband discomfort, the comfort easily lands in the spectrum between good and great. I don't see many people having a problem with the Penrose whatsoever in terms of comfort outside of initial clamp.



Noise Control

It's been a considerable amount of time since I've last played with a closed headphone of any kind, but I'd say the noise leak and noise isolation are good enough for my use. I couldn't see the Penrose being a problem to use in a quiet room or loud environment. It may not be one of the best in either regard, but I'd say it holds its own well enough, though may not block out as much external noise as some of the better closed back headphones. When playing audio, I personally don't have any issue with the minimal amount of external noise that leaks in. If you're in a really loud environment, there are better options for isolation. If you're worried about disturbing others with the Penrose, don't be.

As for internal noise/hiss coming from the Penrose itself, this has been noticeably improved from the Mobius, and even the initial release firmware of the Penrose. It was already a very good noise floor, with only very faint hiss. Now with the more recent firmware, the noise floor is so minimal, you'd have to be one hell of a stickler to complain about the Penrose. It's not a wired headphone's level of black background, but it's solid. With any external ambience, you'll be hard pressed to notice any internal noise at all.



Connection Range and Battery Life

Let me preface this by saying that my main area of listening and doing anything at home is my bedroom. My house has a very odd layout of having a bathroom smack dab in the middle of the house. What I'm trying to say by this is that I don't have much open space besides the area between the living room and kitchen. The rest is a maze of thick walls, and interference. It's bad for my wifi (which I needed an extender for, and which still has issues), and it's certain to be bad for range testing for the Penrose.

With all that out of the way, I can say that for my specific situation, I have zero issues with range in my bedroom, up to the center bathroom, and the living room that's connected to my bedroom. I'd say I can get a good 20-25ft in my odd layout before it starts having connection problems. My PC and PS5 are both connected to far outer walls of my bedroom, and so the signal needs to bounce multiple times in odd directions if I try to use the Penrose outside my room. I certainly wouldn't try to use the Penrose outside my bedroom when connected via the wireless dongle. In short, your mileage may vary.

As far as battery life goes, it's good for around 15 hours of playback, which I haven't extensively tested, though that's far longer than I think most people would need in a day. If need be, you can still use the Penrose while it is charging. While charging, there was no added noise.



Audeze HQ Software

This PC program is where you can customize all manner of things on the Penrose that can't be accessed on the headset itself. It's a fairly simple to use software, that also allows you to choose between the Penrose functions and the Mobius functions (in case you were to have both, which I do).


Penrose Mix Amp:
  • Sidetone - You can toggle this function On/Off. This lets you hear your mic output. By the time of this review, you can only toggle this in the software. I personally don't like sidetone being on, other than when testing as the slight delay between my voice and when the sidetone plays is distracting. It also adds noise. In short, I personally recommend leaving this off outside of testing purposes.

  • Game/Voice Mix - This wheel allows you to adjust between the volume of the main audio, and voice audio. I haven't been able to test this in any way, so not quite sure of its effects. If it's anything like the physical game/voice knob on the Astro Mixamp, it will reduce the volume of one and raise the other. It'd be quite useful if/when it works.|

  • Mic Volume - Here you can set between 0-100%.

  • Presets - The Penrose doesn't currently have traditional presets unlike the Mobius. Instead, you have a 10-band equalizer in the software, which you can save to various presets (presently 2 configurable presets, more in the future). This gives you the freedom to tailor the sound to your liking, though I personally prefer to leave my sound as intended.


Device Info:

Here you'll find an image of the Penrose and its physical features. The left column shows app and other miscellaneous information.


Firmware:

Here you'll have a current firmware and an Update Firmware button. At least when I updated to the beta firmware, the process was extremely painless. You disconnect the dongle, connect the Penrose via USB, and click update. That's it. Much easier than the method of updating firmware on the Mobius which was quite complex by comparison.


Right Column:
  • Profile - This is where you select between the Mobius and Penrose options of the software.

On the far right side of the app window shows current mic volume and whether the Headset is connected through USB.


Final HQ Software Impressions:

Compared to the dense feature set of the Mobius in terms of the unit itself as well as the software functions, the Penrose's portion of the HQ software is a a bit more simplified and straight forward. Everything is pretty self explanatory, and you shouldn't need to mess with the software much aside from toggling the mic's sidetone, and changing the presets which will then save onto the unit itself. That and the occasional firmware update. In the future, there will be a mobile application which will further reduce the need to use the PC software.



Usability and Intuitiveness

(Note - this section is highly subject to change due to ever evolving improvements and updates being made to the Penrose by Audeze. As such, I wouldn't put too much stock on the minor gripes I have mentioned here. They may no longer be an issue weeks and months down the line.)

I'd like to talk a little more about certain functions and the ease of use, intuitiveness, and general usability of the Penrose. I'll go down a list of things it does and how I feel about them. Some of this may sound like major complaints, but don't take it as such. It's mainly just highlighting these minor things more so that you can understand that these simple things as a whole will affect the user experience at least until future updates address them.

  • Power Button - The power button has multiple functions, some that double as other functions depending on the state of the Penrose. If it sounds confusing, it is via explanation, but makes more sense in actual practice. That being said, having something like a long press of 3 seconds rejecting an incoming call or 5 seconds turning the Penrose off, I can totally see where people may accidentally turn off the Penrose by accident.

  • Multi-function button - there's not much to complain about here as pressing the button just toggles between sources, while a long press activates pairing for the wireless mode. My only gripe is that the bluetooth pairing and wireless pairing function are in two separate areas on the Penrose, and I find myself pressing the wrong one. I'm sure as you get more accustomed to the Penrose, you'll remember which buttons cause bluetooth and wireless pairing modes.

  • Headphone volume wheel - The obvious volume adjustment of main audio is fine enough, but I'm not a fan of the sudden reduction in volume, beep, and then sudden rise in volume when the volume is maxed out. I would've preferred the beep interrupting the main audio instead of the drastic volume change which is quite jarring. I also feel the steps in volume are too large. The Mobius as of this review has a lot of volume steps for easier fine tuning to get the perfect amount of volume. The Penrose needs more steps. As for double clicking the volume wheel for the bluetooth link back function, I don't think it feels natural and intuitive. It's also not something I think many people will utilize on a regular basis, so if anything, they'll have a hard time remembering what action on the Penrose it's linked to. I can't blame Audeze here, as even though the functions have been stripped down from the many that were on the Mobius, there are still so many on the Penrose, that you're bound to forget what does what especially the lesser used functions.

  • Microphone volume wheel - Nothing to complain about here really. Pressing in the mic wheel and adjusting it for game/voice balance (on Xbox) feels a bit awkward to do, though without an Xbox, I can't say how well this works. If anything, I just find it odd that it's a feature on the regular Penrose, which it doesn't apply to, as you can't connect to the Xbox. Unless I'm missing something, and it works on something else, I fail to see why it's a function on the non-X version of the Penrose.

Overall, I feel that for the best user experience, it's best to stick to basic functions, instead of relying on the more complex ones. Things like bluetooth pairing and wireless pairing don't (at the moment) let you know which is being paired. I asked Audeze to perhaps update the notification to state them as "Bluetooth pairing, bluetooth connected, wireless pairing, wireless connected." Right now all you get is pairing and connected. Which though? Who knows?

One example of something I was confused by is that when having both wireless and bluetooth audio functioning at the same time, the balanced is skewed heavily towards bluetooth audio, so your main 'wireless' audio will be quite a bit lower in volume output. For awhile I thought this was addressable in software, but it isn't. This means that you're stuck with the inherent volume balance between bluetooth and wireless, unless adjusted via other means. Adjusting bluetooth volume will actually affect wireless volume as well (at least when paired to a mobile device). Personally, the balance is fine for me as I like to have my game audio much lower than chat volume, but I do miss the ability to adjust separately. Not having the option on the headset itself is missed, and I hope it can be added in the future.

The PC software lets you save two EQ presets of your choosing at the time of this review, though you can only save one on the headset itself. So when you apply your preset, your Penrose will apply it until the next time you change it on the software. No way to change this on the headset. This may be a bit easier to tweak via the mobile app, though I wasn't able to test during the review process. So for now, if you want to change your sound preset, you have to connect to the usb on PC.

Lastly, the sidetone can only be toggled on/off through software (for now), and so I prefer just leaving it off, outside of testing purposes. This is something I think would've been nice had it been on the headset itself, but then again, the Penrose already has so many functions to contend with, so perhaps it is best to deal with this, and the presets through software, like the future mobile app. Sidetone also apparently adds to the noise floor, so it's best to leave off for maximum sound quality.

All of this summed up means that whereas the Penrose shines in terms of audio performance, it's a little less stellar in terms of user experience, at least when it comes to constantly fiddling of its functions. With experience it won't be a major issue, but there a definite teething issues. In the future, I'm sure a lot of this will be addressed (just as many initial problems on the Mobius have been addressed since), so I'd worry less about long term functionality problems, and focus more on what it gets right, which is the sound.



Sound

The Penrose is quite a bit cheaper than the Mobius, and one would be worried that sound quality would be impacted. That is definitely not the case. The Penrose sounds fantastic, and I'd say may be even better suited for gaming than the Mobius. The Mobius may have been a little more versatile due to internal EQ presets (whereas the Penrose needs access to the PC or mobile app to change between presets created), but as I like to review headphones based on default sound characteristics, I'd give the win to the Penrose. The Penrose is different to the inherent sound signature of the Mobius in some ways.


Bass:

If there's a company that knows proper bass, it's Audeze. This holds true with the Penrose. You can expect excellent linearity down to the deepest of guttural depths, with a full, rumbly, textured, and tactile bass section. It has a great amount of controlled energy without excess or bloat. It is snappy, always ready to throw down, but doesn't overcommit. It is not stuffy or heavy handed.

With frequency testing, I have found that the Penrose goes down, way down. Extremely low to chest pressure crushing depths. Even audible below 20hz which is quite rare, and not something I'm accustomed to hearing. Despite that, it's not emphasized over anything else. This isn't a basshead headphone, but when the bass is called for, it delivers. The warble of 35-40hz is fantastic, and will aid the Penrose in making them incredibly immersive for gaming and action movies.



Midrange to Treble:

Not only does Audeze specialize in accurate and potent bass, they also specialize in midrange presentation. While not as thick and inviting as the Mobius, it's sharper, clearer, and more defined.

Frequency testing shows general high output and presence, with a minor reduction past 1.5khz, a rise at 3khz, to high forward presence up to 5khz. A noticeable reduction of output at 5.5khz, which remains reigned in until about 8khz which rises to 10khz, which softens considerably but remains present and appreciable to 14khz. There was a bit of 4khz and 5.3khz frequency imbalance, though it was a short enough range that I wouldn't take major issue with, and could very well be driver variance. I certainly couldn't perceive the imbalances outside of frequency testing.

While not as organic as the midrange found on the Mobius, the midrange to treble sections make the Penrose better suited for accuracy and detail retrieval. Both male and female vocals are always present and vibrant. There is clear definition to vocals and instruments, despite not carrying the same amount of weight as the Mobius.



Soundstage:

I honestly didn't expect much to highlight or complain about with the Penrose's soundstage, as I don't bear much importance in terms of stereo presentations. I certainly don't expect much for most closed-back headphones in particular. So to my surprise, I was quite happy with the spaciousness and separation the Penrose provides. The soundstage isn't particularly large or deep, but there is certainly room for instruments and other sound cues to breathe within the headspace. It does not sound cluttered or congested. That's a great thing indeed, and far more than I would ever need for stereo use.


Clarity:

Due to its tighter, faster, more focused sound over the Mobius, it makes a better headphone for detail retrieval and minor analytical use. It's not a precision tool for designed for micro-detail extraction, but as far as general purpose, there won't be problems using the Penrose for most cases where clarity is top priority. It is highly detailed without giving up its more fun, casual use benefits. The softer hitting ranges between 5.5khz and 8khz may be a bit of a problem point for minor sound effects in those ranges, which is why I wouldn't call the Penrose the greatest competitive gaming headset if that's what you're looking into. Asides from that, it does most things well, and I'd give it a near 8 out of 10 in the case of clarity. It's really, really good here.


Sound Signature:

The Penrose sound signature is one that I find hard to pinpoint, because it changes depending on what you through at it. By that statement, one can extrapolate that it is a neutral leaning headphone. I won't disagree with that mindset, though since the Penrose changes so much, I can find it warm at times, not so warm in others. It's quite chameleon-esque in that regard. Regardless of final sound signature, you can bet that the Penrose will sound good with the vast majority of things you use it with. The bass reaches quite low, though not being really emphasized, the midrange is clean, clear and focused, and the treble is lively without excess energy or harshness.


Microphone:

The Penrose's microphone has been updated and changed from the Mobius mic in significant ways. The microphone on the Penrose has been designed by Shure, for one, and has a completely different tonal balance compared to the one of the Mobius. Thankfully, I happen to have a Mobius laying about, and can freely swap between the mics. Below are some examples of both the Penrose's mic, as well as the Mobius mic attached to the Penrose. Both through the aux connection to my Schiit Hel, as well as the wireless mode quality differences between them. Interestingly enough, there is quite a disparity between how the microphones sound through a wired connection, and how they sound wirelessly.

Note: Please disregard any volume differences, and loud pops and sudden spikes, and background noise differences. That is all on me and my failure to get a decent handle on recording software and settings. Focus on just the voice quality. Forgive my lack of experience in microphone recording.







In wired mode, I feel the Penrose's mic is a gigantic leap in quality over the Mobius mic. Everything just sounds much more lifelike and fluid, whereas on the Mobius, there's a nasal tone to it. It's not bad, but you lose a bit of realistic tonality with the Mobius mic. Here, the Penrose mic really showcases an impressive jump in quality.





Due to wireless limitations, the Penrose's fantastic mic is held back a little by the compression and loss of bandwidth, resulting in somewhat compromised mic experience. That being said, the recent firmware update has DRAMATICALLY improved wireless mic quality output, where it's no longer overly muffled and blanketed. It may not match the wired mic experience, but I feel the quality here is more than enough for most chat purposes. If you want the best the Penrose has to offer, connect the aux cable to a wired source (i.e. your PC directly, or even better, an audio interface). It's a noticeable quality boost, and worthwhile if you're ok with being tethered. Otherwise, I think the wireless mode works well enough for normal use.



Gaming

The vast majority of prospective Penrose users are mainly going to be interested in how the Penrose performs specifically for gaming purposes. Thankfully, with the advent of headphone-centric audio processing of Sony's Tempest 3D Audio and Dolby Atmos Headphone for Xbox, headphone gaming has become more of a focus for the new console generation. The Penrose benefits greatly from this, enhancing its total gaming immersion and positional discernibility.

As these technologies fall in line with how I prefer to play games (choosing virtual surround processing instead of plain old stereo), that's how I've mainly tested the Penrose for gaming. Most testing was done with Waves NX in Multimedia preset on PC, and 3D Audio ON when playing on PS5. Unfortunately, I don't play on Xbox, and was not able to test gaming performance there. Despite that, the Penrose does well with all main virtual surround processing technologies I use, and I expect no different with the Xbox in Dolby Atmos mode.

Most people I know will tend to choose open-backed headphones for gaming purposes, but there's something nice about having the feedback of a closed back, as well as the isolation it provides. Less external influence of sound contributes to a more personal, intimate experience, which is a wonderful strength of the Penrose. Playing games like Astro's Playroom on PS5 with the controller's haptic feedback and 3D audio was an amazing, immersive experience on the Penrose.

While the Tempest 3D Audio isn't as vast sounding as something like Dolby Headphone, its more intimate and attentive approach to sound works particularly well with the Penrose. It offers a laser like focus between you and the sound, which actually suits the Penrose more than the wider, bigger scope of general virtual surround like Dolby Headphone. It's a new experience, and the Penrose in particular capitalizes on it more so than what I've grown accustomed to with open-backed headphones. I don't have the greatest gaming headphones on hand, but out of the few open-backed headphones I have on hand, none are as impressive with Sony's Tempest 3D audio as the Penrose. This leads me to believe the Tempest 3D audio will benefit closed-back headphones more. It's early times for the technology, and my opinion of this may change. For now, I think the Penrose is an ideal choice for Tempest 3D audio.

So with the Penrose you have great bass depth and dynamics, clear, sharp sounding details, and stellar performance with the new Sony Tempest 3D audio. In short, the Penrose is brilliant for gaming.



Personal Recommendations


Media:


The Penrose is a vivid, detailed, and energetic headphone, which translates into a great time for all manner of general media. An impressive depth to its bass (though not bass heavy), excellent clarity, and dimensionality for a closed back headphone makes the Penrose a force to be reckoned with. It can even do analytical listening, or highly competitive gaming, though I'd steer the Penrose more towards the casual, immersive forms of content like action movies and games. With EQ preset customizability, you can force the Penrose towards whatever you want it to be, which wouldn't be too hard to tweak considering its great balance for all manner of media.


Practicality:

The Penrose is first and foremost as wireless headset made to be used with its USB wireless dongle. I'm not sure many people will want to take the dongle everywhere just to use its wireless mode, so I'd anticipate that anyone taking the Penrose out and about will likely use its Bluetooth mode. As it is limited to SBC and AAC, there are perhaps better options, especially if latency is a concern for you. I certainly wouldn't use it for gaming through Bluetooth. The aux input works in a pinch and sounds fine, but as the Penrose doesn't work passively, you're still having to contend with the battery powered operation at all times. Due to all of this, I personally recommend the Penrose mainly for home use. It's certainly versatile enough to do home, office, and portable duties, and while all of that is nice to have, it isn't ideal for the latter two. Keep it handy at home, or leave it at the office.


Who It Is For:

If you're tired of being tethered by wires, or don't want to use a dac/amp, the Penrose is ideal. They're mostly self-sustaining, meaning you don't need anything but the source. You'll need to charge it, and the dongle has to be attached to the console/PC. Asides from those two things, you're not restricted by gear and cables. There's a case to be made to perhaps use the AUX connection when you need to voice chat (due to its significantly increased mic quality). Other than that, the Penrose is good to go as is. No hassle, no mess.

The Penrose is aimed for consoles first so if you don't have a console, perhaps you may be better suited with other headphones and headsets. The Penrose for PC gaming is also a logical choice, despite sounding like a secondary use case. Really, it's for everyone who plans to game with it. Look elsewhere if bluetooth or wired uses are more important for you. The Drop Panda makes a better Bluetooth-centric headphone, which also has a passive wired mode that works just as well. So I recommend a Penrose if wireless audio comes first, and something else like a Panda for Bluetooth or optional wired use.

I also would look elsewhere if you're constantly needing to move the headphones from one location to another. It's portable enough, but not ideal.



Comparisons:

The one comparison that will matter to most people here will be with that of its sibling, the Audeze Mobius. Despite their identical looks, they're actually quite different in main use case, and also of their inherent base tonal qualities. Whereas the Mobius is a warmer, (yet still linearly, balanced sound), which sounds meatier, more forgiving and upfront, the Penrose sounds faster, and more precise, more neutrally toned. It sounds a touch brighter and energetic, thought not overly stringent. Its object detail is more defined, and is given more space.

I can't say which is better because they're different enough to say that it falls under personal preference. The Mobius has more weight to the sound. More presence, as if things are bolded and fill up the space. The Penrose is leaner, quicker, and more reactive. If I had to say which is better for gaming, I'd give the edge towards the Penrose. The Mobius tonal balance is a little easier on the ears, as the Penrose has an upper range attack that may bother some. It's not peaky or harsh, but it's certainly not as soft hitting.

If you're on the fence on which to get, it should be based on your needs.

  • Mobius is mainly a wired USB headset for PC
  • Penrose is mainly a wireless via usb dongle headset for Consoles, though works just as well on PC
  • Both have bluetooth. Penrose is limited to SBC and AAC. Mobius has SBC, AAC, and LDAC which will have better bluetooth audio quality
  • Penrose's wireless mode is near lag-free, while Mobius has the lag penalty of bluetooth. This means Mobius in wireless mode is not good for gaming
  • Both are powered at all times even through the Aux connection. Neither can be used passively.
  • The Penrose has a higher quality mic, though the Mobius mic may sound less muffled when in wireless mode



Likes and Dislikes


Likes:

  • Sound quality
  • Perceptively lag-free wireless mode
  • Bass depth and impact
  • Detail, Energy and vibrance
  • Wired mic quality
  • Stereo separation

Dislikes:
  • Certain headset functions or lack thereof
  • Bluetooth doesn't support low latency codecs
  • Initial clamp


Final Impressions

Audeze has once again tackled the gaming market with a product that audiophiles can't ignore. Wireless gaming headsets aren't exactly known for their sound quality, and instead are mainly known for their convenience. Audeze has turned that upside down, giving the Penrose the sound quality one expected of wired headphones. Not just wired headphones, but audiophile headphones in general. I've tested various wireless headsets that utilize 2.4ghz, and none even begin to come close to the sound quality of the Penrose. I'd back that up any day of the week. Send me another wireless headset that sounds anywhere near this good, and I'd be absolutely baffled and surprised. To me, there just isn't any. And I don't mean bluetooth headsets. Bluetooth adds too much latency, which ruins gaming experiences. Even low latency codecs aren't optimal for gaming. The Penrose's wireless connection stomps all over any bluetooth connection in terms of responsiveness.

An area that need some improvements is the usability of its functions and features. Some of this will likely be addressed with firmware updates (which are already fixing various issues). Others will be things we'll have to grow accustomed to the more we use the Penrose.

So the viability of the Penrose will fall on your ultimate needs and necessities. Do you want one of best sounding wireless headsets? The answer is simple, the Penrose has you covered. Do you mainly intend to use it for casual, perhaps single player gaming uses? The Penrose has you covered. Do you intend to use it mainly for music? The Penrose definitely has you covered. Do you mainly intend to use it for party chat with friends? You may want to connect it via cable for the best possible mic quality, in which it absolutely nails. Does microphone use absolutely need to be done wirelessly? This is where you sacrifice some microphone sound quality, though it will work well enough.

Personally, I think the Penrose is a solid banger of a headphone that can function as a headset quite well. The biggest compromise is mic wireless quality, and it isn't enough to dissuade me from many, many great things going on with the Penrose. Despite the stipulations that comes with the Penrose, Audeze has another winner on their hands. Sound quality trumps all, and the Penrose has that in spades.



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Beyerdynamic T70
CH6aG9gUM4m-Qg2w_uCVasmxtIDKpc6ZtQ43zTzz4PguOVW9eEZsy2puYd6Vye13h-E05ptSkFSmY-CGUlGjZBc03MaCm527zs1Q2nqYHy5810HcW35KJJM8yf4H_zPDH_rKqypHWMoIrRkprkTLDwqiHnP-BDcURODEL5ld1UoTTSOr4sM0meQlWdjDeVNui6PWQm9a26X2-vI2DfxOFa6eN0K_EXm8V6fpbZLwbinpjXXRIGvzYR153DwkGQTyTbJp6HGcABHkzzNFCoH1Ju4-P5tWyNQhEHj9-Y_sUyufHPzLBe2TGaqQgR39LPHGx43-dXgfMXRsfVLEvQ7rinhH955HNAyy2BgmWrasdtKTIgISNn1gQ34CFL53w9oAdwCk0IqpGYsn7j_u8cl5OPTxlQRhy8uEYc4IAjryjOZiNzjj7-AV6UGXjKTZQkeOEcQL8kmx7XLr58bhYQpaH-9FuJJMEwFdiM9taHGwwMO0L-ekXiLabEe6OBdaFQW78OL1b5f_96dbnBHg16knS0VYI-zQJ5qH9hK_TqWuqnm024MAjzTbCtOImbydfNeoV6eSH37uPHU2zGoDRIlCO0SOPebCA7dInzyehybJhLD3DmbUZ298uVRMAUDy-WUziehbx4XRpsthJTq39-XMLJk1Rs8AXoBDusvlGdROSMZC2lKxBtVO57o=w500-h375-no

Where to buy: Amazon
Please take a look at my full review of the Beyerdynamic T70 over at Headphone.guru

The T70 for gaming purposes excels for competitive gaming, with abundant clarity, and a nice, wide soundstage, despite it's closed back nature. It will perform admirably for FPS gaming where it can pick out the finest of details.

Where the T70 lacks in is it's immersion. The bass is a bit on the lean side, and makes the T70 less than ideal for casual, immersive gaming.
The T70 isn't completely devoid of bass or warmth, but it is a bit lean, and I wouldn't recommend it as a casual gaming headphone.
Quite possibly the clearest sounding closed headphone I've heard outside of the Alpha Dog. Due to less fullness in the bass, it is even more clarity oriented, though it's soundstage isn't as open or as deep.
The T70 is a very elegant sounding headphone, leaning considerably towards detail extraction and clarity. It is a high class, high priced headphone, unfortunately lacking in musicality, making it a hard sell at it's price range for gamers and casual music listeners.

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Denon D7000

DISCONTINUED

Normally, I wouldn't be recommending you spend anywhere near the price of the D7000 for gaming needs, but since I happened to own them, I'll went ahead and critiqued them. This may or may not be a surprise, but they are absolute gaming monsters. Despite them being closed, there is a great soundstage, with plenty of depth and width. Pinpointing directional sounds around you is a BREEZE. Detail is in everything you can focus on. If you happen to own the D7000 and something with Dolby Headphone, you need not look further for your pleasureable gaming needs. The bass is so magnificently present without it smearing over the rest of the frequencies. The mids are very good though obviously take a step back because of the bass and pronounced treble. The treble is sparkly but not overly prone to fatiguing. They are also GREAT for hardcore gaming, but in all honesty, the bass is so good, you'll find yourself paying attention to it when you should be picking up the finer details, which is why I'd still choose something with quicker, and less present bass. Still, the D7000 they can do it all, and do it well.

Comfort-wise, the D7000 is very comfortable overall. The pads are soft, luxurious, and the headphone feels good on the head, for the most part. Personal distaste for pleather aside, the D7000 is damn comfortable. Personal gripe: The headband is big and can feel awkward as you move around. It's not the most secure fit.
Fun: 10/10 (Incredible)
Competitive: 8.25/10 (Great)
Comfort: 8/10 (Great)

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Drop + THX Panda

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$400 as of February 2020.
Where to buy: Indiegogo
Review first posted HERE (WITH ALL THE IMAGES)

Disclaimer: It's worth noting that these are A PRE-PRODUCTION UNIT. Meaning things are subject to change, and the final version MAY alter, address, fix things, or outright change them to be different. I don't expect the general build, design, and audio balancing to change dramatically, but you never know. As such, do not take these impressions as gospel (not that you should take anything I say as that).

A special thanks to Drop for sending the Panda out for review. As always, whether products are sent to me or not, I do my best in being 100% honest with my views and opinions. If I don't like a product, I will refuse to write a review of it or at least mention what I don't like about them, though I like to focus on products that people would like or at the very least are interested in. The only bias I have is to my readers and making sure they know about good products. Most companies tend to be good in terms of not sending me gear I'll outright dislike, so my job here is made a bit easier.

I'll spare you the nitty, gritty details on the Drop + THX Panda. If you want all that (and you really should look into all that), that's what these pages are for:

Drop + THX Panda on Drop.com

Campaign of Drop + THX Panda on Indiegogo

All I'll mention myself is that I'm interested in its THX AAA technology, which apparently gives the Panda "the world's lowest possible levels of distortion." Relative to what, I'm not sure, but I'll say is that it's a damn clean sounding headphone, even through bluetooth, so there may be some merit there.

I'm also very interested in the 55mm planar-ribbon drivers which doesn't look like any dynamic or planar driver I've personally seen before. I love technology that falls outside of the norm, so...yes please.

Of course, I can't forget the fact that they somehow managed to maintain an incredible level of sonic similarity and performance between wireless and wired modes. I don't think I've heard one headphone that has managed to sound near identical without any actual discrepancies between how they sound in wired and wireless modes. It's not 1:1, but it's incredibly close.

Okay, Drop, you've piqued my curiosity. Let's see how it fares.
Build Quality

Design-wise The Panda is what I'd consider a prime example of utilitarian. It's all matte black, mostly if not all plastic, with absolutely nothing in the way of accents, design cues, or fanciness. There is just really nothing here to make the Panda stand out or even be identifiable from other basic black, closed back headphones (other than a meager and hard to spot Drop branding etched on the inside of the right extension arm). I like stealth, and discretion as much as the next guy, but I would've liked to see some lines or accents for contrast to break the very basic design language of the Panda's aesthetics. The Panda honestly looks like it could be from any manufacturer. AT the very least, with a name like Panda, I surely would've expected some white to contrast the black.


Headband:

(Update: Just want to insert a correction on the Panda's build by @WillBright, Chief Product Officer at Drop. I'm awful at figuring out what materials are used, so this is helpful.)

"The top of the headband is just plastic, but the yokes and arms are all cast aluminum."

The headband is like any other basic headband you've seen on a million other headphones. It is wrapped in faux leather up top, and some black silicone material on the bottom where it meets the top of your head. Not much in the way of cushioning either. As in, not really any. This somehow doesn't make the Panda uncomfortable to wear, though you do get a little bit of a sore spot on top of your head after extended listening sessions. It does merely sit on your head, and doesn't provide much pressure up top, likely due to the clamping pressure taking most of the weight away from the top and moving it to the side extremes, but it's not a noticeable pressure point up top. I'm not sure how to feel about the headband, really. It's not the MOST comfortable headband out there, but it's not really all that offensive either. I'm not thrilled with the silicone material in particular, but that's a personal preference kind of problem. Really. After a few hours of use a day, I don't have any major complaints here. That's saying something, as I'm really, really picky when it comes to comfort, especially in terms of headband and ear pad comfort.

Moving on to the extension mechanism. The Panda extends with audible clicks, but no indicators of size. Which brings me to a complaint: the Panda may have size limitations. I have to wear them fully extended. I do have a large head, but I imagine some people may have bigger heads than mine. In any case, fully extended for me, just about barely allows the drivers to sit at the optimal height on my ears. I hope whatever next headphone Drop brings out in the future, has has a more generous size extension limit. If companies like Sennheiser can make headbands that can fit watermelons without changing the size profile, so can Drop.

Attaching the headband to the cups is a single sided yoke, which may be the most interesting part of the Panda's design. As it is only connecting the cups on one side, it allows them to swivel completely inward (if you wore the Panda around the neck, the pads would rest on your collar-bone as opposed to the outer cups being what rest there). I personally prefer this style, over cups swiveling outward.


Cups:

Fully closed-back, oval-shaped, with a black matte face, there's not much to say about the outer side of the cups. There's just nothing there, really. Around the edges of the cups is far more interesting, if just a little. The left cup houses the 3.5mm input near the bottom which allows the Panda to be used as a wired headphone with any basic 3.5mm cable. There is a notch where the input is, so it looks like Drop may have a specific cable in mind that slots in a particular way, though the cable I received was pretty standard. What makes this input special is that unlike some other bluetooth headsets, the Panda's 3.5mm input bypasses the internal circuitry and allows the Pandas to be used passively. So even if you were to run out of battery, you can continue using the headphones with your own dac/amps, or other sources. I personally feel it makes the Panda an excellent, wired, closed-back headphone in this regard. So much that Drop could've sold the Panda as a wired headphone only, and it'd be worth looking into.

That's all as far as the left cup. The right cup's edge holds a type C USB input in the bottom for charging. (A brief note: I'll go more in depth about this in the "Software/Connectivity" section, but this particular unit has USB headphone connectivity, which, per the Drop rep I'm in contact with, states isn't intended. More info on that section.)

Behind and above the USB input is a very tiny (pin sized, really) led indicator. Indications: Red means charging, white is ON, and slow changes between red and blue is Bluetooth pairing mode.

Above the led indicator is the joystick controls. It is shaped like a cross, and feels rubbery and gummy, but works incredibly well. Well, most of the time. When paired to my PC, it can be a bit sluggish, buggy, and imprecise, but on other bluetooth devices like my phone, it's quite a bit more responsive. I love how simple and intuitive it is to use.

  • Pressing it in. Play/Pause
  • Press and hold: Powers on/off. I don't exactly like the sound effect for these. It's a weird trickle sound effect that sounds that isn't appealing to my ears. When turning the Panda off, it also mixes in a sort of door closing sound. Odd choices for power on/off indications, personally.
  • Long press when off: Powers on and then goes into pairing mode. The sound effect for pairing is more distinct and akin to a timer.
  • Up/Down: Raises and lowers volume.
  • Left/Right: Go back and/or skip tracks.
  • Up/Down: Volume Controls: My only gripe here is that the change in volume is a bit drastic. Drop absolutely needs to adjust this to allow for more sensitive, fine tuning of volume changes. It's just too big a change in volume per step. Also, on my PC, I do have instances where the volume changes are imprecise, as in way too slow to accept my command, or will do the opposite of what I asked. Of course, I expect this to be ironed out and fixed on release. It could also be interference outside of Drop's control, and tied to my own gear. For now, on my PC, my keyboard makes smaller steps, and thus more favorable to use than the control on the unit itself.

Near where the cups meet the pad mounting, are 2 stereo microphones for stereo. There is an additional vented area that looks like a third(?) microphone, though I have no idea of what it is, or what it's for.


Pads:

The pads are made of protein leather. Faux leather, or pleather for those who understand those monikers. No cattle were harmed here. The use of this material also ensures strong acoustic isolation which is a necessity for closed back headphones. I'll keep personal preference out of this (I personally only really go for headphones with suede, velour, fabric material pads, but understand the choice here), and I'll say the pads feel fine. Certainly in the realm of what I'd consider well made pads with strong isolation, and enough plushness for decent comfort. They do trap heat, so you'll find yourself airing the pads out at random intervals to let your ears breathe.

The pads are oval in shape, have a decent not massive amount of depth, and are on the smaller end of the 'over ear' scale. around the range of the LCD-1 pads. The Mobius has similar exterior dimensions, but the inner area has much more space. So if you have a problem with the Mobius ear pads in terms of size, you'll definitely have problems here with the Panda. If you find the LCD1's pads big enough for your ears, you'll find these to be just fine.

The driver cover on the pads is thin and has large L and R indicators. A nice touch.

The pads are mounted a bit like the Mobius. They have a proprietary snap on mounting, which works well enough, though it limits your options in terms of alternatives. You'll have to hunt ones down similar in size and have a way to for excess material to slip over the edge of the surface of the Panda's pad housing. Since I'm a fan of fabric pads, I'd be the kind of potential buyer that would immediately try and find alternate pads. Not so easy here.


Final Build Impressions:

If there is one thing to take away from this headphone's physical design, it's that the joystick approach to controls is BRILLIANT. I'd be happy if all headphones with built in controls followed this type of design. All of the Panda's control are easily accessible here, which is not only intuitive and easy, but also saves space on the unit, as well as saving time on learning where the buttons are located. Seriously, people, take notes. This is, and should be, the future of headphone physical controls.

The mostly plastic build seems sturdy, and strong enough to withstand normal daily abuse. I don't see any areas that I'd considering potentially problematic. Good, well built headphones. My main gripe being that I just wish it could extend a bit more.



Accessories

Case - I'm unsure whether the final version will come with the same box and layout, but the pre-production model sent to me comes in a nice, small clamshell case with an area for the two cables. Nothing too crazy, just a good neoprene case.

Type C to Type C USB charging cable - this one is a bit questionable, in that I don't think type C inputs are quite common yet. I think a better choice would be a type C to standard type A which is the most common input for charging ports. Luckily I have quite a few Type C to Type A cables around, so I didn't have any issues. That and my PC has ONE type C input in case I wanted to use the supplied cable.

3.5mm cable - Nothing fancy, and a bit shorter than I'd like. I'd wager it being a 3 foot cable, so if you plan on listening while wired, you'll have to be close to your gear. Or of course, just use your own 3.5mm (aux) cables you probably have a million of. I say this ironically, as I have somehow depleted all of my longer spare cables, and had to scrounge one up from the pits of storage hell. Ah well.



Comfort

I may have given away how I feel about the Panda's comfort a bit earlier, but I'll confirm my thoughts on the subject.


Weight:

At 350 grams, the Panda is in a spot that I'd consider hefty, but in a good way. It's not a particularly heavy headphone, but it has enough weight for it to feel sturdy and substantial. I can tell that they've packed a lot into the cups. While lighter is generally always better for comfort, I don't think Panda's weight is enough to be considered a downside.


Headband:

This is probably going to be the main area of focus in terms of comfort or lack of. With a distinct lack of padding, you're at the mercy of how well the Panda can evenly distribute the pressure from the weight pressing down towards your head. I initially thought "Oh no, this is going to be painful, ain't it?". It's really not too bad overall. Yes, there can be a sore spot, but not overtly so. It's not bad. Not GREAT, but not bad. I'm okay with it. That says a lot, if you know how anal I am when it comes to expectations in comfort. It really depends on the time of day I wear it. If I've just awoken and been up a few hours, my head feels sensitive and it bothers me a bit more than if I've up half the day. So yeah, it really varies. If I had to lean one way, I'd say headband comfort can definitely be better, but once your head gets used to it, it's not a major issue. I can wear it all day, and don't really feel like the headband is a problem. Only initially.


Ear Pads:

Again, I'll keep my personal preferences out of it, and just say the pads feel generally fine. If you've ever worn some decent faux leather pads, you know what to expect here. They're plush enough to not cause discomfort. They trap heat like essentially all other faux leather pads out there, so it should come of no surprise to you that you will need to take the headphones off periodically to let your ears breathe. The final aspect of pad comfort comes in size. The pads being on the smaller side of over ear can cause problems for those with large ears. Personally, my ears fit just fine, so I don't have any issues there, though some others will need to manage expectations. Expect that your ears may get pinched or touch the pad's walls if you have elven ears.


Clamp:

This may be a hit or miss. The Panda is on the clampy side, likely to keep an optimal seal. As far as how feels for me, I'm somewhat not deadset on clamping preferences, and feel like the amount on the Panda is acceptable, and not what I'd consider uncomfortable. I've had headphones with less clamp that felt worse. Just expect the Panda to clamp a bit. I think the smaller cup size leads it to reach the part of my jowls that would cause a lot more discomfort. So, I'm fine here.


Final Comfort Impressions:

It's odd. I honestly expected to not really care for the Panda's comfort levels, due to a combination of headband, pads, and clamp. In the end, I'd give the Panda a passing grade for comfort. Not with flying colors, but it feels generally around like most normal headphones not known for comfort, but not known to be torture devices. Keep in mind that I'm VERY picky with headphone comfort, so my passing grade, may well be that it's excellent for you. Comfort is my #1 priority with headphones, so I'm a bit more strict than others may be.



Noise Control

The Panda may not have active noise cancelling (ANC), but to me, that's a pro, not a con. ANC tends to be detrimental to sound quality, as well as steers focus away from raw audio performance. You want an ANC headphone? Get one that specializes in that, and only that. Since the Panda is trying to focus on audio fidelity first in both wired and wireless settings, the omission of ANC feels like the right call. Not only does raw fidelity increase, but so does battery life.

In any case, how well does the Pandas control noise? I'd say incredibly well. Its passive noise cancelling is nothing to laugh at. It will muffle most outside noises to where they get drowned out by the Panda's playback. That's about as much as I'd need a headphone to control external noises. I don't commune on trains or take airplanes, so perhaps you may want something else for those purposes, but regular everyday ambience, I think it does just fine.

As far as noise leakage from the Panda to the outer world, this is also well controlled. It's barely audible a few feet away even at high volumes. You don't have worry about bothering anyone outside maybe your significant other sleeping right next to you, and even then I'd argue even that wouldn't be enough. Really good job here.



Software

Software? We don't need no stinkin' software! At least, that's how I envision those at Drop replying when asked. The Panda is as you see it. You pair it through bluetooth, or plug it into your gear via the 3.5mm input, and that's it. Works like a charm. I love the simplicity.



Connectivity

Bluetooth:

Per drop, "Backed by the latest Bluetooth 5.0 QCC5124 chipset, Panda offers support for LDAC, aptX, aptX HD, aptX adaptive, AAC, and SBC codecs."

I have a transceiever that supports SBC, aptX, and Low Latency, but I'm unsure if it is aptX Low Latency, or the built in low latency codec on the transceiver which is terrible. In any case, the Panda defaulted to aptX for the transceiver. Haven't tested gaming quite yet for low latency (I'll likely add in the future, though my gaming will be focused will wired). Through my Galaxy S9 phone, I'm able to choose what codec I want to use. The Panda was able to use SBC, AAC, and aptX. Update: Per the Drop rep I'm in contact with, LDAC wasn't ready to be implemented on the firmware with the unit I tested. LDAC support will be included on a future revision.

Connecting through Bluetooth is relatively painless, quick, and easy. Just hold the cross joystick down while the Panda is off until you hear a heartbeat-like beep. It will pair up in mere moments.


Wired:

Per Drop, "...allows you to use the headphone in passive mode. When you insert an audio cable, this will deactivate and bypass internal electronics."

Testing this, I turned off the Panda, and it indeed works like any other standard headphone. And a darn good one at that. Sounds fantastic off my Schiit Magni/Modi 3 stack. As intended. If the Panda is turned on and you plug in a cable, it will immediately shut the Panda off. A very nice touch. Of course, while the Panda is in passive mode, you can't use the controls.


USB (unintentional):

There is a curious thing I need to mention. This may be a byproduct of the prototyping phase, but the unit I have on hand does have USB headphone connectivity. If I plug it into my PC, it picks it up as an audio device (even named as Drop Panda), and it works relatively ok this way. It is limited to 16bit/48khz, with no mic, or joystick control capabilities. The USB connection has very loud volume at low Windows volume settings, so I see this as an indicator of it being unintended. While it works, I still don't recommend you doing this. Not only because it is unintended, but because the super high volume levels even at low settings may lead you to accidentally blow the drivers by accident. I was able to confirm with the rep that it was not intended.



Battery Life

Drop is touting 30+ hours of battery life for the Panda. I don't have any scientific way to test for this, but I don't have any reason to doubt their claims. This is an incredible amount of time. I'm happy with anything nearing 12 hours. 30 hours is an incredible feat, and far more than I'd even realistically need. I'm very cautious in terms of charging my gear, so I don't think I'd ever come across a time where I'd run the battery down to even half capacity. Simply amazing.



Sound

Let me jump right into the specifics, and will sum up my impressions in the end.


Bass:

The bass is the only aspect of the audio spectrum that I would consider even worth debating, simply because of its added body and presence, in a headphone that doesn't truly seem to emphasize anything else and thrives on fantastic balancing in both wired and wireless modes. The Panda has absolutely no problem bottoming out all frequency tests I've conducted with various different programs. It exerts the lowest rumbles with ease. If you love bass, (not that you need to be a basshead), the Panda takes little to no effort in bringing you a solid amount of rumble, and pressure. It's a fun headphone.

The downside is that the Panda's authoritative bass does tend to bloom and mix up with the lower mids, where things like male vocals may sound a bit more boombastic. Like an extra amount of grunt that realistically shouldn't be there. It's not a problem in the grand scheme of things, but it does prove to me that it's a bit past neutral/natural, and leans on excess. Again, not "OMG BASSHEAD BABY", but does contrast the otherwise incredibly well balanced nature of the Panda.

This is absolutely not to say it isn't enjoyable. Again, I love bass, and I love bassy genres. So this extra energy is pretty awesome if you're about that. I just felt it needing to be mentioned especially for those expecting a linear, neutral, realistic sound off the Panda. The bass is beyond that scope. It's more 'hyper realistic'.

As far as the quality of the bass, I'd say it's fairly good. Good in terms of texturing, with a moderate amount of speed. A welcoming, lingering decay, that isn't super tactile or agile, but gives the Panda a nice, deep presence. The quality of the bass was never a problem with the Panda.


Midrange to Treble:

The Panda exhibits sonic excellence in its midrange to treble ranges. The vocal midrange is up front and centralized. As mentioned before, it is warmed up by the bass transition into the mids, which has a nice forward presentation, though there may be a hint of boom in vocals. Aside from that, the midrange to treble ranges is generally evenly balanced with no emphasis or recessions. Truly exceptional.

Doing frequency testing, and while running the Panda passively/wired, I could not find any noticeable peaks or valleys from the midrange all the way up to the treble. I don't think I've heard a headphone this balanced all the way up to 10khz and beyond. There are usually at least some peaks, or some valleys, or a combination of both. My ears didn't pick up a drop off until about 11khz. Which then climbs up slightly and extends to just past 14khz to my ears. Usually, headphones have some noticeable changes between 7-10khz. Not so here.

Midrange and treble representation is excellent, with nothing being subdued or overly prominent. Drop + THX did an amazing job reining in the entire mid to latter half of the frequency spectrum on the Panda. Quite possibly one of the most balanced headphones I've heard to date.

Doing the frequency tests (tried various testing programs) while in bluetooth gave me some slightly different results, with there being a slight dip after about 1.3khz, that I didn't really notice on wired/passive mode. This seems to be the only area I felt being a little different than passive (and a smidgen more bass), and it's subtle (only truly audible in frequency tests).

Something to note: It may be the pre-production unit I have, but testing various bluetooth codecs, aptX seems to have a grainy distortion from 6.5khz all the way up to just past 10khz. It disappears around 12khz, but then comes back shortly after. It's not a driver issue as it's not audible in wired mode, AAC, or SBC modes (LDAC wasn't available at the time of this review). The balancing in those ranges is as good as wired mode, just that the grainy distortion persists for aptX. I tested two different phones and my PC, and the results were repeatable. So for now, AptX may be a questionable codec to use. Hopefully it's either a problem with just this unit, or pre-production, and can be resolved. In any case, I didn't notice this under normal use, so it may just be a problem with prolonged testing of specific frequencies. Perhaps someone else can chime in and see if they can get a similar result. Again, not audible under normal playback, mainly just testing.


Soundstage and Imaging:

The Panda isn't going to surprise with its soundstage. It's what can be expected of most closed-back headphones. As always, I'm practically never awed by stereo soundstages, regardless of headphone, and the trend doesn't change with the Panda. There are headphones that break this norm, but most tend to be open-backed. Now, while the Panda's soundstage isn't restricted or walled in, it just isn't anything I'd consider special. Not that it's really a detriment to its sound. Not every headphone has to have a massive soundstage. You typically can't have an intimate presentation with a headphone that has a large soundstage. Also, while soundstage and imaging correlate to one another, they are not mutually exclusive. The Panda is such a case where I feel the imaging is better than its soundstage.

The Panda's imaging clearly puts a great focus on object details regardless of direction around your headspace. Object location, and nuanced details for objects and instruments is a strength of the Panda. I've head headphones with hazy, blurry definition of objects and instruments. Not a problem for the Panda. It's really quite competent here.


Clarity:

I do think Imaging and clarity do tend to go hand in hand, and while not on the level of something like the LCD-1, the Panda has very good clarity performance in general. Its sole detriment that I can think of is the lower midrange details being slightly in discord with some bass bloom, but otherwise, the Panda picks up subtle details with competence. All manner of frequencies are well present, with no valleys or noticeable recession masking any finer details.


Sound Signature:

The Panda's sound signature can be best summed up as well balanced, linear, with a tilt towards warmth likely due to the mid/upper bass/lower mid bloom. So while it's not lacking in any major frequencies, that minor, but broad hump down low warms up the Panda to give it a slightly thicker than neutral sonic characteristic. If you've ever heard the LCD-1 and felt it a good representation of neutral, you'll find the Panda to fall on the warmer side of this, and noticeably so. Despite this, the midrange and treble sections have plenty of clarity and sharpness to keep the Panda from sounding veiled, overly smooth, or sleepy.

Expect a nice balance towards warmth, with some added bass energy, but not much else to take away from its great balancing. It isn't the most open sounding headphone, nor is it super intimate. It's middle of the pack, which allows it to work well enough in both giving a sense of space, and being intimate enough when needed.



Amplification

While in passive/wired mode, you would think the Panda probably doesn't need much in terms of amplification to perform to spec. You'd be right. Considering it's a part-time wireless headphone, it goes without saying that the Panda was made to be powered by amplifiers small enough to fit inside the cups. As such, the Panda simply requires the bare minimum in amplification. I'd worry more about matching the headphone to a clean sounding source more than how much power it's being fed. I recommend a neutral to quick, snappy amplifier that excels in detail and accuracy over something that would further add to the inherently thick low to middle ranges. The Panda is plenty clean and detailed, but enhancing those characteristics to steer focus away from its big robust low end sounds ideal.

I do happen to think the Panda sounds its best when you use your own gear. A testament to how much care was given to utilizing high quality drivers. Usually, passive modes on bluetooth headphones sound next to nothing like its bluetooth modes due to no longer having access to the internal DSPs and frequency correcting or EQ being done. The Panda's sound is excellent right down to the core driver itself, so there was no need to mask it with DSP or EQ. I was also able to hear improvements with my gear, and so I think you'll find happiness going down the dac/amplifier road with the Panda.



Gaming

The Panda makes for a very competent gaming headphone. Various reasons being:

1. Fantastic stereo separation, and ability to cleanly define objects in and around your headspace. There's no major hazy or blurriness to the definition, which is a boon for gaming.

2. One of the best audio balances in terms of not emphasizing or subduing any particular details or frequencies. It seems that most of the sound is evenly present so that nothing sticks out or is woefully lost. From the lowest levels of bass, all the way up to very top treble ranges, the Panda's sound ensures that everything is in the mix as expected. Yes, there's a little excess in the bass by a little but not in the realm of merciless, basshead levels of indiscretion. Most would consider it enhancement, not a blatant disregard of overall balancing.

3. As stated, the bass goes deep, and it goes hard (yes, yes, I get it). This of course makes the Panda an incredibly fun and immersive headphone. Fantastic rumble, and deep atmospheric lows ensures an exciting level of casual gaming. Single player games like horror, action, sci-fi, explorative genres, and what have you.

4. While it may not the most ideal headphone for competitive gaming where it's all detail first, everything second, it still would do fairly well here due to its great balancing, once you get past its bass section. If you're looking for mainly a competitive gaming headphone, perhaps look elsewhere. If you want an all around with more of a lean towards casual and fun gaming, that can still do decently well for competitive, the Panda is a solid choice. Seriously, don't overlook the Panda. It's an excellent headphone for gaming. Period.

5. As far as applying virtual surround processing to the Panda, well, you can really only gain benefits in soundstaging, as well as positional awareness, so it should definitely be looked into as an benefit for the Panda, which doesn't inherently have a large soundstage to begin with. I wouldn't put it as the greatest headphone in existence with virtual surround, but it definitely works, and works well.

Personally, if I can only make a choice to have one headphone for all forms of gaming, I will always choose something like the Panda, which enhances the experience and immersion. But I'm not someone who holds strict competitive performance to a very high degree. I can do well enough with basshead level headphones in competitive gaming, so something even better balanced like the Panda is highly suited for my preferences.



Microphone

The Panda will have an optional microphone cable, which is akin to something like the V-moda BoomPro. I don't see it anywhere on their website, so I assume it'll show up once the Panda is officially released.



And as a comparison point, I've attached the V-moda BoomPro to the Panda below...



As you can hear, the Drop microphone cable is well within the performance of the V-moda BoomPro. It slots in to the Panda perfectly (the slot on the Panda's 3.5mm input seems to have been made for this particular mic cable).

The cable isn't as fancy nor as long as the BoomPro. It doesn't come with a audio/microphone splitter, which you'll need to have if your device doesn't allow for combo audio+mic plugs. Phones do, other devices may not. As this is still pre-production, I'm unsure if a splitter will indeed come with the cable.

Update: Drop's CPO @WillBright also let me know that the mic cable WILL come with a splitter. In his own words:

"The boom mic does come with a splitter cable, apologies we didn't include it with your sample. The splitter cable is 6ft long, and made of the same materials as the boom cable. The cables are 4ft and 6ft so you can use the 4ft when gaming via console, and leave the 6ft adapter plugged into the back of your gaming desktop, with the female end sitting on your desk. Theoretically, this makes it super easy to switch between console and PC when you want to.

Oh also, the boom mic is a condenser capsule. This is a pretty big deal because afaik, there is no other gaming headphone with a condenser mic (using 4 pole TRRS especially), all the other headset mics are dynamic.

It was a pain to engineer such a power efficient condenser system, but we're super excited about the result.

Cool page with complete info on a convenient A/B test.

https://www.neumann.com/homestudio/en/what-is-a-condenser-microphone

TL;DR on the difference: Condenser mics use active electronics to improve the responsiveness of the transducer, which creates richer, more realistic recordings. Dynamic mics are just a transducer on a stick, sending weak signals down a wire that later get amplified to produce usable audio (same way that electric guitar pickups work)"


Very cool stuff indeed.

The gooseneck is plenty flexible and holds its shape. The pop filter is large and easily slips off in needed.

The controls on the Drop's cable is smaller and more discreet than the BoomPro's control puck, which is quite chunkier, but unlike the BoomPro, the Drop's cable lacks a clip that allows you to clip on to your clothes to keep the cable secure. The Drop cable's volume control is a simple but effective slider, and the mic mute switch is next to it with a sturdy slider that you won't accidentally turn on/off.

Not sure how I feel about the strain reliefs (or lack of) on the Drop cable. Time will tell if they hold up.

Personally, I really would like for this cable to come bundled in with the Panda. I do believe it's optional, and I'm hoping the cost doesn't creep up to the BoomPro's cost.



Personal Recommendations

Media:

The Panda's well balanced if a bit warm down low balancing makes it well suited for many types of things. It makes a fantastic headphone for bass heavy genres of music due to the added richness down low, giving the Panda a lot of fun energy and gusto. The midrange is rich, well centralized and focused, so it does vocals and other midrange details justice as well. Video games and movies will benefit from its enhanced bass energy, for a deeper sense of immersion. While the soundstage size and depth isn't OMG amazing, its great precision in object detail and placement make it a good stereo headphone for competitive gaming as well. The even balanced detail spectrum of the Panda's sound really make it, at the very least, good for all sorts of things, if the slightly meatier bass isn't detracting from what you're listening to.


Practicality:

Practicality is a strong suit for the Panda. From being able to connect it wirelessly to many of today's devices, to its strong 30+ hour battery life, and then to its ability to be used as a passive, wired headphone with any device, there's really nothing you can't use the Panda for. The strong noise control also ensures you won't be bothering anyone around you with it, and will keep all but the most annoying external noises from interrupting your listening sessions. Then there's the optional gaming cable which turns the Panda into a gaming headset. Really, it's a multi-purpose headphone that can be used in many situations. All without excess software bloat, or gimmicks you may not even be interested in. If you're someone looking for a no-nonsense, closed-back headphone that is also equally as potent wirelessly, the Panda is hard to pass up.

The Panda doesn't collapse into a smaller footprint, but its strong plastics should allow it to be tossed into a bag without much worry. I think it would make a very good office or transportable headphone as well. It does lack ANC so perhaps not ideal for trains, or planes, but for everything else, I don't think there is a reason to forego this type of quality and going for ANC headphones instead.


Who Is It For?

I recommend it mainly for people who are absolutely going to use both their wired and wireless modes. If you plan on just using one mode exclusively, I think there are stronger options in the wired categories. Wirelessly, perhaps the Panda is still a worthy investment here as I doubt you'll find many wireless headphones that sound THIS good, though I really do think using both features makes most sense to me.

The Panda is sort of a weird shift away from most other wireless headphones. If the Panda could be aimed at a specific target demographic, it would be to the pure audiophile that wants as close to a wired experience as possible, in wireless form. Those that don't want fancy tricks, gimmicks, extras, or quality of life features that tend to be added to wireless headphones which tend to pair up with a compromise in raw audio performance.

There are no EQ presets, no software apps as a companion, no ANC, no sleep mode, no voice assistance, no other frills. This is as close to chopping off the cable off a wired headphone while retaining a connection. This makes it a special headphone, in a sea of very... mediocre competition in comparison. You may give up all those features, but really, do you need all that? EQ presets are plentiful as mobile apps, and PC software. If you're like me and like virtual surround, just like presets, there are apps, software, AND hardware that can give virtual surround to you either through the wired or wireless connection. Basically, most things that general wireless headphones do can already be found via external means. Yes, it's convenient for a product to come packed with features, but sometimes it's just better to have a product focus on the main reason you buy a headphone...the sound. What you see is what you get. Nothing to detract from the core headphone experience. Just plug it in or pair it, and boom. You're good to go.

I also believe it's for general consumers that want just that ONE headphone. Non-audiophiles that simply want a very good headphone. I think closed-back headphones make more sense for people that just want one headphone. I also think the benefit of having a wireless feature is also a huge benefit to non-audiophiles. The Panda is so far the best sounding wireless headphone I've ever heard, and a fantastic closed-back headphone in general. So it's an easy recommendation for those that don't typically fit general audiophilia that tends to buy multiple headphones for multiple use cases. The Panda makes a compelling choice for those that would say, "I just want one headphone for all things, whether I'm home, on the go, or at an office or hotel".

As for sound profile, as long as you understand that the bass may be on the thicker side, and can push up to the mids a little, the rest of the sound is very, VERY well balanced. It's not a basshead headphone, but while the LCD-1 was straying a bit on the thin side of neutral, the Panda strays a bit thicker side of neural particularly on mid bass. This is great for bassy genres, action gaming and movies, but may not appeal to those that want something more controlled, and natural. If you don't mind added boom down low, then the Panda will serve you incredibly well.

If you already have a more detail oriented, open-backed headphone, the Panda makes a great contrast. Or if you just want to supplement your fun open-backed with a fun closed-back, the Panda's got you covered. Obviously, if you're looking for a wireless headphone with a dead silent background, that sounds essentially the same as wired, this is about the only option I can think of at the moment. I may be repeating myself so I'll stop here.



Likes and Dislikes

Likes:

  • Battery Life
  • Sound quality consistency between wired and wireless
  • Dead silent background noise in wireless mode
  • Strong noise control even without ANC
  • Great stereo separation and object visualization
  • Cross/joystick controls
  • Midrange to treble balance

Dislikes:

  • Headband lacks padding, silicone underside
  • Could use just a little more headband extension
  • Smallish earpad openings may be a problem for some.
  • A little bass bloominess
  • aptX codec has some shenanigans grainy distortion past 6khz (may be a unit defect, or may be something fixed in final version. Also, it's only audible in frequency tests)


Final Impressions

The Drop + THX Panda is easily the best wireless headphone I've heard. There's so little in the way of differences between wired and wireless, you can effectively consider the Panda as two great headphones for the price of one. It holds up as a closed back headphone even if you were to take out the amazing wireless performance. The great midrange to treble balance is something I rarely, if ever see on headphones.

While the bass is a little more emphasized than I personally would've liked to see (if just slightly), there's no denying the Panda as a ton of fun whether for many genres of today's music, action movies, or casual gaming. For the everyday Joe looking to get just one serious pair of headphones for every purpose whether at home, on the go, or at work, the Panda is a hell of an option.

I think that if Drop + THX wants to perfect the sound on the Panda with a future model, they should literally keep everything the same in terms of its balancing other than maybe lowering the area between 80-300hz by 3-5db if the published graph is an indicator of what I'm hearing. I think everything else is spot on. If they do that, as well as improve the headband comfort and extension, and allow an optional suede/velour topped ear pad, and I think I'd be immediately on board. As it stands, you guys are 95% of the way there from a headphone that would have next to no major flaws in my eyes.


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Fostex TH-600
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Price as of Feb 2016: N/A
Please head on over to Headphone.guru for my full Fostex TH-600 review!

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Grado WH1 'The White Headphone'

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$795 as of September 2019 (limited until end of 2019)
Where to buy: TTVJ Audio

Review First Posted HERE.

Disclaimer: A special thanks to Todd at TTVJ Audio for sending these out for quick impressions and review as part of a loaner tour. As always, whether products are sent to me or not, I do my best in being 100% honest with my views and opinions. If I don't like a product, I will refuse to write a review of it or at least mention what I don't like about them, though I like to focus on products that people would like or at the very least are interested in. The only bias I have is to my readers and making sure they know about good products.

As mentioned in the above disclaimer, Grado's WH1 'The White Headphone' sent to me was part of a loaner tour by TTVJ Audio. I reached out directly to TTVJ Audio as I was very interested in hearing what Grado had to offer in the higher end market. I'll be brutally honest in saying my reasons for wanting to try the Grado White was mainly due to it being the cheapest Grado headphone built with the big ear pads by default. Somewhat of a shallow reason, but after having briefly owned the wireless Grado GW100, I also wanted to see what a full fledged Grado with comfortable pads had to offer. I really enjoyed my short time with the GW100, but the comfort level wasn't where I needed it to be. I had also purchased aftermarket big bowl pads for it, but unfortunately, it negatively impacted the GW100's enjoyable sound. It simply wasn't made for those pads.

I'm not quite sure what Grado wants this headphone to be called, as I see WH1 in some places, 'The White Headphone' in others, and a combination of both randomly sprinkled throughout the internet. For sanity's sake, I'll make my own moniker and simply just call it the Grado White. At the very least, a search of Grado White online will help you find it anywhere it's mentioned. You're welcome. :wink:

The Grado White is a headphone available for an extremely limited amount of time (up to the end of 2019), and thus falls out of what I'd normally consider for review, as I doubt most of the gaming community I'm part of is likely to get a pair within the short period of availability. In any case, a stipulation of the loaner tour is to put out some impressions, and asides from that, I feel it's worth discussing at least what to expect from a big boy Grado.

Before I start, keep in mind that I didn't have my usual length of period when it comes to my review process, so I can't claim the same level of 'quality' as my other, full fledged reviews. I tried my best with the limited amount of time I had on hand to make something presentable, accurate, and reflective of my own thoughts and impressions, so please be aware of this as you read on. Let's start with the build.
Build Quality:

Grado tends to keep it simple with their designs, aesthetics, build, and parts used. The White is no exception. You won't mistake the White for any other headphones from other manufacturers. It is 100% Grado. It is what I'd consider classically retro. One could argue that there is room for improvement in some aspects, but you have to commend Grado for sticking with their very distinct, personal style.


Headband:

The headband is incredibly minimalistic, which I honestly really like. No excess fluff or material used. A piece of flat metal, wrapped in black leather with white stitching. Classically dressed, with a sense of simple beauty. There is little in the way of padding underneath. I have always said you don't need much padding if the headband wraps around the head properly without having a hot spot on top of the head. The White's headband does just that, without any real point comfort issues. Could it use some extra padding where the headband rest on the head? Sure, but it's really no big deal to me, personally.

The headband is attach to a very basic, black, plastic pieces with L and R indicators. If there was one area that I feel could use better materials, it's these pieces. They just look cheap and betrays what one typically expects from a headphone at this price range.

These two pieces hold the classic Grado metal rods with plastic caps. I like how minimalistic and seemingly weightless the rods appear, though they allow the cups to rotate freely, which can be problematic for the cables. If you know Grado headphones, you know what to expect here. In any case, the rods allow for just enough size extension to fit my large head. There is no size indicator, and the cups slide up and down with minimal force. They retain their position with enough grip, though I don't quite know if they would remain this way after a long period of wear and tear. The metal gimbals don't allow the cups too much adjustment, but should be enough to allow the pads to rest properly on most head shapes.


Cups:

The cups are maple wood painted in white, and are extremely lightweight, despite being comically large compared to the GW100 I experienced. The outer "platter" is visually pleasing, though be wary of nicks and scuffs. The demo unit on hand already shows some slight wood pitting, scuffs and nicks. The surface of the platter has the very simple Grado labelling, and in the center of each cup is a quarter sized ventilation opening with mesh cover. You can see through the hollow chamber to the other side, showcasing the openness of the White headphone.


Pads:

The White is one of the very few Grado headphones that comes with the G cushion big bowl ear pads. Arguably known as the most comfortable of all Grado pads, with good reason. The pads are quite large and envelop the sides of your head, though your ears will still touch the inner surface of the pads, so they aren't quite over ear. Mostly, but not completely. The pads are also quite easy to install or remove. The material used is a somewhat firm foam, which may be itchy at first, though with some use will more or less disappear on the head.


Cable:

On the bottom of each cup is where the attached cables are located. Unfortunately, there is no visible strain relief. The cables just disappear into each cup. I hope Grado gets with the times and brings out headphones with detachable cables in the near future. There is little excuse to not do this nowadays, especially with how incredibly easy it is for Grado headphone cables to kink and twist due to the unrestricted rotation of the cups.

The black cable is quite thick, particularly where the two sides join. The cable terminates into a 3.5mm plug with snap on 1/4" adapter. The barrel is quite chunky and will more than likely keep the White from being used used with phones that have covers.

I didn't measure the length of the cable, but my money would put it between 1.5m-2m. Not very long.


Final Build Impressions:

Visually speaking, I really like the Grado White. Just simple, retro-classical design, with a very little in the way of materials used.

Physically speaking, there is room for improvement, as it could've used a little more padding underneath the headband, as well as moved towards detachable cables. The plug could also stand to be shaved down a bit to allow more versatility in what devices you can connect it too, though I doubt many people are gonna walk around with such a large headphone attached to their portable devices.

I'm also not a fan of the unrestricted cup rotation which will undoubtedly cause problems for the cable down the line (it already has some permanent kinks). Though this is a problem with Grado headphones in general. All in all, I believe if you have ever experienced a Grado headphone, you know all the classic quirks associated with their design, for better or worse.


Comfort

Grado headphones aren't typically what I'd associate with 'comfort'. After having briefly owned the GW100, and tested various Grado pads with it, I understood why. It all comes down to the pads and clamping force. That being said, it really depends on the model, as the higher end models with G cushion pads circumvent the lower end Grado weaknesses in terms of comfort. Let's start with weight.


Weight:

I don't see any published numbers in terms of weight for the Grado White, but I certainly don't feel it's necessary. The Grado White is incredibly light. I believe Grado headphones are known to be light, with the exception of their Prestige line which uses some pretty heavy metallic materials on their cups. The Grado White is so light, I doubt anyone will find any issue with wearing them all day in this regard. Fantastic indeed.


Headband:

As I mentioned earlier, the Grado White doesn't have much in the way of headband padding. Thankfully, the headband wraps around the head properly, keeping it from causing uncomfortable hotspots on top of the head. This, paired with the light weight of the headband, make headband comfort mostly a non-issue. It can be improved with some extra padding underneath, but it's far from necessary.


Ear Pads:

Let me start off with my experiences with the GW100. Despite the pads on the GW100 being nice and soft, there's only so much on-ear headphones can do in terms of comfort. They will press down on the ears causing a pinching sensation which will almost always be a problem for most people. The only Grado pads that I feel can pass a long term comfort test would be their G cushions, which the White thankfully uses. While the G cushions are on the firm side, they remain incredibly comfortable where they rest on the head. The only points of discomfort may an itchy feeling due to the exposed foam, as well as the pads not fully enveloping the ears, causing the tips to rest on the inner pad surface. It's much better than a true on-ear pad, but not as ideal as pads that wouldn't press on the ear tips. That being said, it only lightly touches the ear tips as opposed to pressing in towards the ears uncomfortably. After having used the White for a bit, I was fully accustomed to the ear pads, and could wear the White all day with very few breaks of adjustment.


Clamp:

Due to the White used being a demo unit, I can't say for certain if the clamp level is what is expected out of the box, or if there was some adjustment and break in prior to receiving the demo pair. I've heard that there may be a need to stretch the headband out to relieve some clamping force. From my experience with the demo unit, I found clamp force to be moderate to light, and overall near perfect to my head. Clamp isn't an area of discomfort for me with the White. If it had been, I would've definitely suggested stretching them out as the headband seems easy to adjust clamping force to your personal preference.


Final Comfort Impressions:

Overall, if I could simply sum up the Grado White's comfort with one word, it'd be 'great'. Its incredibly light heft, moderately light clamping force, big ear pads, and good weight distributing headband, all add up to a headphone I could wear all day without much complaint. If the headband was slightly more padded, and the ear pads could've fully enveloped the ears without touching the tips, the Grado White would've likely been among my absolute favorite headphones in terms of comfort.



Noise Control

It should come as no surprise that the Grado White is a far from ideal in terms of noise control. Fully open-backed drivers will never be good at sound isolation, the White being no exception. If you're getting a headphone this open, then you shouldn't be surprised at the lack of sound isolation. You'll want to keep your listening area separate from others you don't wish to disturb, with a door or more in the way to keep the sound leak from reaching their ears. In terms of external noises, that too will easily leak into the headphone. A noise controlled environment is recommended here.



Sound

Despite my main reason for wanting to try the Grado White being comfort related, if it sounded bad, there would be no point. Grado has a long history of being a brand with an interesting take on sound reproduction, which many would say falls under either love it or hate it categories. This I can understand, as from the short time I've spent with two Grado headphones have shown me that the Grado house sound, is quite different from what one expects with headphones in general. There is bound to be polarizing views.

Grados fall very much in the subjective preference camps rather than objective. Depending on who you ask, this can be good or bad, though I personally have a very open mindset on what sounds good and what doesn't. I believe that given enough time, most ears can adapt to drastic sonic differences. What can at first sound egregious and offensive with a quick listening test, can later sound subjectively perfect. Given enough time, I feel most ears acclimate to any specific type of sound. The mistake people make in terms of audio is they sit down, listen to something for a few minutes, and immediately come up with a conclusion based on that short impression. I don't place much, if any importance with these types of impressions. Perhaps they're used to a warm tilted headphone, and went to demo a bright leaning headphone? Or vice versa? That would surely skew their listening impressions to be more negative than one where the ear has acclimated to a specific balance.

In the same way our ears and eyes are hyper sensitive when we wake up, and later on adapt to the everyday bustle and hustle of life, a headphone's sound can drastically change for the better with prolonged exposure. I don't believe so much in mechanical burn in (I believe headphone burn in is constant and variable in very, very subtle ways, and not something one can put some arbitrary hours in, personally). Rather, I believe in physiological and psychological burn in being the biggest contributors to a headphone's sonic improvement.

The reason I mention this is because Grados are so specialized in their own sound that differs greatly from normal audio reproduction. So at first, one may say that the Grado house sound is terrible or way too different from what they consider normal. The Grado White does not wander off from this philosophy. Upon first listen, I found them a tad bright, harsh, and peaky. Not something I'd consider enjoyable. However, the more time I spent with them, the more my ears got accustomed to their sonic intricacies which led to a more agreeable conclusion. Let me be more specific.


Bass:

The Grado White's bass is a range that varies depending in which region you target. So much that the White has actually managed to make a lot of my music sound drastically different than expected. This all comes down to the sub bass being undeniably thinner and less weighty than the planars I come from. There's no denying that the Grado White isn't exactly super extended down low. It's not tin can levels of dry and empty, but more like there was focus aimed towards the mid and upper bass regions, which are fuller, punchier, and more engaging.

The White does not exactly lend itself well to atmospheric, ambient sub bass that envelopes a scene. Rather, it is reliant on the immediacy of impact, punch, and attack a bit higher up in the bass regions. As such, the White isn't a headphone I'd use for my mostly bass reliant library, where deep, atmospheric rumble and omnipotence is expected. One example of the type of bass reliant music I listen to is Mimi Page - Lullaby For The Lonely (Yinyues Remix). The Grado White simply can't reproduce the depth needed in the bass to play this track correctly. It is more oriented on drawing out the detail and textures of things like bass guitars than electronic subterranea (yes, subterranea). As in all things deep, cavernous, etc. The White doesn't concern itself much with that.

So does this mean the White is bass light? Honestly? It depends. Due to the focus more towards mid and upper bass regions, depending on genre and music selection, there some thump and energy. The region that merges with the lower midrange, like male vocals can sound full and warm, even thick at times. If frequency testing comes to mind, I'd say it starts being reasonably audible and 'included' with the rest of the sound at 80hz+. You can hear it below 80hz, sure, but there just isn't all too much in terms of bass volume and impact below. Don't expect much there. This isn't a headphone to expect a lot of audible and physical bass extension.

So with that said, you can conclude that the White isn't a headphone for bassheads, or those who want deep bass in particular. It is more articulate, and discreet down low. Even the lower regions of bass have a great sense of texture and speedy decay that more so aids detail retrieval than mere excitement. I feel there is enough there in the mid and upper bass that can satisfy those with a more reserved palate. Though depending on who you ask, I'm sure there will be people who absolutely feel the bass is light and lacking. I'd put it between bass light and bass neutral overall. It fights between being one or the other for me.

Like I said, it isn't utterly devoid of bass. Some examples:

Royksopp - What Else Is There (Trentemoller remix) - A track with much importance placed in the bass. The Grado White thumps exceedingly well here. Highly enjoyable.

Portishead - Biscuit - A lot of lo-fi and trip hop tends to have questionable quality, so advanced warning here. However, the White plays this absolutely beautifully. The bass hits juuuuust right. Highly recommended with the White.

Above and Beyond - Anjuna Beach - has a vibrant bass line throughout. Very enjoyable on the White.

The White's bass really, REALLY varies depending on what you're throwing at it. For things outside of music, like action movies, or video games requiring immersion-inducing bass, I'd say the White isn't an ideal choice, but it isn't useless in these regards. It's passable, though if these are your main goals, I'd recommend looking elsewhere.


Midrange to Treble:

This is one area of sound I think many will agree one. The White has an excellent midrange. It's not exactly an HD650 or an Audeze headphone which romanticizes and sweetens the midrange with a juicy, syrupy, dulcet tone. Rather, it is vibrant, energetic, sharp, and focused, with great clarity and detail. Midrange body is what I'd consider tight. No silky smoothness or brittle dryness. It's neutrally toned with a great balance. More articulate and attentive. Forwardness is spot on. With the aid of the White's openness, the midrange is center stage, without disappearing as if listening in the back row, nor are you in the immediate vicinity of the performance. Very even presence.

In terms of frequencies, my ears pick up plenty of presence down in the lower midrange up to a good build up at 1.5khz, slight dip just past 4khz or so, to sharp peaks at 5khz and 7khz (can be problem areas if you're sensitive to prominence in these ranges). 8khz to 9khz is nice and detailed without harshness. 10khz is quite prominent to my ears, leading to a lot of detail up top, but also won't help the treble adverse. Past 10khz has plenty of extension without overwhelming the ears.

All in all, smooth isn't what I'd call the midrange and treble ranges. The White is definitely leaning on detail retrieval in these ranges, with razor sharp focus and definition. Is it bright? In comparison to what I'm used to, yes, it's a bright leaning headphone. But not overly so. Rather, it's more neutral bright than being clearly steered north to the bright categorization. The White's midrange is one of its strongest, if not its strongest characteristic, and one you should be very pleased with if details and clarity are important to you. That's not to say that the White isn't musical. It is. Very much so, but is clearly not aimed at seducing you with a chocolatey smoothness. It is controlled and disciplined. Like an aged professional.


Soundstage and Imaging:

It should come as no surprise to anyone who has ever owned a Grado with the big G cushion pads: The Grado White has fantastic soundstage properties. It is spacious, open, and particularly wide. It doesn't quite have the height and depth as some of the more recent planars I have experienced, but for most people, they should be more than elated by the soundstage performance. It is simply excellent.

Imaging is also a strength of the White. The White has highly defined details, and places sounds in different directions with great focus and outlines. It is easily one of the best headphones I've heard at placing objects cleanly and clearly in the virtual space. No haziness, no blurring of definition. Just immediate, tactile focus. Very, very good, Grado.

It also should come as no surprise considering what I've just said, but if you're someone who uses surround processing, for things like video games (think Dolby Atmos, GSX, SBX for headphones), the Grado White is an absolute stellar performer in terms of virtual surround soundstaging and imaging. I'd place it among my top tier headphones for this purpose. The expansion and emulation of a large virtual space of 'speakers' is expertly rendered by the Grado White. When Creative comes around with an SXFI device on the level that'd I'd personally like, I'd gather that the Grado White would easily hit incredibly high level of surround soundstage performance.


Sound Signature:

As you have no doubt gathered by now, the Grado White is what I'd consider neutral to bright leaning tonally, with open soundstage, detail orientation, and excellent clarity in general. Bass is taut and highly controlled (if a bit reserved down low), midrange is sharp, balanced, and focused, and treble region is highly present, zesty, and well extended. It isn't overly dry or sterile sounding, nor is it dark, thick, or muted. Think of it as a vibrant, detailed headphone with punch and energy (I say this a lot, and I mean it).



Amplification

The Grado White follows the tradition of 'easy to drive' Grado headphones. It simply requires very little to get it going and extracting its optimal performance. I'd worry less about how much power the White is receiving, and focus more on offsetting its inherent signature with a warmer leaning source and/or amplifier if you want a little more musicality out of it. Not required, but beneficial.



Gaming

The White makes for a much better detail oriented headphone aimed towards being more competitive and professionally capable rather than casual and immersive. It can do that well enough, but I'd steered it more towards picking up minute details, and positional accuracy. There is fun to be had here, as the mid bass is punchy and does have some body. However, immersion is clearly not on the level of deeper bass inclined headphones. For instance, something like an AKG K612 Pro is both neutrally toned, without strong emphasis in bass, but extends down low very well, which allows for better immersive traits than the White.

The White is highly competitive in terms of what I'd consider high level, hardcore competitive gaming, without giving up all sense of musicality, and fun factor. If you have the White, rest assured, it's a great headphone for all forms of gaming. It just happens to be better for one aspect than the other.



Personal Recommendations

Media:

In terms of music, I absolutely recommend the White for acoustic, rock, and jazzy genres of music. Not so much for electronic, hip hop, or other genres reliant on bass.

In terms of other media, I think it makes an excellent headphone for vocal duties like podcasts, general TV viewing like sports, news, comedies, and other non-action oriented TV and movie genres.

For gaming, I definitely would steer it towards online, competitive, detail focused gaming. Not so much casual or atmospheric games, though it can do these well enough. They just wouldn't be my first choice here.


Real world practicality:

The White is 100% a keep at home headphone. It's quite large, very open sounding with poor noise isolation, and lastly, it isn't a headphone that inspires confidence in terms of durability. Constantly moving it around will likely lead to imperfections on the white finish, and extra cable twisting due to the freedom in cup movement. Keep them at home, protected at all costs.


Main or Complimentary:

Due to the highly specialized tuning that Grados tend to have, I personally think that the Grado White makes for a better set of complimentary headphones to other headphones. Due to the White's signature excelling in vibrant energy, detail, and spaciousness, I'd recommend it be paired with a pair of darker, more fluid, if intimate set of headphones. Perhaps a warm planarmagnetic, or darker, closed back headphones.



Likes and Dislikes

Likes:
  • Comfort
  • Aesthetics
  • Midrange
  • Soundstage
  • Clarity, detail, and definition

Dislikes:
  • Reserved lower bass
  • Some sharp treble peakiness
  • Build quality concerns



Something Worth Noting About The Pads

Those who have experience with Grados know that they can vary wildly in sound depending on which pads are used. I have a suspicion that the White can drastically improve in certain areas (like bass, warmth, and musicality) by replacing the pads with one of the other Grado types, like the soft on ear pads that come with the SR60, SR80, and GW100. Or the on ear L cushion pads that come with the SR225 and above. I expect this, because the distance between the ear and the driver plays a drastic part in tonal balance with these drivers. By merely pressing the White towards my ear, the tonality changed and became warmer, and fuller. Considering the G cushions the White comes with separates the driver from the ear a bit, I think it's worthwhile experimenting with different Grado pads. You may come up with some great results, though comfort levels will definitely vary. If I owned the White, I'd definitely invest in other pads for experimentation.



Final Impressions

My short time with the Grado White was an enjoyable one. The White falls somewhere along the lines of being revealing and detailed, yet it doesn't forego its musicality to achieve it. I'll repeat myself here in saying it's a vibrant, punchy, energetic headphone that engages where its strengths lie. It's lacking a bit down low for my own specific preferences and tastes in mostly deep, electronic music and casual, laid back gaming purposes, but for all other things, I find the White to be quite exceptional. There are a few things I'd want improved like the peakiness in some treble ranges, though they really only became noticeable in frequency testing, and not so much with normal usage.

If you're not someone who relies on deep sub bass, or general bass emphasis, I think the White Headphone is magnificent in most other regards. The comfort is top notch thanks to the G cushions and the light weight. It is also easy to drive, the sound is clean, energetic, and spacious, and showcases what Grado is all about. It's not perfect, and there are things that keep it from being a must have for my own personal use cases, but its clearly a superb sounding headphone, and what I consider an absolute win for Grado. Grado made me a fan with their GW100. The White builds upon what I enjoyed about the GW100 and then some.

I know I'm gonna stir the pot here by making an exception and adding a few numbered scores when I haven't really done so in years, but if I could give the Grado White some scores:

Bass: 6 (decent) quantity, 8.5 (great) quality - bass could use better extension and energy. Great speed and texture

Midrange: 9 quantity (fantastic), 9 quality (fantastic) - excellent balance, definition, clarity

Treble: 8 quantity (great), 7.5 quality (very good) - Great presence and extension. Peaks could stand to be improved

Soundstage: 8.5 (great) - large and spacious with great imaging

Comfort: 8 (great) - Very comfortable and lightweight, slightly itchy, and ears touch inner foam

Final/Overall: 8 (great) - Even for someone like me who typically leans towards the warmer, smoother side of sound, there's a lot of to love here. The sub bass could stand to be fuller and more balanced with the rest of the sound, but then would it still be the Grado house sound?

If you come from other Grado headphones, I think you'll feel right at home here. Grado's 'The White Headphone' is a shining example of their dynamic, specialized, house sound.



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HiFiMAN Ananda

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$849 as of May 1st, 2019, ($999 msrp)

Where To Buy: Amazon.com, Headphones.com, Hifiman

Disclaimer 1: A special thanks to HiFiMAN for sending these out as part of a loaner tour. As always, whether products are sent to me or not, I do my best in being 100% honest with my views and opinions. If I don't like a product, I will refuse to write a review of it or at least mention what I don't like about them, though I like to focus on products that people would like or at the very least are interested in. The only bias I have is to my readers and making sure they know about good products.

Disclaimer 2: Due to how recent the Edition XX reviews was to this one, and how similar I find them to be, there WILL be some pasting and re-wording of that review here, as I feel the similarities are close enough that I don't feel the need to outright do a completely 'blank slate' review of the Ananda. If that bothers you, I apologize, but it was either that or just not review the Ananda and give brief impressions instead, since most of what I feel about it is exactly how I feel about the Edition XX. So again, there will be some copypasting in some sections, and restructured sentences that come directly from the XX review, with alterations made to fit my Ananda impressions. Thanks for your understanding.


Hot off the heels of the Massdrop Edition XX review, I saw that HiFiMAN were doing a loaner tour for the Ananda, and I figured I'd enlist to see what sort of product the Massdrop Edition XX compared to in HiFiMAN's general lineup.



Build Quality:

The Ananda looks a lot like the XX with the exception of the premium hybrid headband. The cup design, cables, shape are all identical to the XX otherwise.


Headband:

The new hybrid headband design is immediately the first area on the Ananda that stands out compared to the Edition XX's basic, old school leather headband. The hybrid headband is solidly built, sleek matte black metal with some silver accents. There is a suspended, slim leather strap that allows the headphone to rest on the top of the head with near-perfect weight distribution. This is easily among the best styles of headbands in both durability and comfort.

The metal yokes connecting the cups to the headband are also metal, and are reminiscent to Beyerdynamic DT770/880/990, in which they have a lot of grip, making hard to adjust the size extension, and having the unfortunate side effect of leaving marks near the 'dots' that indicate how short or how tall you have adjusted each side.

I wouldn't dismiss the possibility of the extension become easier and easier to adjust as these metal parts wear out more and more. Just don't count on it to ever travel smoothly between the dots.

There is a slight downside to the new headband design. Unlike the old headband which allowed some swivel horizontally, the hybrid headband's yokes only swivel up and down, so there may be a less perfect fit for some people.


Cups:

Since the cups are identical to the Edition XX review, I'll be pasting most of what I said there.

The cups just ooze quality. I have experienced headphones with piano finishes, glossy/wooden finishes, slotted metallic finishes, and quite a few others, but I'd say I vastly prefer the tastefully silver and black open grill design on the Ananda. It is without a doubt one of the best looking cup designs I have seen on an open headphone. You can see right through the magnetic trace array to the other side, signifying just how open the Ananda truly is. The cups are asymmetrical, and are comically large in size. They will easily swallow the side of your head.


Pads:

Since the pads are identical to the Edition XX review, I'll again be pasting most of what I said there.

I'm absolutely ecstatic at HiFiMAN's decision to continue using synthetic leather pads with a fabric top where the pads rest on the skin. The use of synthetic leather for seal also ensures that there is no sound escaping between your ears and the drivers unlike full velour or other fully fabric covered pads.

The openings for the ear are incredibly generous in size, whether width, height, or depth. It is so big, and allows the humongous driver surface area to emit sound unobstructed even well beyond your ear shape. This likely aids in providing a truly tall soundstage. This may actually be one of, if not my favorite design of pads ever on a full sized headphone. There is so much space for sound to travel around your ears, it adds a new dimension in headphone listening. There is very thin fabric covering the driver area, which shouldn't cause any discomfort if your ears bottom out on the pads."

The pads are held by some tabs, which aren't hard to feel out, making it easy to pop the pads off or snap back on if need be.


Cables:

The Ananda comes with two cables. A short cable that is similar to the one used on the XX, which terminates into a right angled 3.5mm plug with a 1/4" snap on adapter. The other is quite a bit longer and terminates into a beefy, straight 1/4" Neutrik plug (the XX does not come with this cable). The cables also look similar to the XX cable, but they are see through (you can see the inner wires), whereas the XX cable is see through but covered with an inner sleeve of some kind. Also the dual 3.5mm mono plugs that connect on the headphone side are silver on the Ananda, and black on the XX.

The cables are a drastic improvement over my HE-400's old style connector which was personally a nightmare to deal with in terms of attaching/detaching, as well as in durability. My HE-400's cable already has exposed wiring due to those questionable connectors, even though I rarely use my HE-400 to begin with. It still works, but it's quite unsightly. The Ananda connectors being a very familiar 3.5mm, makes them a breeze to connect and disconnect.


Final Build Quality Impressions:

The hybrid headband makes the Ananda look and feel considerably more premium than the classic headband used on the Massdrop Edition XX. While I've never had a problem with the old headband in general, this is a considerable step up in aesthetics, construction, and comfort. The complaints being that they only swivel vertically, and don't allow for minor horizontal movement. That and the size adjustment is every bit as rough and hard as the old headband, if not more so, leaving marks on the metal.

As for everything else, the Ananda is exceptionally built through and through. This is easily the best looking HiFiMAN headphone I've experienced to date. They look AND feel premium.



Accessories:

The loaner unit sent to me came what I assume to be the retail box, which looks and feels every bit as premium as the headphones themselves. Inside you'll find a booklet, warranty card, and a compartment for the two included cables, and padded walls for the headphones.



Comfort:

The Ananda, like the XX, is unsurprisingly in the upper echelons of comfort for a headphone of this size.

Weight:

The Ananda weighs in at 399 grams, which is just 21 less than the XX (420 g). I personally don't feel the difference between them. It may not be the lightest planar headphone out there, but there have been much, much heavier headphones.

Headband:

The Ananda's weight is almost perfectly distributed thanks to the suspension style leather strap. The leather strap has a suede underside, which allow it to rest comfortably without excessive heat buildup. While I never had any major issues with the classic headband used on older HiFiMAN headphones as well as the Edition XX, it's certainly worth mentioning that the hybrid headband used on the Ananda is even better, and a marked improvement in both looks and comfort. The only thing I'd like is if the strap had a little more give, as on my large head it's pretty much fully stretched out so there is SOME force being applied to my head. I don't see this being a problem for nearly anyone else, and it really is just a minor gripe, not a real problem.


Ear pads:

The ear pads are so large and spacious, I can't help but feel like they are absolutely sublime and among the very best in design, shape, size and depth. They aren't the most plush, and don't compress too easily. The surface contact area is quite large and depending on your head shape and size may or may not rest in uncomfortable areas on the side of your face. Personally, the pads rest in all the right spots on my head. Though due to the slight clamp, does make their presence obvious. On one hand, the huge size allows for such a large, immersive sound, but on the other, slightly smaller pads would likely feel just a little more comfortable, since these pads do touch such a large surface area around my ears.


Clamp:

Like the Edition XX, the pads press in towards my head just a bit more than I like. It's not a 'clampy' headphone by any stretch of the word, but it was enough for me to notice. This area is completely subjective, as too much is almost as bad as too little, and I'm very picky with clamp forces in general.


Final Comfort Impressions:

Despite what I've said about clamp (again, subjective opinion), If I had to give comfort a rating, I'd put it under great, as the Ananda is one of few headphones I can wear all day without feeling truly fatigued by them. I readjust here and there, but I have used them for 8+ hour sessions daily without any real complaints. That says a LOT. They're really good, great even, as stated before. This gets a recommendation for me in terms of full sized headphone comfort. Had they weighed as little as say, the HE-4, and had slightly looser clamp, they would have scored likely near the top out of all the full-sized headphones I have used.

Despite this being a repeat of what I said of the XX, the Ananda gets a half point boost in comfort due to the leather strap making weight distribution even better.



Noise Control:

Like the XX, and as you may have guessed just by looking at the Ananda, it is a very poor performer in isolation and leakage typical of its design. Seriously, don't expect any privacy in or out. You will want at least one room with the door closed between you and the next person if you need to keep it quiet.



Sound:

The Ananda shares a lot of what I've said of the XX, though there is a more neutral tonality, and the Ananda adds a little more clarity in the details, and definition. A lot of what I wrote about the XX applies here, so some may be repeated here, but I will attempt to add in the Ananda specific improvements.



Bass:

The bass is absolutely magnificent. The pluck of low range strings, the subterranean rumble in the deepest depths, and the thump demanded of today's electronic music is all there, and is represented masterfully. Nothing is overbearing, nothing sounds dronish, and it all honestly just sounds...correct, musical, and energetic without overindulgence, or anemia. Planarmagnetic headphones in general almost always represent bass well. The Ananda is no exception and highlights how accurate, defined and impactful bass should be.

Doing some frequency tests, it can be appreciably felt all the way down to 20hz, and is balanced all the way up to the upper bass limits. As far as frequencies go, nothing in the bass ranges sticks out. Just pure balance, and represented evenly without emphasis or outright deficiencies. Quantity is hard to define, but I think at the very least, most will agree it is either close to neutral. Not enough to be basshead level, but enough to satisfy those who like a good amount of body, and fullness. So objectively, I'd say around the neutral line, but subjectively natural, true to life.

In terms of speed, I feel the Ananda's speed in bass is faster and above the middle ground. Nimble, not slow of decay. It rumbles as long as it needs, and thumps with the agility one would expect of something perceptively correct. I've not heard much faster without thinness, and I have definitely heard much slower. Bass should have some decay, and it absolutely shouldn't linger too long. So for me, the Ananda bass speed is close to ideal.

If you're someone who enjoys bass, and have plenty of bass driven sources, you will not be disappointed with the Ananda. This, however, isn't basshead bass. To my perception, this is bass how it is supposed to sound. So give it some bass heavy tracks, and listen to the Ananda absolutely jam out. Give it bass light tracks, and the XX remains reigned in. Put on an action film with explosions, and feel every rumble. There is plenty of fun, immersion, and energy, as well as restraint and control.

There's excellent layering and texture all around. Not much more I can say without repeating what I've said in the beginning: The bass is absolutely magnificent. I don't have tools to measure distortion or the technical aspects of the bass, but subjectively, I will always hold my opinion in saying the Ananda's bass is excellent to my ears. If someone asked me what I think bass is supposed to sound like, I'd easily point them in the Ananda's direction. I don't think there's such a thing as 'much better' than the quality of bass on display here.



Midrange to treble:

The bass is not ever intrusive to any part of the midrange which will be beneficial in midrange clarity. The midrange is relatively well balanced and subjectively linear to my ears throughout most of the spectrum, though pushed back in forwardness. Vocals and other midrange aspects aren't as full as some of the more intimately voiced headphones. The presentation of sound isn't as forward as more neutral/balanced headphones. The Ananda will come off as slightly v-shaped.

Let me at least talk about specific frequencies. These are my notes: Ananda dips slwoly at 1100khz to 1800khz, rise to around 4khz hotspot, dip after 5khz, 7khz hotspot, 7khz starts drop off to 7.5k (lowest point) , rise to 8khz, then drop off again to around 9khz, then slight rise to 10khz, good presence to 13khz with slow roll off to 16khz.

The most laid back areas then are the area between 7khz and 9khz (not all of it, as there is energy at 8.5khz or so). In terms of hot spots, while the most prominence to me is between 4khz and 7khz, it isn't piercing or overly zingy.

To sum up the midrange to treble sections, I'd say that the Ananda in these areas is slightly laid back but quite detailed in the very top end. Low midrange is linear and warm, higher midrange to low treble is a slightly laid back, and top end treble sparkles and extends quite well.

When comparing the Ananda to the Edition XX, I feel the XX is ever so slightly warmer in tonality, with slightly more distant midrange, but it's hard to truly consider it much different. They share a definitive house sound to my ears.



Soundstage and Imaging:

With no processing:

The Ananda's soundstage is very much planar-like, which means that it won't be as wide as the best open dynamic headphones out there, but gain in other areas. Planars tend to lose out on soundstage width but win out in depth and overall projection of a sonic image. A medium sized soundstage in terms of width, but with a noticeable strength of soundstage height, and excellent planar depth.

The imaging properties of the Ananda are good, a little better than the Edition XX's imaging, which sounds slightly more hazy and diffused. The ability to draw an object in the virtual space is sharper on the Ananda, though I have other headphones with sharper imaging properties, like the HE-400.

That being said, I do find the Ananda to sound CONSIDERABLY 'bigger' and more room filling. Directly comparing it to my HE-400 (the HE400 equipped with Dekoni Audio DT elite velour pads and which has an excellent amount of soundstage depth and good width), I feel the Ananda has it beat in allowing the sound to envelop a bigger, taller space. The HE-400 almost sounds compressed next to the Ananda. It is an obvious difference in the presentation of sound. The Ananda sounds more lifelike and less like a headphone.

All in all, if you like complete intimacy, there are better options than the Ananda, as the Ananda does put you a little bit further away in comparison to closer presentations like the HD650 or LCD2. It's less "small lounge/front row", and more "concert hall/middle row". The soundstage is less headphone-esque, and so it won't put everything right in your face or in your head. I can't understate how impressive and how different the presentation is compared to a typical headphone.

With surround processing:

The Ananda is pretty brilliant when using surround dsps, like Dolby Atmos, SBX, Dolby Headphone, and others. It projects outward as well as the better headphones I have heard, with a truly expansive soundstage in all manner of its virtual dimensions. This makes the Anada an excellent tool for virtual surround gaming, or movie watching. In terms of sheer soundstage size, I believe a good dynamic like the AKG K702 has it beat particularly in width, though I still wouldn't dismiss the more natural quality to the Ananda's soundstage shape. Strictly as a gaming headphone with surround, there are better options, but the Ananda does it just fine. No real complaints. It manages to beat the XX I have on hand by a slight margin due to slightly more focused, sharper details.


Clarity:

I do believe and would defend the Ananda's detail retrieval, but the slightly laid back balancing will not appease the more detail-oriented ears out there, or those who prefer the 'up close and personal' types of headphones where the sound is more forward and intimate.

The bass has excellent speed, clarity and texture keeping it from muddying up details, the midrange is evenly balanced with just a slight tilt downwards, and the treble has a good sparkle, shimmer and is quite extended, but that drop off at 7-9khz does soften that range a bit. I think if they had kept that area more in line with the rest of the sound, the XX would have been a mostly neutral, supremely balanced headphone, which also comes with a possible problem of grating on the ears in those ranges. The clarity of its air is good, and sometimes great if the source isn't demanding a lot of low end. Not the most airy of headphones, mind you, but it can do that aspect well at times.

I'd say the clarity overall is very good throughout most of the frequencies and classify the overall sound as clear and detailed if a little laid back.



Sound Signature:

It isn't the final word on ultimate neutrality, as it ever so slightly treads towards being a little v-shaped. A neutral-warm v-shape, with good high end extension, keeping the Ananda from sounding muddy or veiled. So if you like warm, warm headphones, the Ananda is NOT that, nor is it cold/analytical. Neutral warmth with sparkle is how I'd put it to my ears. Slightly more neutral compared to the slightly warmer XX.



Amplification:

At 25ohm with sensitivity at 103db, these are certainly easy to drive planars, though I wouldn't go so far as to claim these are perfect straight out of a laptop, tablet, or cellphone. At the very least, any portable amp worth two cents and can hit high volume levels should be pretty good. My recommendation is to give it at least a decent portable amp's amount of power, as I feel they don't quite hit high volume levels even off a Sennheiser GSX1000 unless I max the volume out, which is far from ideal. For example, the volume off something like a Nintendo Switch was on the moderately lower side of my preferences. That makes it impractical for such a purpose.

In terms of what type of amp flavor makes sense for the Ananda, considering its slightly more neutral-tilted than the XX (SLIGHTLY), it isn't picky with what type of flavor of amplification you give it. If you want to enhance its details, pick a brighter amp. If you want a more musical sound, add a tube amp. Seriously, the Ananda doesn't care. It will pair up well with whatever you want to use.



Gaming:

The Ananda makes for a very high quality headphone for gaming. Even if you play strictly in stereo, unprocessed, focused, and hardcore, the excellent soundstage height and depth really have an added layer of immersion not found in many other headphones. The tonal balance really allows for anything from fun, casual gaming, to serious tournament play, though be aware that the area of sound between 7-9khz in particular is low in volume compared to the rest of sound. I personally think that area is more sheen than important sound effects, but it's something needing mention. For gaming with virtual surround (as I do), there's really not much better than what the Ananda has to offer. The soundstage, and positional cues are excellent, as can be expected from all the things I've mentioned before.



Personal Recommendations

Media:

The Ananda makes a strong case in terms of a headphone for all use cases, except maybe pure analysis of sound or if vocal intimacy is desired. Music is highly enjoyable and dynamic, gaming is an absolute pleasure, and even anime watching (which tends to always sound crisp/bright 99% of the time) is a treat. I believe they tuned the Ananda to be on the enjoyable side for most content thrown at it, and if so, they succeeded in that mission. I think perhaps some people will expect the Ananda to have flagship-y voicing in terms of detail-retrieval and microscopic analysis of sources. The Ananda is not that. A broader, more consumer-friendly sound is what I'm hearing with the Ananda.


Real world practicality:

I would keep the Ananda strictly as a home or private office headphone. It makes a poor choice in terms of portable or transportable uses due to the size, and extremely open design.



Likes and Dislikes:

Pros:
  • Soundstage height and depth
  • Really natural and high quality bass
  • Non-fatiguing even with good treble extension
  • Comfort
  • Slightly better definition and clarity to the details compared to the XX


Cons:
  • 7-9khz drop off
  • Size extension hard to adjust



Final Impressions:

Sonically speaking, I can't find much fault here. It isn't perfect, and the mostly balanced, slightly laid back sound will not best the more specialized headphones in terms of basshead uses, detail orientation, midrange-centric duties, etc. The price of having a broad spectrum of things well usually means it won't be the best in any one thing, but it also allows the Ananda to be more appealing to a larger crowd. Those who want a headphone that does well in most areas overall. If detail retrieval and clinical analysis is the most important aspect to you, there are better options, at lesser cost. However, the total amount of strengths the Ananda has in most aspects of sound far outweigh any negative traits.

The Ananda is one of those headphones that make me feel like they're the only one I'd ever need at home. HiFiMAN has brought out a truly spectacular headphone overall.

For those that wanna really know the big difference between the Ananda and the Massdrop Edition XX, it's mainly in the sound signature being ever so slightly more neutral, midrange being a little clearer, with sharper imaging and object detail. The XX is softer sounding, more laid back, and details are a little more diffused/hazy in comparison. The Ananda is a more refined headphone, with similar house sound.

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HiFiMAN HE-4

Sells for $450.
I feel I should add these to the list as I did own them for quite a bit and loved them almost as much as my D7000, and more than the rest. That being said, while they are one of my fave headphones I have owned, they are in the middle of the pack in terms of gaming either competitively or for fun. First, they are ridiculously illogical to use, as they require a substantial amount of power to drive properly. The E9 was driving them loudly, but the dynamics were clearly lacking. I've never heard a headphone sound loud, yet so inadequate, but there you have it. I specifically bought the Schiit Lyr for these back then. It was a huge difference. So yeah, imagine having to attach something like the Lyr to the Mixamp to give the HE-4 some Dolby Headphone love? I'm a man of certain passions, so I did just that. You can forget about trying to drive these with the Mixamp alone. It was very, very low in volume, let alone dynamics.

Now how did they perform? Well enough. The HE-4 distinctly reminds me of a cross between the DT880 and premium DT990. Seriously, take both of them, fused them together, add some good refinement, and you have the HE-4. What was lost in that fusion was a little bit of the soundstage size. Don't get me wrong, the HE-4's soundstage is large, airy, and spacious. They just have less depth to it that the other planars I have tested, but more width.

They are VERY detailed headphones, with plenty of bass impact, but not nearing the DT990s in this regard, and energetic treble close to the quantity of the DT880.

Comfort-wise, the HE-4 has one of the BEST headband designs out of all the headphones I have owned/used, with the exception of the suspension style headbands. The HE-4 uses a Grado style headband which lays pretty flat on your head, and conforms to the shape of your head, so it distributes weight wonderfully. I wish more headphones had this style headband. The pads, hmm, the velour pads. They are wonderful. One the comfort side, they feel great. They aren't too soft, or too firm. However, the issue is the point where the cushiony part of the pads meet the part connected to the drivers. There is a not so subtle hard texture there, and it HURTS if your ears touch it. It feels like hardened glue or something. I was able to rotate the pads enough to where I wasn't hitting the hard part, but your mileage may vary.

Note: While they may not be the highest scoring headphones in either fun or competitive gaming, you need to understand that it's overall quality is absolutely amazing. So if you feel there is a discrepancy, it's because this review was posted before I got into the specifics of the sound, and how refined and detailed the HE-4 actually is.
Fun: 7.75/10 (Very Good)
Competitive: 7.75/10 (Very Good)
Comfort: 8.75/10 (Excellent)
Overall 8.75/10 (Excellent)



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HiFiMAN HE-400
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Sells for $400.
Updated: 8/30/2012: The earlier impression was with the Mixamp alone. I didn't notice at the time, but after having used the E17 to help the Mixamp power the HE-400, they improved enough to warrant some pretty significant edits to this entry. Please read on to see the updated impressions, and score.

While I bought the E17 due to wanting the bass and treble control, as well as a portable DAC, those wanting the HE400 who want to help the Mixamp power the HE-400 only need something like the E11/E9/E09K (if you're not looking for a DAC for non-gaming use).

Before I start, let me clarify something: This impression is of the HE-400 Rev. 2 using the Hifiman velour pads, instead of the stock pleather pads. The Hifiman velours can be bought from Head-Direct for $10. Why the velour? The velour pads give the HE-400 a cleaner, more refined sound, with less tradeoffs. The bass remains the same, the mids are pushed up, and treble is better fleshed out (the pleather pads give the HE-400 some pesky and uneven treble peaks). It has also been tested by many of us on Head-fi, myself included. The clarity is noticeably improved, as well as lifting the slight veil and darkness that the pleather pads have. Can't forget that velour is MUCH better than pleather in comfort, IMHO. No more sweaty, sticky pleather touching the skin. You all know how I feel about pleather.

Bass:

This is what I'd consider one of the most natural sounding bass in terms of quantity and quality that I've heard. Is it bass light? No. Is it bass heavy? No. So what IS the bass? Well, the bass is just what it is... BASS. When a song asks for lots of bass, the HE-400 surely does not disappoint. It is NOT an aggressive bass like most bass heavy headphones that tend to impart bass to things that shouldn't have bass. For example: The D7000 (which has my fave bass presence in a headphone), still tends to sound bass heavy on bass light recordings. The HE-400 only adds bass if it's there to begin with. In reality, you can say that the bass IS emphasized, because bass neutral cans don't tend to have the power and impact that the HE400's bass has. So let's call it mildly bass emphasized, but just absolutely lovely in any which way. You put a bassy song, and you'll never think to yourself "Hmm, this could use more bass". It's that good. This is the type of bass that bassheads looking for actual quality can appreciate. I'd put the actual quantity between the DT880 and DT990. The quality of the bass isn't as clean as the Pro 2900 and Q701, but it's easily fuller sounding, and more realistic. Once I added the E17 to help drive the Mixamp, the bass became more present, and fuller. It really added some meat to the sound. I'd call it emphasized, but not DT990 level of strong.

Mids:

Very natural sounding mids overall, but recessed in the upper range. They're well balanced mids for the most part. With certain recordings, the mids are right where they need to be, and with other recordings, the mids may be slightly pushed back in the upper ranges. The mids are not hindered by the bass. Even with the E17's various bass boosts, they never hampered the mids in any way. Must be planar magic.

Treble:

This is what I was most skeptical about when I read up on the HE-400. Many times I have read that the treble was too dark, too smooth, and lacking air. The previous HE-400 may have actually had that issue, but the current batches do not have this issue. The stock HE-400 with pleather has a tendency to be smooth in certain ranges of the treble, and peaky on others. Uneven treble that can be dark or bright. The velour pads lets the treble behave in a more uniform manner, being bright overall, but that's in comparison to the overall tonality of the headphone which is dark everywhere else. They sound crisp enough and sparkly. Due to how warm/dark the headphone is UP UNTIL the treble range, it's a bit jarring to have such lively treble. It can be fatiguing at times. I'd say this is the one biggest weakness in the HE-400 in an otherwise fantastic headphone. It's not a very fatiguing headphone overall, but the treble is out of place with the rest of the spectrum. Still, it's a minor gripe in a mix of greatness.

Soundstage:

I'm not a soundstage nut when it comes to non-gaming purposes, and I find the HE-400's soundstage to be medium sized. Not small, and not big. I guess those used to something like the Q701's soundstage may feel the loss of sheer size, but I don't have a problem with it whatsoever. To me, what is lost, is gained everywhere else. The HE-400 sounds less like a headphone, and more like two speakers strapped to the side of your head. Literally haven't heard anything like it. It's airy, and sounds are place all around you, and less next to your ears like standard headphones. The depth wasn't exactly great off the Mixamp alone, but once I added the E17 to help amp the HE-400, the depth improved for sure, enough to truly help with the positional cues.

Positioning:

How did the HE-400 fare for gaming? Well... it did pretty good. About as good as the HE-4 if not slightly better in terms of positioning. They both are both better than the DT880 in terms of positional cues, which is to say, they could do better, but will do their job. Not quite on the level of the AD700, Q701, K701, DT990, DT770 Pros, D7000, etc, but pretty good. So if you're looking for an amazing, fun, and competitive headphone, the HE-400 is a in a good place, assuming you help the Mixamp with an additional amp to open add some depth to the soundstage.

Amping :

The HE-400 is unlike the HE-4, in that it doesn't require the power of Zeus to get it to sing well. A portable amp will make them sound great. A desktop amp would be even better. How did it do with the Mixamp? Honestly? It needs an additional amp to give the HE400 some headroom. The HE400 can be loud enough with certain games, and not loud enough for others. HOWEVER, they are clearly lacking in driving force. The dynamics were lacking. Bass was slightly reserved in comparison, mids were a teeny bit distant, the soundstage depth was constricted with the Mixamp alone. This was what gave them just barely better than DT880 performance in terms of positioning prior to this updated impression. Once I added the Fiio E17 to the chain (the E11 would be a cheaper alternative with simlar amp performance) after the Mixamp, the depth really improved, as did positioning. Not as good as the DT990, but good enough to be borderline great.

Playing Mass Effect 3, I had to literally max the volume out when using the Mixamp alone, and it was clearly lacking some oomph. So yes, you may want some amp on hand to give the HE-400 the energy it needs to truly bless you with some godly sound. I added the E17, and I couldn't believe how much better gaming with the HE400 became.

Comfort:

I find them comfortable, a little behind of the HE-4 which is lighter, and the velours are softer vs the HE400. The stock pleather pads are actually pretty good for comfort, as they aren't going to cover your face in pleather, though they still get hot and sticky. The velours however are just the right amount of firm/softness and plenty breathable. You will notice that the HE-400 IS a pretty heavy headphone. One of the heaviest headphone I've owned. It's a tank. However, due to the headband design (my favorite outside of the Steelseries Siberia), the weight gets evenly distributed, so it doesn't dig into your skull. I don't have a problem wearing the HE-400 all day. This is more than I can say about pretty much every other headphone I have used, with some exceptions. They also have some decent clamp, which I prefer on headphones like these. Not a strong Sennheiser-like clamp, but one that will keep the HE400 from moving around too much. All in all, not many people will have issues with the HE-400's comfort aside from how heavy they are.

Final impressions:

The HE-400 is nearly a must have for those looking for a fantastic all-rounder, with a slight tip towards fun. I'd rate the overall SQ to be top tier in it's price range, lagging behind the K702 Anniversary in balance, but besting it in fun. Other cans have more immediate fun factor (D7000, Pro 900), but long-term, the HE400 bests those as it blends ALL frequencies together to form an amazing, cohesive sound with very little to complain about. Usually, there is always something missing or hurtful, whether it's mids being recessed (Pro 900), treble being too edgy (DT990), bass not being impactful enough (Pro 2900, Q701), etc. The HE-400 is well balanced, EXCITING, full sounding, and an absolutely thrill to listen to. They're also highly detailed. For such a full sounding headphone, they can still REALLY analyze the source well, to the point where I thought my HE-400 was messed up. I then realized it was the files I was listening to that were less than perfect. That's how revealing they can be.

The detail, and clarity were top notch. They will do just fine overall. Positioning was very good while amped with more than just the Mixamp, decent without. The HE-400 impresses on pretty much ALL other fronts, that those looking for an endgame headphone shouldn't pass these up. Currently for $300, the HE-400 is among the best in it's price range.
Fun: 8.75/10 (Excellent)
Competitive: 7.5/10 (Very Good)
Comfort: 8/10 (Great)
Overall: 8.5/10 (Excellent)

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Koss ESP-950
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Normally sells between $700-$1000
Before I begin, I want to thank forum member jazzerdave for being kind enough to loan these out to me. He didn't even ask for anything in return. Stand up guy.
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With my introduction to the electrostatic world via the SR-407 with SRM-252S amp, and it completely blowing me away sound-wise, I started looking to see what was sold new today for an affordable price range (head-fi affordable, not real world affordable, but I digress). The Koss ESP-950 immediately jumped out at me. Electrostatic headphone WITH an amp sometimes sold for less than $700? I HAD to check them out!

Koss is usually associated with headphones that are budget conscious, delivering great sound without breaking the bank. By now you guys probably know how much of a fanboy I am of the KSC-75 and KSC-35. I will always have at least one pair of Koss headphones in my lifetime. The Koss ESP-950 has been part of Koss's repertoire for a few decades, known for their incredibly linearity, well balanced, yet musical sound. The ESP-950 comes bundled with their E-90 electrostatic amp. It uses a proprietary headphone input, so it only works with the ESP-950. The great thing about Koss is that their well known Lifetime Warranty is also applicable here, so if for any reason these fail you, you can get them replaced/fixed by Koss directly. More companies should follow this type of business mindset. Standing behind their products for as long as you live!

Build Quality:

Unfortunately, the build quality is without question, the worst build I have seen on a headphone costing more than $100. It literally feels like a $20 headphone to me. The internals could be made out of styrofoam, and I wouldn't doubt it.

Seriously, I don't know what it is, but electrostatic headphones seem to focus purely on sound quality, and not build or aesthetics (at least until you hit flagship level Stax headphones).

Starting with the cups, they seem to be the best area of the ESP-950's build. The grills look decent enough, and feel solid enough. It's all plastic, and not a very good feeling plastic at that. Seriously, it feels like this kind of plastic belongs on no name brand budget cans. The extension bars seem to be the only thing made out of metal, and yet, it still feels/looks a bit too thin for my personal taste. Unfortunately, the arms don't like to stay at the length you adjust them to, and I can almost guarantee that it will set itself a bit more loose than anyone may like. That is, unless you have a gargantuan head and wear these fully extended. The headband is made of some cheap feeling pleather that could stand to be a little more dense inside, but is ultimately quite comfortable, as the headphone is so light and loose, the headband feels like it practically just rests there.

The pads? Oh, the pads. They are made of incredibly cheap feeling pleather of the WORST kind. Seriously, pick out an extremely cheap over ear headphone, and I'm sure the pleather pads would be comparable to the ones on the ESP-950. Despite my absolute hate for these kinds of pads, they are actually not uncomfortable by any mean of the word. Due to how loose the ESP-950 clamps to the head, the pads don't really put much pressure on the skin, so it doesn't induce much if any sweat.

The cable is of the standard flat, ribbon-type cabling found on most if not all electrostatic headphones I have seen. This is a good thing. This basically guarantees no accidental tangling. It's a bit short of length, though it comes with an extension cable of decent length. Unless you sit right next to the amp, you're guaranteed to use the extension cable.

Now, I'm not sure if it's a build issue or just typical of electrostatics (didn't hear it on the SR-407), but the ESP-950 retains some static noise even if unpluged. You literally have to touch the contacts at the end of the cable to make the noise dissipate.

Comfort:

As mentioned before, the ESP-950 is incredibly lightweight, and incredibly loose fitting (think AD700 type looseness). While the comfort overall is pretty good, the lack of secure fit makes it a little less pleasing than it should've been. The headband is very comfy, and the pleather pads, while of horrible quality, is a non-issue due to the loose fit.

Accessories:

The ESP-950 comes in a very, very nice 'leather' bag, used to fit the headphone, the amp, a battery pack (without batteries) to allow the E-90 to be used on the go, a pair of RCA cables, and 3.5mm cables. If only they spent less time with accessories, and more time with the build quality of the headphone itself, but that's just a personal gripe.

Isolation/Leakage:

As expected on open and electrostatic headphones, there is absolutely no isolation or passive noise cancelling. These are not to be used where noise control is important.

Sound:

So to the meat of the review. As advertised, the ESP-950 is certainly a very linear, very balanced, and very well behaved headphone. These are among the flattest sounding headphones I have heard, where nothing really sticks out over anything else. The upper and lower ends are slightly rolled off, meaning there is no direct bass energy or treble sizzle. The sound as a whole was indeed quite neutral, with a hint of warmth. There is a very good sense of space and soundstage is decent, but not a stand out over what I've reviewed so far. The ESP-950 is soft sounding, a hint laid back, and polite overall. It's quite the contrast compared to the SR-407 which was quite fast, lively, energetic, and aggressive, while maintaing some amazing clarity and refinement. That's not to say the ESP-950 is muted or lacking in clarity. On the contrary. The ESP-950 is among the most detailed headphones I have ever heard. It's most evident during gaming, from what I experienced. The ESP-950 while not being the most musical headphone, is still very enjoyable. Not sterile/clinical, and not colored in any real way.

Bass:

While the bass is slightly rolled off at the extreme lower end, it's not a steep roll off. With bass heavy music, the bass has a surprising amount of presence. It's a bit soft hitting and slow in the bass compared to the SR-407 which was very agile and punchy, but rolled off quite a bit faster. The ESP-950's bass overall is enjoyable and atmospheric, but doesn't bring immediate attention to itself. It could stand to gain a bit more speed and punch, but it doesn't 'sound' bass light by any means, just somewhat polite.

Mids:

This is easily the biggest strength of the ESP-950. The slight warmth and linear frequency aside from the bass and treble roll off, ensures the mids are slightly forward and immediately engaging. Though not as sultry and intimate as the LCD2, it does have a similar organic tonal quality to it. Basically, voices sound very realistic/natural. If you have a lot of music that relies on vocals more than anything, the ESP-950 will not disappoint.

Treble:

The treble is ever so slightly rolled off, but it's not veiled or muddy. It gives the ESP-950 a pleasing clarity to the upper range without any of the harshness found on headphones with more treble quantity. Among the most pleasant treble presentations I have heard. Not too rolled off, not too sparkly. It's in a good place. Trebleheads may want a clearer treble presentation, like that found on the SR-407 however. In this aspect alone, the ESP-950 takes on a more musical than realistic approach.

Soundstage:

As previously mentioned, the soundstage while not being a stand out, is quite natural sounding in size. Depth isn't an exact strength, but there is an appreciable amount of width, with great instument separation.

Positioning:

For gaming, the ESP-950 stepped it up with Dolby Headphone. The soundstage was a very good size, and while the depth still wasn't amazing, it was pretty easy to poinpoint directional cues. Space between direction cues was very good, allowing for no confusion or distractions.

Clarity:

Again, like the HD650 and LCD2, the ESP-950 is slightly on the warmer side of neutral, yet like the other two, clarity for gaming was very, very impressive. Actually, if the soundstage was larger, and depth was better, these may have been right up there with the AKG K70x's in terms of god mode inducing clarity and performance. If I had to rate the clarity for gaming alone, it'd be an easy 9.

Amping:

A non-issue as the ESP-950 comes with it's own amp, though people do take the extension cable and mod it to allow the ESP-950 to be used with more robust Stax amps. In any case, the E-90 drives the ESP-950 quite decently based on what I'm hearing, though the amp's volume control is an absolute pain as each side has it's own independent volume control, so you'll have to match by ear. To get around having to constantly re-adjust with different sources, I set it once, and controlled the volume with my Compass-2 (used it as a pre-amp). In terms of gaming, Mixamp owners will probably want to set the volume once (on a high decibel level) and adjust volume with the Mixamp (or other DH devices). The E-90 is also not the quietest amp, with some very slight background noise that occurs randomly.

Value:

The prices fluctuate wildly, but if you can score them near the $700 range, they are an incredible value. Electrostatic headphone, amp, bag, portable battery pack. All your bases are mostly covered. The build quality doesn't not compliment it's price, however.

Final Impressions:

Those looking for an incredibly well balanced, linear, and neutral-ish headphone, may find the ESP-950 to be a serious contender for your money. The ESP-950 favors it's balance and faithful representation of sound over musicality, but it remains a fine bridge between the two. For gaming, it is among the best for competitive gaming with very few faults, and it's full sound makes it a very good headphone outside of non-competitive use.
Final Scores...
Fun: 7.75 (Very Good.)
Competitive: 8.5 (Excellent)
Comfort: 7 (Good)
Overall: 8.75 (Excellent)

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Massdrop x HiFiMAN Edition XX



$599 as of April 2019

Where To Buy: Massdrop
Review posted first here.

Disclaimer: A special thanks to Massdrop for sending these out for reviewing purposes. As always, whether products are sent to me or not, I do my best in being 100% honest with my views and opinions. If I don't like a product, I will refuse to write a review of it, as I like to focus on products that people would like or at the very least are interested in. Thankfully, I rarely get questionable products, so the process of reviewing has been largely painless in that regard. In short, it's been quite a few years where I've made the decision to post only reviews about products I look at positively. The only bias I have is to my readers and making sure they know about the good stuff. On to the review.

It has been an incredibly long time since I have last heard a product from HiFiMAN that wasn't my dearly beloved HE-400, the criminally underrated HE-4, or the RE0 iem from a very long time ago. Suffice to say, my experiences with HiFiMAN have been largely positive, though vastly outdated. You would think that in the many years since those releases, HiFiMAN would've been working on updating and improving their planarmagnetic technology. You'd be correct, as they have built up a strong lineage with highly regarded headphones like the HE-500, HE-560, Edition X, and many other popular models.

The Edition XX (this point forward, I'll simply be calling it the XX ) marks one of a few ventures where HiFiMAN and Massdrop have joined forces to release special models under the Massdrop umbrella. A team-up with the intention to release a higher fidelity sound at a lower price point. The XX shares a similar driver and cup design as the Edition X and HE-1000 headphones, with the older style headband designs of the past used in models like the HE-4, HE-400, HE-6, HE-500.

Personally, I would've liked the XX to have used the newer style headbands, considering they have already used it on some of their other Massdrop variants. That, and because I have never experienced the newer headband designs. That being said, I never had any real issues with the original headband design. If it was good enough for highly regarded headphones like the HE-6, it's good enough for the Edition XX, though visually, the older headband paired with the new cup design looks a bit different in terms of design language. That being said, the most important thing for any headphone is the drivers, which the XX absolutely nails.



Build Quality:

As some of you have most likely noticed from the previous section, the XX shares most traits of its build with the Edition X, HE-1000, and other HFM headphones of that higher caliber, with the headband design of the older models. Let's start there.

Headband:

The old style, spring steel headband with a protein leather covering the innards allow the XX to rest comfortably on the head with great weight distribution. The underside has just enough material and plushness to keep the headband from making any truly noticeable presence on the top of the head.

The plastic 'pucks' where the Hifiman Edition XX labeling is located, are the only pieces on the headphone I'm not enamored with, as they don't feel completely secured to the headband. This is the only thing I would want to see an improvement on in terms of this design.

The size adjustment arms are made of some seriously strong metal, and that comes with the difficulty of changing the extension. It is INCREDIBLY tight and secure. Perhaps a bit too much. My HE-400 is a lot easier to adjust despite similar design, whether by default or perhaps it may have given away with age. Either way, I think the XX could stand to be a little more loose in terms of allowing us to adjust the size extension. Not a big deal in any way, but just something worth noting.


Cups:

The cups are easily the most impressive looking cups I have ever seen on a headphone. They just ooze quality. I have experienced piano finishes, glossy/wooden finishes, slotted metallic finishes, and quite a few others, but I'd say I vastly prefer the tastefully silver and black open grill design on the XX. It is without a doubt one of the best looking cup designs I have seen on an open headphone. You can see right through the magnetic trace array to the other side, signifying just how open the XX truly is. The cups are egg shaped, and are almost comically large in size. They will easily swallow up the side of your head.


Pads:

I'm absolutely ecstatic at HiFiMAN's decision to continue using synthetic leather pads with a fabric top where the pads rest on the skin. I will always, always continue telling everyone how I hate the feeling of fake leather on my skin, so the decision to place fabric where pads meets skin is 100% correct, every single time. The use of synthetic leather also ensures that there is no sound escaping between your ears and the drivers unlike full velour or other fabric covered pads.

The openings for the ear are incredibly generous in size, whether width, height, or depth. It is so big, and allows the humongous driver surface area to emit sound unobstructed even well beyond your ear shape. This may be part of the reason, why the XX throws out a truly tall soundstage. This may actually be one of, if not my favorite design of pads ever on a full sized headphone. There is so much space for sound to travel around your ears, it adds a new dimension in headphone listening. There is very thin fabric covering the driver area, which shouldn't cause any discomfort if your ears bottom out on the pads.

I didn't try to remove the pads, as from what I can gather, is not user removable/replaceable. At least not in the way that is easy to slip off and on.


Cable:

The cable is another strong point for the XX in most aspects, the the actual sleeve is made up of... questionable material? The cable connects to each ear cup via thin 3.5mm plugs. This is a drastic improvement over my HE-400's old style connector which was personally a nightmare to deal with in terms of attaching/detaching, as well as in durability. My HE-400's cable already has exposed wiring due to those questionable connectors, even though I rarely use my HE-400 to begin with. It still works, but it's quite unsightly. The XX connectors being a very familiar 3.5mm, makes them a breeze to connect and disconnect.

The main portion of the cable is covered by a clear, plastic-feeling, tube material. It is flexible, but fights to go back to its straight form, and is ultimately a bit on the short side at 5.5ft/1.8m. For a headphone of this size, I would've preferred a longer cable, closer to 9ft, as I don't feel many people will be using the XX on the go for a variety of reasons, like the large size, and the fact that it's incredibly open. The source end terminates in a chunky, right angled, metallic 3.5mm plug (w/detachable 6.3mm snap-on adapter). I'm personally not a fan of the right angle plug. It makes it harder to connect to some devices, like a phone using a thicker protective case. Considering I wouldn't be using the XX on the go to begin with, it's not a big deal for me, but it is another thing worth noting. Using this with the Creative G6 portable dac/amp, the plug will 'kickstand' the G6 and cause it to flip over bottom side up with minor movement of the headphone cable.


Final Build Quality Impressions:

Despite the online reaction to the old style headband being used in place of the newer headband designs for the newer HiFiMAN headphones, the XX is exceptionally built through and through. My only complaints is limited to just the small plastic pucks attached to the headband, the shorter than optimal length of the cable, and the use of a right angle plug. Aside from those minor irks, I feel the XX is well dressed and exudes the quality worth its price and level of sound.



Accessories:

The review unit sent to me came simply just with the headphone and cable, no accessories. I don't mind a lack of accessories, as more often than not, it is superficial in terms of adding any realistic value to the product. If this is what it takes to lower the cost of any headphone, more manufacturers should follow suit. I get headphones for the headphones, not for the extra fluff.



Comfort:

The XX is unsurprisingly in the upper echelons of comfort for a headphone of this size.

Weight:

The XX weighs in at a hefty 420 grams, which is just 20 less than the HE-400 (440 g). Despite the heft, I don't consider either an issue in comfort compared to headphones like Audeze's LCD2 which weighs well over 100 g more than either HiFiMAN models I have on hand, and you feel every bit of it. The XX's weight is distributed pretty evenly, so it simply just isn't as much as a factor as people would be led to believe. Yes, it ain't featherweight by any means, but for a planarmagnetic, it is one of the least cumbersome from my experiences. Could it be lighter, sure, but I'm just not bothered by this much weight as much as others may be.


Headband:

I have never, ever had a problem with the old headband design in terms of comfort (even going back to the HE-4, I praised the headband), and that trend continues here. While it may not be as ideal as the newer designs with the suspended headband design, I feel the curvature of the headband, and the thin but practical amount of padding on the underside of the headband leave it completely inoffensive in terms of comfort. As stated earlier, the weight is distributed evenly on the head with no hotspots. I may want to see the newer headband used, but it's mainly for aesthetic reasons, and not because I feel there is anything wrong with the classic style headband. If there is an improvement in comfort, that'd be an added bonus, not a necessity.


Ear pads:

The ear pads are so large and spacious, I can't help but feel like they are absolutely sublime and among the very best in design, shape, size and depth. They aren't the most plush, and don't compress easily. The surface contact area is quite large and depending on your head shape and size may or may not rest in uncomfortable areas on the side of your face. Personally, the pads rest in all the right spots on my head. That being said, there is a slight clamp, which makes the pads not completely disappear in terms of feeling their presence.


Clamp:

The pads press in towards my head just a bit more than I like. It's not a 'clampy' headphone by any stretch of the word, but it was enough for me to notice. This area is completely subjective, as too much is almost as bad as too little, and I'm very picky with clamp forces in general.


Final Comfort Impressions:

Despite what I've said about clamp (subjective preference), If I had to give comfort a rating, I'd put it under great, as the XX is one of few headphones I can wear all day without feeling truly fatigued by them. I readjust here and there, but I have used them for 8+ hour sessions daily without any real complaints. That says a LOT. They're really good, great even, as stated before. This gets a recommendation for me in terms of full sized headphone comfort. Had they weighed as little as say, the HE-4, and had slightly looser clamp, they would have scored likely near the top out of all the full-sized headphones I have used.



Noise Control:

As you may have guessed just by looking at the XX, it is a very poor performer in isolation and leakage typical of its design. Seriously, don't expect any privacy in or out. You will want at least one room with the door closed between you and the next person if you need to keep it quiet. These leak a substantial amount.



Sound:

The XX has some really interesting sonic traits. Mainly excellent, but some that may or may not be suited to absolutely everyone's preference. The balance itself is exceptional throughout almost the entire frequencies.



Bass:

The bass is one area of the XX sound that I believe nearly everyone will agree with. The bass is absolutely magnificent. The pluck of low range strings, the subterranean rumble in the deepest depths, and the thump demanded of today's electronic music is all there, and is represented masterfully. Nothing is overbearing, nothing sounds dronish, and it all honestly just sounds...correct, musical, and energetic without overindulgence, or anemia. Planarmagnetic headphones in general almost always represent bass well. The XX is no exception and highlights how accurate and meatily defined and impactful bass should be.

Having done some frequency tests, it could be appreciably felt all the way down to 20hz, and was balanced all the way up to the upper bass limits. As far as frequencies go, nothing in the bass ranges sticks out. Just pure balance, and represented evenly without emphasis or deficiencies. Quantity is hard to define, but I think at the very least, most will agree it is either close to neutral or more. Not enough to be basshead level, but enough to satisfy those who like warmth, body, and fullness. So objectively, I'd say north of the neutral line, but subjectively natural, true to life.

In terms of speed, I feel the XX's speed in bass is faster and above then middle ground. Nimble, not slow of decay. It rumbles as long as it needs, and thumps with the agility one would expect of something perceptively correct. I've not heard much faster without thinness, and I have definitely heard much slower. Bass should have some decay, and it absolutely shouldn't linger too long. So for me, the XX's speed is close to ideal.

If you're someone who enjoys bass, and have plenty of bass driven sources, you will not be disappointed with the XX. This isn't basshead bass. To my perception, this is bass how it is supposed to sound. So give it some bass heavy tracks, and listen to the XX absolutely jam out. Give it bass light tracks, and the XX remains reigned in. Put on an action film with explosions, and feel every rumble. There is plenty of fun, immersion, and energy, as well as restraint and control.

There's excellent layering and texture all around. Not much more I can say without repeating what I've said in the beginning: The bass is absolutely magnificent. I don't have tools to measure distortion or the technical aspects of the bass, but subjectively, I will always hold my opinion in saying the XX's bass is excellent to my ears. If someone asked me what I think bass is supposed to sound like, I'd easily point them in the XX's direction. It's that good. I don't think there's such a thing as 'much better' than the quality of bass on display here.



Midrange to treble:

The bass is not ever intrusive to any part of the midrange which will be beneficial in midrange clarity. The midrange is relatively well balanced and subjectively linear to my ears throughout most of the spectrum. Despite these two things essentially making it easy to assume the midrange would be generally clear and spaced in a manner that isn't too intimate or spaced back, and just right (which it almost is), there is still a slight laid back nature to some details.

Vocals and other midrange aspects sound a little on the laid back side, and aren't as full as some of the more intimately voiced headphones. Not so much that the midrange is notably recessed or lacking, but that the presentation of sound isn't forward or aggressive.

Let me at least talk about specific frequencies. The early midrange up to 1khz has plenty of presence, which then dips a little between 1khz-2khz. There is a trend upwards to a 4khz-7khz plateau, where there is presence without shrillness all the way to 7khz, in which then it falls off dramatically to a valley at 7.5khz, picks up a little and falls again to another valley at 9khz and then trends upwards to 10khz and extends well to near 14khz to my ears. The treble truly extends and has a nice shimmer without being 'bright'.

The most laid back areas then are the area between 7khz and 9khz (not all of it, as there is energy at 8.5khz or so), though the slight recession between 1-2khz that may account for some of the spaced back nature. As I have stated, it is slight recession, not an outright culling of details in those areas. In terms of hot spots, while the most prominence to me is between 4khz-5khz, it isn't piercing or overly zingy.

To sum up the midrange to treble sections, I'd say that the XX in these areas is slightly laid back but quite detailed in the very top end. Low midrange is very linear and warm, higher midrange to low treble is a little more laid back, and top end treble sparkles and extends quite well.



Soundstage and Imaging:

With no processing:

The XX has an interesting soundstage. Interesting in a good way. It is very much planar-like, which means that it won't be as wide as the best open dynamic headphones out there, but gain in other areas. Planars tend to lose out on soundstage width but win out in depth and overall projection of a sonic image. A medium sized soundstage in terms of width, but with a noticeable strength of soundstage height, and excellent planar depth.

The imaging properties of the XX are good, though not as 'sharp' as other headphones like my HE-400. What I mean by this is that objects in the virtual space take up a larger area of the sound, but aren't as clearly 'defined' within the space. The ability to draw an object in the virtual space, comes easier on my HE-400.

That being said, I do find the XX to sound CONSIDERABLY 'bigger' and more room filling. Directly comparing it to my HE-400 (the HE400 equipped with Dekoni Audio DT elite velour pads and which has an excellent amount of soundstage depth and good width), I feel the XX has it beat in allowing the sound to envelop a bigger, taller space. The HE-400 almost sounds compressed next to the XX. It is an obvious difference in the presentation of sound. The XX sounds more lifelike and less like a headphone.

I don't usually name specific tracks, but to give an example, in 'Sarah Blasko - Arrow', the XX gives an impression of being in a room where Sarah is in front of you singing, while in the HE-400, it doesn't quite give you that lifelike presentation. She sounds more defined in the space in front of you, but she doesn't sound like "she's there", like she does on the XX. Think of it like squinting, but with your ears. You may see the object better when you squint, but you lose sight of what is around the object.

All in all, if you like complete intimacy, there are better options than the XX, as the XX does put you a little bit further away in comparison to closer presentations like the HD650. It's less "small lounge/front row", and more "concert hall/middle row". Don't get me wrong, it's not a mid recessed type of sound. Just that the soundstage is less headphone-esque, and so it won't put everything right in your face or in your head.

I can't understate how impressive and different the presentation is compared to a typical headphone. It's something to be experienced to truly understand. If the HE-400 places sounds in a horizontaal line, the XX has mountains on the horizon where sounds are placed.

With surround processing:

The XX is pretty brilliant when using surround dsps, like Dolby Atmos, SBX, Dolby Headphone, and others. It projects outward as well as the better headphones I have heard, with an expansive soundstage in all manner of its virtual dimensions. This makes the XX an excellent tool for virtual surround gaming, or movie watching. In terms of sheer soundstage size, I believe a good dynamic like the AKG K702 has it beat particularly in width, though I still wouldn't dismiss the more natural quality to the XX's soundstage shape. Strictly as a gaming headphone with surround, there are better options, but the XX does it just fine. No real complaints. If you plan on gaming with the XX, you seriously won't need anything else.


Clarity:

Clarity is an aspect of the XX's sound that I think will have some debate due to how the presentation of sound is slightly spaced back as opposed to more standard headphone projections of sound. This isn't due to general mid recession or overly large soundstage. It's just an inherent character that belongs to the XX from what I'm hearing. Personally, I do believe and would defend the XX's detail retrieval, but the slightly laid back balancing will not appease the more detail-oriented ears out there, or those who prefer the 'up close and personal' types of headphones where the sound is more forward and intimate.

The bass has good speed, clarity and texture keeping it from muddying up clarity, the midrange is evenly balanced with just a small dip in the 1-2khz range, and the treble has a pretty noticeable drop off between 7khz-9khz which does play a factor in some treble clarity. Treble in the upper end is quite shimmery and extended, but that drop off at 7-9khz can't be ignored as a potential point of detail loss. I think if they had kept that area more in line with the rest of the sound, the XX would have been a mostly neutral, supremely balanced headphone, which also comes with a possible problem of grating on the ears in those ranges. The clarity of its air is good, and sometimes great if the source isn't demanding a lot of low end. Not the most airy of headphones, mind you, but it can do that aspect well at times.

I'd say the clarity overall is very good throughout most of the frequencies and classify the overall sound as clear and detailed if a little laid back.



Sound Signature:

It isn't the final word on ultimate neutrality, as it ever so slightly treads towards warmth. That means it will be more pleasing for those who like things leaning on less fatiguing, warmer balances, but not overtly so. The highest treble having good extension, keeping the XX from sounding muddy or veiled. So if you like warm, warm headphones, the XX is NOT that, nor is it cold/analytical. Neutral warmth with sparkle is how I'd put it to my ears.



Amping:

I wouldn't go so far as to claim these are perfect straight out of a laptop, tablet, or cellphone. At the very least, any portable amp worth two cents and can hit high volume levels should be pretty good. My recommendation is to give it at least a decent portable amp's amount of power, as I feel they don't quite hit high volume levels even off a Sennheiser GSX1000 unless I max the volume out, which is far from ideal. For example, the volume off something like a Nintendo Switch was on the moderately lower side of my preferences. That makes it impractical for such a purpose.

In terms of what type of amp flavor makes sense for the XX, I believe a fast, detailed solid state would highlight the XX's strengths and de-emphasize the slight weaknesses. Heck, even a smooth and rich amp could also be a great pairing for it. Really, I think the XX is in a good place that any type of amp coloration would suit it. I don't think it's a picky headphone.




Gaming:

The XX makes for a very high quality headphone for gaming. Even if you play strictly in stereo, unprocessed, focused, and hardcore, the excellent soundstage height and depth really have an added layer of immersion not found in many other headphones. The tonal balance really allows for anything from fun, casual gaming, to serious tournament play, though be aware that the area of sound between 7-9khz in particular is low in volume compared to the rest of sound. I personally think that area is more sheen than important sound effects, but it's something needing mention. For gaming with virtual surround (as I do), there's really not much better than what the XX has to offer. The soundstage, and positional cues are excellent, as can be expected from all the things I've mentioned before.



Personal Recommendations

Media:

The XX makes a strong case in terms of a headphone for all use cases, except maybe pure analysis of sound or if vocal intimacy is desired. Music is highly enjoyable and dynamic, gaming is an absolute pleasure, and even anime watching (which tends to always sound crisp/bright 99% of the time) is a treat. I believe they tuned the XX to be on the enjoyable side for most content thrown at it, and if so, they succeeded in that mission. I think perhaps some people will expect the XX to have flagship-y voicing in terms of detail-retrieval and microscopic analysis of sources. The XX is not that. A broader, more consumer-friendly sound is what I'm hearing with the XX.


Real world practicality:

I would keep the XX strictly as a home or private office headphone. It makes a poor choice in terms of portable or transportable uses due to the size, and extremely open design.



Likes and Dislikes:

Likes:
  • Soundstage height and depth
  • Tonal balance/sound signature
  • Bass in all regards from texture, speed, and quantity
  • Non-fatiguing even with good treble extension
  • Comfort
  • That planarmagnetic 'magic'

Dislikes:
  • Imaging/object definition could be sharper
  • 7-9khz valley
  • Slightly distant vocals
  • Size extension hard to adjust



Final Impressions:

Sonically speaking, I can't find much fault here. It isn't perfect, and the balanced, slightly laid back sound will not best the more specialized headphones in terms of basshead uses, detail orientation, midrange-centric duties, etc. The price of having a broad spectrum of things well usually means it won't be the best in any one thing, but it also allows the XX to be more appealing to a larger crowd. Those who want a headphone that does well in most areas overall. If detail retrieval and clinical analysis is the most important aspect to you, there are better options, at lesser cost. However, the total amount of strengths the XX has in most aspects of sound far outweigh the negative traits. The more time I spend with the XX, the more I fall in love with its inherent characteristics.

The Edition XX is one of those headphones that make me feel like they're the only one I'd ever need at home. Massdrop and HiFiMAN have given us a truly spectacular headphone overall.



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MrSpeakers Alpha Dog
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Where To Buy: MrSpeakers Alpha Dog page
Before I begin, I'd like to express my deepest thanks to MrSpeakers for the loan/demo of these headphones. Both the Alpha Dog and Mad Dog headphones reviewed on my guide were supplied directly by Dan aka MrSpeakers. Dan always aims to please, and though I have never met him personally, I fully expect him to be one hell of a guy in real life as well. He stands behind his products, and seems very proud of them. Rightly so, if I could be completely honest. That out the way... on to the review.

The Alpha Dog. The successor to the immensely popular and highly regarded Mad Dog. What a successor it is. The Mad Dog was generally labeled as a closed LCD-2, and though I don't completely agree with that statement, I do find the Mad Dog to be the closest thing to a closed LCD-2 (I haven't heard the new LCD-XC). I personally felt it was not an LCD-2 clone, but it's own headphone, with it's own strengths and weaknesses.

With the Alpha Dog, Dan set out to improve upon the Mad Dog, with a rise in clarity, speed, level of detail, neutrality, and soundstage/sense of space. As far as I'm concerned, he fully achieved his goal. How he was able to transform a $100 T50RP to something considerably more high end, especially being a closed planar magnetic, is anyone's guess. Not only does the Alpha Dog look the part, but plays it to the tee as well.

Build Quality:
Amazing.

The Alpha Dog is truly something to behold. Nearly gone is any trace of the retro-looking Fostex T50RP, with the only visible remnants of the T50RP being the black/grayish rubbery headband with the huge Fostex branding on the top (I personally hope Dan finds some form of leather or cloth wrapping to cover up the rubbery headband, like some Pro model DT770 leatherette headband cover), as well as the extension arms holding the cups/drivers. Speaking of the extension arms, gone is the copper/brass color, now anodized in black dye with MrSpeakers and R imprinted on the right side; Alpha Dogs and L on the left. Aside from the leather comfort strap (first introduced on the Mad Dog), every other external piece has been replaced. The most noticeable change is undoubtedly the new 3D printed cups, which ironically takes on a look that more closely resembles the flagship Fostex TH-900's red urushi lacquer cups.

The Alpha Dog's cups are simply a thing of absolute beauty. It is completely devoid of any marks, brands, logos, etc. Just a glossy red/burgundy candy coat of paint to feast your eyes on, as well as two cavities near the arms. These cavities have a purpose: They are the tuning mechanism for the bass on the Alpha Dog. With the supplied miniature hex key, you're able to adjust the screw inside the top cavity, which alters the bass on the Alpha Dog. However, be warned: doing so removes any liability on MrSpeakers's part. If you mess up the tuning, MrSpeakers will re-tune the drivers to their stock state at a cost. The bass adjustment was meant as a one time adjustment, not as an on the fly bass boost/reduction.

The Alpha Dog uses 4-pin XLR inputs on both sides for the new cables, with your choice of a single ended 6.3mm cable, or balanced cables. You can also order both sets of cables for an additional cost. The standard cable is thick, of good length (6 feet), durable, and heavy duty, terminating in a 6.3mm Neutrik plug. The last thing to ever complain about here is the cable, I assure you. The immensely popular Alpha pads (first introduced in a more recent version of the Mad Dog) are back and put to great use here. Made of lambskin leather, thick, soft, and angled, the Alpha Pads are arguably one of the most if not THE most comfortable pair of (lambskin) leather pads ever used on a headphone.

Wonderfully built from head to toe, I don't see any points of weakness anywhere on the Alpha Dogs. The only real reason you'd want to baby it is so as not to ruin the wonderful finish on the cups. That is a worry not found on the utilitarian Mad Dog with it's matte black plastic cups which could take quite a beating and come out relatively unscathed.

Accessories:
Fantastic.

The Alpha Dog comes with a full suite of goodies:
  • Metal headphone stand. This is an awesome bonus, though I feel it's not exactly convenient. You can't exactly place the Alpha Dog on the stand with cables attached unless you add some foam or anything else that will raise the headphone enough to give the cables some clearance. As aesthetically pleasing as the headphone stand is, I don't see anything pretty about adding a block of wood or foam, etc. I'm sure some people will find elegant methods to provide enough clearance for the Alpha Dog with it's cables.
  • Cloth carrying pouch
  • Microfiber cleaning cloth
  • Mini hex tool for adjusting the Very-Bass screw at your own risk

The only things missing are a 6.3mm to 3.5mm adapter and a hard case for solid protection. For the sake of versatility, I would've preferred it if the standard cable was terminated in a 3.5mm plug with a 6.3mm adapter, though considering the kinds of setups/systems the Alpha Dogs were built in mind for, it's understandable. The Alpha Dogs were made to be powered off desktop amps which tend to come with 6.3mm inputs. I recommend a Grado-style 6.3mm female to 3.5mm male cable, not a simple 6.3mm to 3.5mm adapter, as those tend to put strain or outright break 3.5mm inputs. As for the hard case, would be nice, but not necessary. There is simply no legitimate reason to be unimpressed with the amount of accessories packed with the Alpha Dog.

Comfort:
Great.

As mentioned with the Mad Dog, the Alpha Dog has an incredibly similar comfort factor, the difference between the additional weight of the new cables and cups. It is a very, very comfortable headphone overall. The added weight over the Mad Dog is noticeable, but mostly inoffensive. The Alpha Dog would practically fit on any head, isn't oversized, and has some moderate clamp (clamp can be adjusted by bending the headband, which extremely easy to do). The Alpha Dog used in this review has some moderate clamp which I didn't want to mess with, as I feel it's a good middle ground for comfort and optimal sound quality.

The leather comfort strap feels great on the head, distributing downforce relatively evenly. The Alpha pads are as usual, very comfortable. Not on the same level as the best velour or alcantara pads (Shure 1540 pads as an example) out there, but certainly among the best of the leather/pleather pads. The pads are soft, seal very well, and don't get as hot or sticky as some of the worst offenders out there. They still do build up heat, so don't expect cool ears on hot days.

Design Issues:

The only complaint I have with the Alpha Dog's build itself, is the implementation of the bass adjustment screw. While I haven't personally adjusted this, it feels restricted, a bit ardous, and potentially harmful to the headphone's tuning (not to mention the possibility of damaging the inside of the housing). I hope the future provides further improvements on the design, adding a simpler method to adjust the bass or return it to stock form. I also hear the Alpha Dog is very reliant on seal, and needs to be adjusted to fit the head properly for the optimal sound quality/seal. I don't have a problem in this area, though your mileage may vary.

Isolation/Leakage:
Great.

Like the Mad Dog before it, the Alpha Dog isolates pretty well. It provides a good amount of passive noise cancelling when a source is playing, and controls noise leak relatively well. Not the final world on either internal/external noise control, but should suit most environments.

Sound:
Amazing.

Before I get into the specifics on the Alpha Dog's sound, I want to say that the Alpha Dog had a LOT of hype built around it, and I wouldn't have been satisfied if it failed to live up to most of it. I'm a realist, a skeptic, and pessimist at heart, but I do give things their chance to prove themselves. I don't know whether I was expecting the Alpha Dog to fall short of it's hype, or whether I was expecting it to be a complete success, considering how well the Mad Dog performed. I was basically torn, prior to hearing them for myself. I'll start by saying that MrSpeakers pulled an incredible feat with the Alpha Dog. To me, the Alpha Dog is the most successful headphone to meet the high expectations and hype built around it.

Bass:
Quantity: Great
Quality: Amazing

In true planarmagnetic form, the bass on the Alpha Dog is incredibly linear all the way down to the lowest depths, not giving any attention to one aspect of it's bass in favor of another. Full bodied, tonally neutral, tight, impactful, well balanced, correct, and quick in speed and decay. It's one of the most realistic presentations of bass I've heard on any headphone. It's not my FAVORITE presentation of bass, as I prefer a warmer tilt with some emphasis and longer decay (like it's sibling, the Mad Dog 3.2), but I can't fault the complete neutrality and technicality in the Alpha Dog's bass. The bass lends itself well to any and every genre, from most genres of EDM, hip hop, rock, and acoustic, and everything in between. In true Alpha Dog form, the chameleon-like sound signature starts with it's bass.

I didn't alter the bass with the Very-Bass screw, and to be quite honest, I don't feel like it needs to be tuned. The Alpha Dog was built for utter neutrality, and the bass is neutral in every sense of the word. The bass is bass. Nothing more, nothing less. It is completely dependent on the recording. If your source is bassy, the Alpha Dog will happily transfer that energy to your ears. If the source has little to no bass, the Alpha Dog will also transfer that politeness straight to your ears. That to me, means near technical perfection. Objectively, the Alpha Dog's bass is absolutely reference-level. Spend enough time with a reference-type bass like the Alpha Dogs, and many others will start to exhibit their lack of finesses and correctness.

Mids:
Quantity: Great
Quality: Fantastic

Following suit to the incredibly accurate bass, is the incredibly accurate mids. It is tonally neutral to my ears, perfectly in harmony with it's bass and treble, and present at all times, without being recessed or shouty. Most audiophiles will most likely prefer a warmer, more organic, and intimate mid section (I admit to being one of them), but that is a subjective preference, not an objective quality. There is no compensation here. It is all presented evenly, so if you're adverse to certain areas in the upper mids (which tend to be smoothened out and blunted down with many headphones to produce a more pleasing tonality), you may find some upper mid/lower treble glare. The Alpha Dog does not mask any imperfections, and will expose any and all flaws in a bad recording, which tend to come out most in the upper mids and lower treble range.

Personally, I'd prefer a fuller, thicker, more intimate tone to the mids (like the LCD-2 and HD650), but for the sake of neutrality, I feel the Alpha Dog puts out the more correct sounding mids, with plenty of musicality and enjoyment factor. One thing is certain, the mids on the Alpha Dogs are superb, both subjectively and objectively. Not thick, and not lean, the mids are what I can only label as properly represented.

Treble:
Quantity: Fantastic
Quality: Great

Treble was one area many people were negatively vocal about in the Mad Dogs. Too mellow, rolled off, soft, etc. Those were common complaints with the Mad Dog, though I personally wasn't unhappy with it's treble presentation as it shifted the focus on the Mad Dog to it's wonderful bass and great mids, which I found more important to maintain. The treble on the Alpha Dog is the antithesis of the Mad Dog's treble presentation. Airy, extended, energetic, and again, more technically correct in every single way. The Alpha Dog's treble will expose problem areas in many bad recordings, mainly in S and T sounds, so if you're susceptible to sibilance, and/or have many recordings that exhibit sibilance, the Alpha Dog won't do you any favors. It will sizzle if the recording favors brightness. The Alpha Dog demands clean sources and recordings. I foresee many people throwing away badly mastered tracks, all thanks to the Alpha Dog which is a master of exposing flaws up top.

The treble is understandably not as airy as some of the better open-backed headphones on this guide, but you may be surprised by how airy it actually is. I'll touch upon this in the soundstage section which is aided by the presentation of the Alpha Dog's treble range.

Clarity:
Fantastic.

The Alpha Dog is without a doubt the cleanest sounding, closed-back headphone I've ever heard. Even next to the stellar, open-backed headphones that excel in clarity, the Alpha Dog stands among the best. It even does so without giving up fullness and body, which tends to be a typical trade-off for headphones that aim for the highest clarity and detail. The Alpha Dog maintains clarity and detail in almost any and every situation. People complained that the Mad Dog was too dark, overly warm, mellow, masking some upper range detail and extension. The Alpha Dog is here to put that argument to absolute rest. There is nothing dark, overly warm, or mellow about the Alpha Dog. How MrSpeakers was able to achieve this level of clarity out of T50RP drivers...well, some deals must have been made in blood. That's the only explanation I can think of.

Soundstage:
Stereo: Fantastic
Virtual Surround: Great

One of the goals MrSpeakers set for himself with the Alpha Dog, was to improve the soundstage to one that would more closely resemble an open-backed headphone's soundstage rather than a closed one. As a fully closed-back headphone, the Alpha Dog had quite a challenge ahead in order to fulfill that goal. As a gamer, I'm admittedly critical on the size of a headphone's soundstage. It is essentially one of the most important factor in terms of what I rate highly for competitive gaming performance (the others being clarity and detail). Many times did I hear of headphones like the Mad Dog having a large soundstage, which personally wasn't the case to my ears. It was decent for a closed headphone, but that's all it ever was for me. Now, with the Alpha Dog, all the hype, all the mentions of it sounding open, made me overly skeptical. One of my personal issues is that I personally try and debunk unrealistic hype.

With a skeptical mind, I put on the Alpha Dogs, and immediately tested some music (I hadn't even tried gaming first to test soundstage). What I heard simply shocked me. The Alpha Dog is simply the most open sounding closed-back headphone I have ever heard. So much, that at first, I thought I put them on wrong and broke the seal on the pads. Yes, the Alpha Dog has fooled me on various occasions. Even as I sat down, listening to music and typing this review, I still got the feeling that the pads had a broken seal because the sound is projecting out like an open-backed headphone in a quiet room.

No closed back headphone that I've used has given me this type of aural sensation. The sound projects outwards, cleanly, and convincingly. I don't know how MrSpeakers did it, but I assure you, he has done it. The closest I've personally heard were the Denon D7000 and Beyerdynamic DT770, both which have excellent soundstages for closed headphones, but won't ever fool anyone of being anything but closed.

Now, don't misconstrue my words: the Alpha Dog is no AD700, K701, MA900, or HD800. At best, the Alpha Dog sounds like an open-backed headphone with a good soundstage in a completely silent room. It also doesn't sound open with every source/recording, and sounds like a closed headphone in some instances. This needs to be particularly mentioned, because most people (I'm positive of this), tend to partly associate a large soundstage with a lack of external isolation. With an open-backed headphone, you feel the air, hear the ambient external noise, and feel the lack of seal. It fools the brain into feeling the 'openness' of a headphone's sound. This is why it's crucial to understand that the Alpha Dog seals and isolates very well, so no external ambience/air/etc will be mixed in with the Alpha Dog sound. Once you've taken all of this into account, you may finally understand what I mean when I say that the soundstage on the Alpha Dog sounds like an open headphone in a completely silent room.

The soundstage depth, as usual of planarmagnetics, projects outward about as well as any headphone I've ever reviewed whether closed or open. The width was an area of weakness that I found on the Mad Dog, and I'm happy to report that the Alpha Dog has good soundstage width, particularly for a closed headphone. It won't best any of the open soundstage favorites in terms of width, but even among open-backed headphones, the width would be considered very good.

In short, and to repeat myself, the Alpha Dog simply has the airiest, most open sounding soundstage on any closed back headphone I've ever heard. Not always true, but with great frequency, it will impress.

Positioning:
Great.

With incredible clarity, open-like soundstage, very good width and even better depth (which I argue is more important than width), it's pretty much obvious that the positional cues are very easy to pinpoint. The bell like clarity of surround cues which have plenty of virtual space to be located in a snap, the Alpha Dog an incredibly easy choice for gamers who'd like their headphones to isolate well without sacrificing openness and competitive gaming performance.

Amping:

I feel the Alpha Dog greatly benefits from raw desktop amp power. It scales noticeably going from a portable amp to a desktop amp, and it's sound signature can expose an amp's tonal strengths or weaknesses. I personally recommend a strong amp with a warmer tonality, as I believe it would further aid the Alpha Dog's musicality and timbre. It'd be a disservice to the Alpha Dog and the owner to skimp out on proper amping. The more you give it, the more it will reward you. You're paying for high quality sound, it'd make sense to provide it with a strong, clean signal from source all the way down the chain, up to the headphone.

Personal Recommendation?:
  • Movies, Music, Media In General? Yes
  • Gaming? Yes

At $600, it may come at a steep price for many, but you get what you pay for. A jack of all trades, master of plenty, with some truly amazing performance all around. If you're looking for one headphone that does everything well or better, the Alpha Dog should be one of the first headphones you should look into, possibly even the last.

Comparisons:

- Mad Dog 3.2 and LCD-2: Based off memory (I'm confident in at least remembering these two), as far as headphones the Alpha Dog will undoubtedly be stacked up against, I do prefer the warmer tonality on the Mad Dog and LCD2, though the Alpha Dog is objectively more capable than the Mad Dog, and I feel is on a similar tier of performance as the LCD2, with a different presentation of sound. The bass is fuller, and more upfront on both the Mad Dog and LCD2 over the Alpha Dog. However, the Alpha Dog's bass is faster, more energetic, and more tonally correct than either the Mad Dog or LCD2. The mids are warmer, more intimate, and overall more pleasing on both the LCD-2 and Mad Dog over the Alpha Dogs, but again, it will depend on your preferences. The Alpha Dog is definitely not lacking in mids, just that it presents it a little differently, with less coloration. The treble, yet again will come down to the individual: Do you want sparkle, clarity, and extension found on the Alpha Dog? Or do you want a softer, less prone to harshness, and slightly polite/more relaxing presentation on the LCD-2 and Mad Dog? One thing the Alpha Dog is a clear winner in is the much more open soundstage than either the LCD2 and Mad Dog which sound closed in. Yes, despite the Alpha Dog being closed, and the LCD-2 being open, the Alpha Dog sounds more open, reaches further out, and will give you a better sense of music playing outside your head.

Final Impressions:

The Alpha Dog certainly lives up to the hype. With it's chameleon-esque neutral balance, with full, linear bass, clean mids, and airy treble, the Alpha Dog is a more than capable performer for any and all manner of things thrown at it. It's highly detailed sound signature, unnaturally open and spacious presentation (despite it's closed back design), and great comfort easily put it in the upper echelon of headphones I have ever tested, and I personally can't see many people being anything but utterly impressed with the Alpha Dog.

Whether it be any form of gaming, any genre of music, or any other type of media, the Alpha Dog sings along beautifully. At it's worst, it may not be the BEST headphone in certain situations, but it's worst is better than the best many other headphones have to offer. The Alpha Dog could simply be my one and only headphone, and I honestly couldn't think of any other headphone better suited for all of my necessities. It just does absolutely everything well. Everything. So much that I REALLY don't want to give them back!

Final Scores...
Despite it's incredibly neutral sound signature, saying the Alpha Dog is lacking in fun is completely untrue. Due to it's tonal balance that blends in with basically anything you throw at it, fun gaming sound as fun as it wants to be.
For a closed headphone, there really is no comparison here. Incredibly detailed and clear, with a spacious soundstage, and fantastic positional cues. There's not much you can ask for that the Alpha Dog can't provide here. The added benefit of blocking outside noises may even give it an extra advantage.
The combination of Alpha pads and the leather strap keep the Alpha Dogs comfortable for hours on end. It is on the heavy side, and it can stand to be less clampy for extra comfort. Since clamp can be adjusted, the score can potentially more towards an 8.5 for me, at best.
In case you hadn't noticed from the start of this review, I am incredibly fond of the Alpha Dog, and believe it deserves all the hype that has spread since it's reveal. You get top tier performance in all areas, without any real detriment to it's sound. Most jack of all trade headphones tend to lack a little magic, or give up some sound quality to become a more all around pleaser. The Alpha Dog gives absolutely nothing up. Even as a jack of all trades, the sound quality is absolutely master class.

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MrSpeakers Ether C 1.1
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Price as of Mar 2016: $1499.99 to $1649.99 (DUM Cable upgrade)
MrSpeakers brings in yet another closed planarmagnetic to the market in the Ether C. Few planarmagnetic competitors, like the Oppo PM-3 on the lower priced spectrum, and Audeze LCD-XC in the higher-priced spectrum, have managed to grasp the attention of audiophiles today the way MrSpeakers closed planars do. MrSpeakers Mad Dog variants have proven popular over the years in the value range, while the Alpha Dog and Alpha Prime, have remained competitive in the upper ranges. The Ether C takes it one step further into endgame territory, for those who want nothing but the best MrSpeakers has to offer in the closed planar market.

Build Quality

The Ether C is nothing short of absolutely majestic, in its black, stealthy, aggressive-yet-elegant design.

Headband: Starting with the headband is the NiTinol (Nickel Titanium alloy) 'wires', which feel all but weightless. It looks like two very thin pieces of metal, but are rigid, and extremely durable for their design. The Italian leather headband strap that rests on your head has a "breathable synthetic underside" (per MrSpeakers). I can attest to its unrivaled comfort. My sole gripe with the headband is that my larger than average sized-head is at its limit in clearance.

Cups: The sleek 'ultra-rigid carbon fiber cups' are fairly large and circular. The dark, carbon fiber has a high gloss finish, though it is fairly difficult to see fingerprints unless catching light at specific angles. The bottom side of the cups house the metal HiRose 7 series style connectors, which makes cable attachment a breeze. The vertical and horizontal swivel will allow for the cups to rest comfortably on virtually any head shape.

Ear pads: The angled, lambskin leather earpads are thick, plush, and very comfortable, with large, rectangular openings for most ears to fit into without issue. The pads are great at noise isolation, with very little audio seepage. The openings are also where the tuning pads are inserted to alter the sound of the Ether C to your preferences (different from the Ether C 1.1 upgrade foams, which are inserted by removing the ear pads and placing directly on top of the driver housing).

I'm sure people are tired of me saying that I prefer non-leather pads over any form of leather, but be that as it may, the lambskin leather pads MrSpeakers uses are amongst the most comfortable leather pads I have ever tested, if not THE most comfortable of all leather pads tested.

Cable: The unit reviewed came with the upgraded DUM cable with 1/4" plug. The cable is considerably lightweight despite how thick and robust it looks. It is also quite flexible, and covered by a very nice material. It terminates into a very hefty 1/4" (6.3mm) Neutrik plug. There is no 3.5mm adapter, so if you plan on attaching the Ether C to a device with a 3.5mm input, I suggest a nice 1/4" to 3.5mm cable adapter, like the type Grado and Sennheiser sell. None of those suspicious no-name barrel adapters that put stress on your 3.5mm inputs. Alternatively, you can just order the Ether C with a cable that terminates into a 3.5mm plug instead and use a 1/4" adapter which you'll likely have a stockpile of. There are also balanced cable options available.

I can't speak for the stock cable and how much better the DUM cable is or isn't. I'm personally not a believer of cable voodoo, but I'll say that I really like the choice of cable MrSpeakers used for this DUM cable upgrade. It looks great, feels great, sounds great. Not much more I can say about it. Very nice.

Final Build Impressions:

The Ether C is a considerable step up from the modded T50RP husks used for the Mad Dog and Alpha Dog. Both the Ether and Ether C have a brand new, 100% MrSpeakers design. What remains from the lower tiered headphones is the expectation of durability and comfort.

Accessories

The Ether C comes with a few accessories:

Hard Case: The relatively small form factor hard case fits the Ether C comfortably, if a bit snug. It also has an area under the headband to store the cable (as well as the tuning kit pads and magicfiber cloth), and comes with a mesh flap with velcro to keep them in place. The inside of the case has a raised portion in the middle to keep these goodies separated from the Ether C's cups.

Tuning kit: Used to alter the sound signature balance of the Ether C for personal preferences. The kit includes 4 black pads, 2 white (softer) pads, installation instructions, and frequency response graphs for each tuning pad setup.

MagicFiber cleaning cloth: Pretty self explanatory. Use the cloth to make yours cups glossy and fingerprint free.

Tuning Kit

As mentioned earlier, the tuning kit is used to alter the sound signature balance of the Ether C for personal preferences. The kit includes 4 black pads, and 2 white (softer) pads, installation instructions, and frequency response graphs for each tuning pad setup.

The tuning pads go inside the ear opening of the ear pads, not under.

Tuning 1: No tuning pads installed. Default Ether C sound. Overall neutral balance.

Tuning 2: 1 black pad on each side. Slightly warmer. The 2nd most neutral setup for the Ether C. Effective mainly at reducing a bit of sibilance. A subtle change over no tuning pads.

Tuning 3: 2 black pads on each side. Warmer than tuning 2, and considerably warmer than no tuning pads (tuning 1). This one effectively removes most sibilance, and de-emphasizes the upper range considerably for a smoother, less fatiguing sound signature.

Tuning 4: 1 white pad on each side. The warmest Ether C solution, further delving into darkness than tuning 3. Upper range is reduced even further for a sibilance-free, smooth sound.

I personally recommend everyone getting used to the Ether C's inherent sound signature without any tuning pads installed. Once you are more than well acquainted with the Ether C's strength and weaknesses, should you start experimenting with the tuning kit to see if a specific tuning better suits your preferences. I say this, as there are benefits and tradeoffs to using the tuning kit. The Ether C is objectively at its best when no tuning pads are installed, though may not suit your subjective tastes until installing tuning pads.

Comfort

The Ether C's comfort is within my expectations of a MrSpeakers headphone, which is nothing short of excellent.

Weight: At 390 grams, it is among the lightest planarmagnetics I have tested, though a light planar is still far from light in comparison to the better, featherweight dynamic headphones out there. In terms of planars, only the HiFiMAN HE-4 and Mad Dog 3.2 edged out the Ether C in weight as far as personal experience goes. The Alpha Dog was a hefty beast. My current in-home daily driver, the late (and personal fave) HiFiMAN HE-400 feels immediately heavier on the head and neck.

The Ether C's weight may not match that of the lightest dynamic headphones out there, but it falls in a generally acceptable range, especially so because of its fantastic weight distribution. It is no Audeze LCD-2, which felt as if I was balancing a figurative Abrahms tank on the head.

Headband: The Ether C's headband design is absolutely superb due to a very light design and always appreciated leather strap which normally wouldn't leave a hotspot in uneven pressure. Due to my large head (causing absolutely no clearance between my head, the strap, and the headband), the NiTinol headband digs into the leather headband strap. This is a fairly minute issue only worth mentioning for those who plan on using the Ether C for hours on end, and are self-aware of their large heads that tend to hit the max clearance on many headphones.

Under normal use, this is but a very minor discomfort that overall leaves the Ether C under 'Great' comfort, as opposed to 'Amazing'. Again, this is just something to note for those of us with big heads. Normal heads will likely find the Ether C to be absolutely stellar in comfort even during all day use.

Ear pads: The ear pads are the very popular, angled, lambskin leather pads MrSpeakers has sold for years now, and should come to no surprise on its stellar comfort due to its thickness, plushness, and generously open ear cavity. I personally would've preferred another material for the pads, but that's a personal gripe, not an issue with the Ether's pads themselves.

Clamp: The Ether C's clamp falls under 'moderate clamp' to my head, which is the range I prefer headphone clamp to be in. Too strong causes major discomfort, and too loose a clamp causes the endless repositioning and shuffling of headphones. The Ether C's clamp keeps the headphone secure with very minor shifting under normal use.

Overall Comfort Impressions: If I had some clearance between the top metal headband and the top of my head, I'd likely rate the Ether C's comfort as absolutely superb. I personally think all headphone designs should have ample headroom both figuratively and literally, to allow for all head sizes and shapes.

That being said, those with normal to smaller-sized heads will find the Ether C to be among the best in terms of planarmagnetic comfort, and generally excellent overall.

Isolation/Leakage

The Ether C is excellent in both passive noise isolation and leakage even at high volumes. It is an easy recommendation for all situations where you want to keep your sound in and external noise out. Short of blasting your eardrums with music while someone sleeps right next to the headphone, I don't think anyone will have a complaint on its noise control performance.

Sound

The sound...oh, the sound. The Ether C is what I'd simply describe as a "Top All-Rounder". Proficient at all, master of many. I can easily spoil everything by saying that as of March 2016, this is the best headphone I have ever heard, but I feel an explanation and going further in depth is deeply warranted.

The Ether C is the epitome of nearly everything I want in a headphone's sound. The Ether C may not have the best of everything all at once, but it is certainly capable of achieving great results in all general aspects of sound. With the tuning kit, you can dial in the sound even further if you prefer a more intimate, less technically proficient, yet more pleasing tonality if you desire.

I'll be mainly reviewing the Ether C's sound based off no tuning pads, though I'll talk about its warmest tuning pad setup, as I feel giving you the two extremes is more practical than the middle two tuning pad solutions which fall between being closer to the very neutral (no tuning pads) solution, or the warmest solution (white pad installed). You can extrapolate that the two middle pad solutions will fall somewhere between the neutral and warmest sound.

Let me dig into specifics.

Bass

The default Ether C 1.1's bass is as advertised: Linear, with an incredibly deep extension that reaches the lower octaves with ease. The Bass section reaches all the way down to the 20hz range with absolutely no perceivable unharmonic distortions. If you're coming from an open dynamic headphone, be prepared to hear a range in sound seemingly non-existent in many dynamic headphone's audio. You'll likely want to revisit your library of music just to engage with a layer in sound that you hadn't heard before.

Surprisingly, the Ether C is one of the first neutrally balanced headphones I have heard to present sub bass so well without it ever approaching 'emphasis'. I generally prefer a warm tilt, with a sub bass to midrange tilt, and yet the Ether C's controlled, balanced, mostly uncolored approach, highlights the sub bass to be ever so present as I'd expect from a warm tilted signature, despite the Ether C's mostly neutral tonality. Put on some bass heavy music, and watch how the deep, cavernous void of the Ether C's sub bass comes alive. It fills out the atmosphere and general ambience as well as most bass driven headphones I've heard, without the extra emphasis or boominess.

Mid bass notes are taut, fast, and incredibly well controlled, taking more of an in-line "I'm here to play with everyone else" approach instead of taking command, allowing the bass to decay quickly and progress into the midrange without any bleeding into vocals. It isn't the strongest mid bass punch I've heard, which actually plays to my preferences, as I'll take 20-50hz ambience and rumble every time over any emphasis at 60hz and above. Bassheads may need to take note of this, as bass rumble, and bass punch tend fall on opposing ends of that 50-60hz line. The Ether C is not a bass deficient headphone by any stretch, but it doesn't have the typical bass hump of bass driven, dynamic headphones, so don't expect Ultrasone-esque midbass.

The bass overall is sharp, well defined, and exceptionally clear. It is simply there when it needs to be, never overstepping its bounds, and never truly asleep.

Bass with tuning pads: Depending on the level of tuning pads installed, the bass can be moved forward in a subtle or more significant manner. The general properties of bass don't change, but due to the de-emphasis of the mid to upper spectrum of sound, bass volume can climb a considerable amount over other those ranges, and appear bigger, rounder, fuller, more fluid. The tradeoff being that the bass notes become slightly less defined.

To sum up the Ether C's bass, it really depends on how you'd like it to be. The bass can be expertly linear with surgical precision including an excellent reach down to the lowest levels. On the other end, adding some tuning pads can turn the bass into a bolder, fluid, and more organic tone with a slight hit to its definition. Either way, the Ether C's bass is sure to impress everyone in some form of another, based on whatever preference they may have and with some brief pad tuning.

Midrange

The Ether C's midrange in stock form is what I can best describe as chameleon-esque; neutrally toned, well balanced, with neither emphasis nor overall recession. Depending on source, it can change to any of these traits, from warm to cold, forward or recessed, intimate or distant. It is as transparent as any headphone I've heard to date, if not more so. It is very clean and as defined as I'd expect of a headphone of this caliber. It is prone to exposing flaws like sibilance, tizziness, vocal and instrumental harshness. The midrange paints a pretty clear picture of sound with sharp audio cues.

As far as problem areas in the midrange, there are no major glaring issues, though on frequency tests, there is some shrillness at 5khz, which may be a small factor to the Ether C's ruthless detail retrieval.

Midrange with tuning pads: The turn towards a warm signature becomes evidently clear, with a full on warming of the midrange, and noticeable reduction of brutal qualities like sibilance and harshness at louder volumes. As you go further into the warmer tuning setups, sibilance all but dissipates, with a broad range smoothing of the entire upper midrange. The downside of the warmer tuning setups is the reduction of sharpness and upper midrange clarity. Micro details become less defined and the outline of objects become a little hazy in comparison to the slightly sharper definition of the Ether C with no tuning pads.

On the positive side subjectively, like the bass, the meat of the midrange yields the most benefits, as it slightly rounds out the midrange to enhance euphony, organics, body, and fluidity. Since upper mid to treble ranges are reduced and softened, the general midrange comes forward with vocals and instruments becoming sweeter and more naturally toned.

In the end, the Ether C's midrange is (by default), very balanced and uncolored, yielding control of its sonic properties to the source. There are very few rough edges up top, easiest to remedy with the addition of tuning pads, albeit with tradeoffs of some clarity and definition, for warmth and extra musicality. I can take the Ether's C either way, as both extremes (stock neutral, and full on warmth tuning) sound fantastically emotive, give or take a few things mentioned.

Treble

The Ether C's treble is best described as quite present and detailed, lending a big hand to the sense of air, soundstage space, and overall imaging properties of the Ether C.

The pair reviewed has a steep valley between the lower treble's 7khz to 8khz range, subduing some of the Ether C's less desirable ear piercing ranges. Above 8khz, the treble comes back alive with plenty of energy and shimmer without bordering on unnatural hotness and tizz. Those problems only arise with hot, bright recordings, easily fixed with going a step into the warm tuning pad solutions which will reduce sibilance or eliminate it altogether.

Like the midrange, the treble's balancing is reliant on source, and can be relatively neutral, bright, or slightly warm depending on quality of gear, and audio files. You can easily make the Ether C a highly detailed monster, ruthless on exposing flaws, or with warmer solutions (even without tuning pads), it can become softer, more forgiving, while remaining very detailed up top.

On the warmest tuning pad setup, the treble is subdued considerably, giving the Ether C an unmistakably dark tonal character, akin to something like the Audeze LCD2, Sennheiser HD650, or the original MrSpeakers planar, the Mad Dog. Rich and meaty, while remaining detailed, but considerably smoother, more forgiving, and easier to listen to for longer periods of time. Think of it less as a veil or smothering of upper frequencies, and more as a considerable volume reduction. Definition isn't as sharp, and the sense of air and space between notes are reduced, though soundstage size is still within the same perception of distance.

Due to the high variation the tuning pads bring, the Ether C's ability to cater to a wide audience isn't to be dismissed as a gimmick. The treble range is one of the biggest factors in audiophile preferences, giving the Ether C a clear advantage over the competition due to its versatilty to change the treble signature at will.

Imaging and Soundstage

This is where the Ether C's most potent magic lies. I can't say this enough: the Ether C's imaging is nothing short of pure, unadulterated, brilliance. Never, EVER have I heard a headphone portray sounds, objects, voices, instruments in a virtual space quite like the Ether C's presentation of sound. Needless to say, don't expect witchcraft, but more often than not, you can expect a deep, wide, and tall sense of positional layering only aided by the fantastically vast soundstage that can reach far outside the listening position under the best circumstances.

I have been tricked more times by the Ether C than by any other headphone into thinking my humble Pioneer soundbar was turned on as I listened to music, played games, or simply watched TV shows and movies. I've had to double check that certain noises weren't coming from outside my window.

Due to the Ether C's fantastic imaging, it goes a step above and beyond standard headphone audio limits, that will leave a long lasting impression. This is all coming from a closed-back headphone, mind you. The soundstage is black, quiet, and big, which allows the Ether C to paint a well defined image of whatever you're listening to, without any sonic obstruction.

Imaging and Soundstage with tuning pads: The warmer your tuning pad setup, the more limited the Ether's C's imaging and soundstage become. The reduction in treble due to the extra warmth/smoothing lead to the perception of a reduced soundstage, though it remains relatively unaffected in size. Less air, less definition of objects, and less open space between them has a congestion effect in comparison to no tuning pads installed. That being said, soundstage is still large and impressive, just not as immediately impressive.

If you have a high priority for soundstaging and imaging, I recommend you stick to no tuning pads, or the first warm pad setting. The second warmest, and the warmest setups have more intimate sonic traits which make the soundstage and imaging lose a bit of their initial magic, though still remain excellent for a closed headphone.

For us gamers, regardless of tuning pad setup, many of us rely on virtual surround DSPs for our imaging and soundstaging, which remain excellent regardless of tuning pads. It's just made better when using no tuning pads, at the expensive of that immersive warmth and fullness. Give and take. The Ether C gives you options. Pick your poison.

Clarity

The Ether C's neutrality and immense detail clarity should come as no surprise at this point. Despite a drop off in the lower treble (with a rise back up), the Ether C's clarity is absolutely top notch. Subtle nuances from the lowest frequencies to the highest are picked up by the Ether C with relative ease. The sharp imaging, air, and sparkle all enhance clarity to endgame level. Deep, textured bass, linear midrange, and sharp, defined treble lead to a clarity driven headphone, without the additional harshness associated with many headphones belonging to that type of sound signature characteristic.

Adding tuning pads reduce clarity the warmer you go, in favor of musicality, less fatigue, and intimacy. Definition/sharpness becomes softer in general, so if you're into digging into the smallest details, I recommend sticking to no pads, or just the second most neutral tuning pad solution.

Sound Signature

Tonality: I'm sure by now I've mentioned the signature of the Ether C various times. Linear, well balanced, and mostly neutral with deep extension both down low and up top. Tuning pads lead to a definitive change towards warm/dark, with the warmest setup leading to a big bold, fatigue-free sound.

Bass: Sub bass depth and extension is the name of Ether C's bass game. Expect plenty of ambience and atmosphere from the Ether C without the mid bass boominess. Mid bass is controlled and linear which doesn't bring attention to itself unless called for. Bass can become bigger and fuller, the warmer you go with the tuning pads. Despite the extra warmth, it still maintains a separation from the general midrange, and does not ever become obtrusive.

Midrange: Well balanced, neutral tone, malleable and dependent on recording. Takes on whatever character is needed of it. Adding tuning pads give the midrange a warm, more organic tonality, at the expense of some clarity and definition.

Treble: Neutral to detailed, only harsh if recording isn't top notch. Dark valley at 7-8khz, but bright upper range. Sharp, sparkly, and airy. Tuning pads have a huge impact on treble's tonality and emphasis. Definitive dark signature, with zero sibilance, soft, smooth high notes. Like the midrange, less definition and clarity the warmer your tuning pad setup. The treble has the biggest variation when using tuning pads.

Soundstage: Large, expansive, deep, and incredibly impressive. Warmer tuning pad setups lead to less virtual space, though still large and impressive under the right circumstances.

Gaming

Fantastic clarity, details, air, soundstage, and imaging are all huge benefits to the serious gamer. Every blade of grass, whip crack, gun shot, footstep is picked up by the Ether C. For player vs player types, I suggest no tuning pads, or the second most neutral pad setup. On the immersion side, the depth of the bass fills out the battlefield ambience well, especially on warmer tuning setups. Speaking of tuning pads, while clarity and definition of objects and sounds are reduced a bit, it still remains very detailed, and a lot more enjoyable to play with if you're not gaming competitively. Sounds like the thunderous rumble of explosions, or heavy hum of a deep space frigate are beyond well represented.

As far as positional cues go, the Ether C paired with a virtual surround device like the Creative X7 is a match made in heaven. With no tuning pads, the already exceptional soundstage and magical imaging is enhanced by a very convincing sense of 360 degree space. No enemy will be creeping up behind you while you're wearing the Ether C. The big soundstage makes the sharply defined positional cues incredibly easy to locate.

As for virtual surround with tuning pads, the reduction of imaging quality and perception of soundstage isn't as drastic as when using the Ether C in a typical stereo situation. Positional cues are just as easy to locate in a 360 degree space, despite having less space to breathe in compared to having no tuning pads installed. Its fantastic immersion and great positional cues make casual gaming a highlight of my day.

It is among my absolute favorite headphones regardless of whether I'm looking for a very detailed killing machine, or if I want to sit back and enjoy the heavy action on screen. All bases are covered.

Personal Recommendations

Everything. No, really. The Ether C works well with absolutely everything I can throw at it. You want to focus on micro details? Take off the tuning pads, and go with the cleanest, most detailed variation of the Ether C sound. You want something bigger, bolder, with more forward presence? Add in the warmest pads and jam away. You want something in between? Instead of the white foams, just add in one or both of the black tuning foams to get very close to non-foam detail and clarity, with extra body and fullness of the warmer white foam tuning.

There is nothing I can think of that the Ether C can't do. It's that simple.

Final Impressions

Is the Ether C is for everyone? If price isn't considered, yes. I'd say the Ether C is absolutely for everyone.

You want detail monster? You have it. You want an intimate musical experience? You have it. You want a competitive gaming beast? You have it. You want a casual, fatigue free, enjoyable thrill ride? You have it. All while providing great noise isolation.

It may just be one headphone, but it may as well be three or four. It is able to do so many things, while making so many other headphones obsolete. This may as well be the only closed headphone you will ever need at home for all purposes, ever.

If you're looking to make the final step in your audio journey, and are looking for a top of the line, noise isolating headphone, stepping towards the Ether C makes all the sense in the world. I simply see no need to look further. It is that good. Don't pass up on the Ether C.

Likes, Dislikes, Unfiltered Final Thoughts

Pros:
  • Design/Build/Aesthetic
  • Deep, textured Bass
  • Well balanced, transparent midrange
  • Clear treble without over emphasis
  • Clarity throughout
  • Detail throughout
  • Stellar Imaging
  • Soundstage
  • Isolation/Leakage control
  • Tuning kit for extra warmth, less sibilance/harshness
  • Comfort
  • Sonic versatility (with or without tuning kit)

Cons:
  • Needs a bit more clearance for big heads
  • Hints of sibilance without tuning kit
  • Tuning pad negatives (reduced hyper detail, reduced imaging and soundstage properties, congestion on the warmest tuning with warm recordings)

Unfiltered Final Thoughts:

The Ether C reminds me of a super Alpha Dog with options. I wasn't able to try the Alpha Prime, but the Alpha Dog left an everlasting positive impression, as the best, well balanced, closed headphone I had ever heard at that point. I'm gushing about the Ether C harder than I ever gushed about the Alpha Dog with reason. If you ever heard the Alpha Dog but wanted less of the harshness up top, with an even bigger sense of space, and considerably more refinement, the Ether C would be right up your alley.

The Ether C falls under 'unobtanium' for my finances, but if I was in the market for a closed headphone at this price range, I honestly wouldn't even consider anything else. The Ether C will leave a mark on me for as long as my memory holds out. It was love at first listen, no doubts, no hesitation. The Ether C speaks for itself. It is undeniably special, and I'm sure many of you will agree.


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MrSpeakers Mad Dog v.3.2

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Sells for $300 (w/alpha pads and comfort strap) (MrSpeakers website)

Before I begin, I want to thank MrSpeakers and MattTCG for the loaners! Matt sent me the first MD I reviewed, and Dan (MrSpeakers himself) sent me the 3.2 version (May 2013 re-tuning). The MrSpeakers Mad Dog. A fully modified Fostex T50RP making a huge scene on Head-fi for it's sound quality, price, and comfort. The T50RP is a budget friendly, planar magnetic headphone well known for being extremely mod-friendly. The LFF Paradox and Smeggy Thunderpants are well known modded T50RPs that preceded the Mad Dog. However, the Mad Dog is the first to hit a price point that warranted the attention of the masses, and with good reason.

Build Quality:

The Mad Dog isn't cosmetically modified like the Thunderpants, so it is basically a T50RP on the outside, with the exception of a pad swap, an optional comfort strap, and MrSpeakers vinyl stickers on the ear cups. The ear cups are made of some pretty durable plastic. Not the most aesthetically pleasing ear cups, and a bit unassuming, but it has a retro-ish charm to them. The headband is made of a very pliable material that looks extremely durable. Lacks padding underneath, but the optional comfort strap more than makes up for it. Headband discomfort is the last thing you would ever think of when wearing the Mad Dog with the comfort strap. It's that comfortable on the head.

The extension bars are made of a brass/copper metal, and is the strongest part of the headphone. It's of a very, very generous length, which should fit comfortably even on watermelon-sized noggins. I'm a huge fan of headphones that allow that much freedom in terms of head-size. More companies need to follow suit. The two cables supplied are both quite good. The main 10ft cable is of decent thickness terminating in a 1/4" (6.3mm) plug. The shorter 6ft cable is undoubtedly one of the V-moda's 3.5mm to 3.5mm cables with one side ending in a 45 degree angle. Covered in cloth and being a bit more flexible due to it's thinness next to the bigger cable. Both seem very durable, and shouldn't be problematic with normal use. Dan chose well with his cables.

The Mad Dog comes with various pads. Each with their own distinct sound signature and comfort. The Mad Dog being reviewed here came with the Alpha pads, which are the newest, most linear, and most comfortable of the bunch. The Alpha pads are leather, angled, and very soft. While you all probably know how much I don't care for leather pads overall, I have to give credit where credit is due: these pads are VERY comfortable on the head, heat trapping issues aside.

Comfort:

As mentioned, the Mad Dog w/alpha pads and comfort strap is a very, very comfortable headphone overall. It's lightweight, would fit on any head, isn't oversized (*cough*LCD2*cough*), and doesn't clamp tightly (clamp can be adjusted by bending the headband, which extremely easy to do). The Mad Dogs I used for this review has some moderate clamp which I didn't wanna mess with, as I feel it's a good middle ground for comfort and sound quality.

Accessories:

The Mad Dogs come with: headphone, short cable, long cable, and a very nice velvet carrying pouch. That's all you need. I personally don't care for unnecessary accessories which add to the price, and Dan kept it simple, which I'm quite happy with.

Isolation/Leakage:

It's been awhile since I've heard a headphone that seals/isolates as well as the Mad Dog. It's incredibly silent in terms of leaking noise to the outside world, and it does a very good job of keeping external noise from coming in. Very, very good passive noise cancelling. If you need a headphone in the most noise polluted environments or need a headphone that won't ever bother others, the Mad Dog is a very, very safe bet.

Sound:

On to the sound. I did my homework on the Mad Dogs on more than one occasion, to the point of being one click away from ordering them prior to receiving these loaners. Basically glowing reviews all around, stating that they came very close to sounding like a closed LCD2, even down to having an incredibly similar frequency response. And all for a fraction of a price. Who wouldn't be interested in trying these out after all that's been written out there? So did the Mad Dog live to the extreme hype out there? Mostly, yes. Do they sound like a closed LCD2? Sort of. They do share similarities, but the Mad Dog is certainly not a closed back LCD2. The Mad Dog is a very balanced headphone, although being decidely on the dark side of neutral. Darker than the LCD2.

The LCD2 is still more neutral sounding, more spacious, more dimensional, and more refined. However, the Mad Dog has it's own personality and character, and I admire it's own strengths. The first pair I received on loan were from another head-fier (again, thank you, MattTCG), and didn't fit me quite so properly. I feel that my original review was premature, as I couldn't get it to sit perfectly on my head, possibly making it lose some fidelity. The latest Mad Dog (3.2) came fresh from MrSpeakers, and fit me like a glove. Also, most of my complaints with the original pair reviewed were quickly dismissed. The Mad Dog (3.2) was almost everything I hoped for them to be.

Bass:

The Mad Dog has a very balanced, very slightly romanticized bass. It sounds very well textured, and unlike the first pair, immediately engaging. In comparison to the LCD2, the bass did have a similar feel, impact, and presence. The LCD2's bass is still more refined and textured, but the Mad Dog's bass (being in a closed back design), resonated a little more, giving them a longer, and (IMHO) more enjoyable decay. Unlike the original pair I reviewed, the bass on the Mad Dogs not only sounds organic and correct, but has an amazing sense of body, emotion, and presence without ever becoming overwhelming. It's an AMAZINGLY balanced, and full bodied bass, that just fits right in with the rest of the sound. In the original pair, I felt the bass to be the most disappointing aspect of sound in the MD. With the MD 3.2, the bass has quickly become my FAVORITE aspect of it's sound. The bass on the Mad Dogs add a great layer of immersion. It's the near perfect blend of fullness and balance which translates incredibly well for movies and fun games in particular.

Mids:

Originally the biggest area of strength in the Mad Dogs, the 3.2 pushes the mids back slightly. The mids sound rich, warm, organic, and intimate, but aren't as forward as the previous version reviewed. They never come off as shouty or fatiguing, nor do they sound distant or lost in the mix. Most vocals come off quite naturally. They aren't 'special' in the sense that they aren't as immediately engaging as the LCD2's or HD650's mids, but they are still quite good and even great at times. It's biggest weakness is in the extreme upper mids to lower treble where some 'S' sound come off a little artificial and sizzly.

Treble:

The treble will be either love/hate for everyone. The Mad Dog is a bit dark, making the treble quite non-fatiguing, but not the clearest I've heard. Due to the closed nature of the Mad Dog, the treble is hampered by it's lack of air. I personally don't mind the treble presentation of the Mad Dog at all. I feel they have enough presence to be considered natural, but I can see it being a concern for those who prefer a bit more sparkle/clarity. The treble is a hint more clearer in the 3.2 than the previous version reviewed, so the Mad Dog doesn't sound as closed and congested as before.

Soundstage:

This is an area I can't seem to agree with quite a few people in on the main Mad Dog thread. Personally, I feel the Mad Dog lacks quite a bit in air overall, and it's size is decent at best for a closed headphone. That's the nature of closed headphones. Very few exceptions (i.e. D7000, DT770 Pro 80), and the Mad Dog is somewhere in the middle. It sounds decidedly closed in comparison to the more recent open headphones I've compared them to, including the LCD2 which isn't exactly the most open sounding headphone itself. The 3.2 does breathe just a hint more than the previous version reviewed. Another change is in it's depth. I previously didn't think it had a very good sense of depth. I don't know how, but the soundstage depth is one of the areas that noticeably improved for me. The Mad Dog isn't AMAZING in it's width, however, it's depth is pretty good.

Positioning:

I'm not going to lie when I say that as enthusiastic as I was about the Mad Dog, none of that enthusiasm was for it's potential to be good for gaming. Prior to hearing the Mad Dog, I expected it to not be amazing for gaming. I expected something like the M50 in that it would make a much better headphone for music and stereo gaming than virtual surround/Dolby Headphone gaming. The Mad Dog (3.2) actually does quite well for gaming for a closed headphone. The depth of the Mad Dog's soundstage helped it's positional accuracy. Despite it's closed back characteristics, the Mad Dogs do good for competitive gaming, and are EXCEPTIONAL for non-competitive gaming. Positional cues were good overall. The depth of the placement was pretty impressive which aided in pinpointing sounds quite a bit better in comparison to the more closed sounding headphones (i.e. Audio Technica M50).

Clarity:

The clarity for gaming is actually quite excellent. The Mad Dog benefits greatly from it's linear frequency response. Bass never creeps up and masks details, so all manner of sounds are heard quite easily. Clarity is a strength for the Mad Dogs, despite it's darker than neutral tonality. It shares this with both the LCD2 and HD650: Dark, but still plenty clear.

Amping:

Although I no longer have the Mixamp to truly test whether the Mad Dog needs additional amping for gaming purposes, I believe it does, as it requires more off my Marantz receiver and Compass 2 than the LCD2. It also gained a better sense of space and separation off my Compass 2 than off my Marantz alone. Ultimately, you will wanna invest in a good amp to bring out the Mad Dog's potential, though they are enjoyable with lesser equipment.

Value:

At $300, The Mad Dog represents an AMAZING value. It is easily my favorite closed headphone outside of the elusive Denon D7000. They are truly a great pair of music, movie and immersive gaming headphones. At $300, the Mad Dogs deliver an exceptional sound. Although I certainly don't put it in the same class as the LCD2 (which people loved to compare it to), I would say that it is clearly the best CLOSED alternative. That alone makes them quite a necessity for those who want planar goodness in a closed back design. It is a stellar performer for it's price, and I'm not usually a fan of closed headphones. For their low price of admission, these are truly a master of the price to performance ratio.

Final Impressions:

Not much else to say. The Mad Dog is a true wonder of the modding community. Transforming a $100 headphone into a $300 headphone that competes incredibly well in it's price range, despite it's closed back design. I have mentioned this already: If you need a closed headphone that isolates well...look no further. The Mad Dog is more than likely what you want. Well balanced (though on the dark side), very organic/natural with full, immersive bass, very good mids, and good treble (with a few rough edges). The total package is very, very impressive. One of the very best 'fun' gaming and movie headphones, and one of my personal faves for my heavy music genres like Trap, D&B, Trip Hop, and Chillstep.
Natural, full-bodied bass that greatly enhances immersion in games and movies. One of my absolute favorites for fun despite it not being heavily colored, nor it having the biggest soundstage.
Clear and balanced sound, Good depth for a closed headphone aids in positional cues, despite the Mad Dog not being among the best in soundstage size or width for gaming.
The Mad Dog is the most comfortable leather padded closed headphone I've heard outside of the post-stretched M50s. If leather isn't an issue for you, the Mad Dog should bring little to no discomfort.

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Shure SRH1540
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$500
Where To Buy: Amazon.com
My full review of the Shure SRH1540 can be found at Headphone.guru. Please stop by and check it out!
Lively bass, great immersive soundstage leads to a very fun headphone for games and movies.
Despite it's slightly distant midrange, the 1540 has a very good soundstage, and clear audio cues, making it very good even for competitive gaming.
It may take an adjustment period to get used to the downforce caused by the dual headband. Other than that minor issue at first, the 1540 is an incredibly comfortable headphone, especially for a closed-back headphone.
I highly doubt many people would be dissatisfied with the level of performance on the SRH1540. I'd classify it as a near total package. There simply aren't that many headphones that resonate with me as well as the SRH1540.

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Shure SRH1840

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SRH1840 at Shure.com
MSRP $499.99
Where To Buy: Amazon

Before I begin, I'd like to personally give huge thanks to Change is Good for sending me the SRH1840 for review. He also was kind enough to send me the Schiit Asgard 2 and SRH1540 ear pads!

The SRH1840. Ever since the first images of the 1840 surfaced online, I became very interested in it, as it looked like a higher end HD650 made by another company. The HD650 is one of my personal favorites aesthetically, and for that reason alone, the 1840 was on my sights (shame on me). I hadn't personally heard any Shure headphone prior to the 1840, but the fully open design and it being Shure's flagship circumaural headphone intrigued me. I had absolutely no idea on what type of sound Shure is known for. All I knew was that the 1840 was aimed at neutrality. A neutral-oriented, completely open headphone with velour pads? Sounded like something I'd completely go for in terms of competitive gaming and long-term comfort. How did it fare? Did it meet the expectations of it being comfy, detailed, and open, with competitive gaming prowess?

Note: Unless I specifically state as such, this review is made with the 1840 and it's stock velour pads in mind. In some instances, I may make some impressions of the 1840 with the SRH1540 Alcantara pads, which Change is Good generously supplied. I will specifically mention when the 1540 pads are used. The 1540 pads are sold separately.

Build Quality:
Rating: Great

I distinctly remember reading online, someone stating that the 1840's build quality wasn't as impressive as it looked. I feel that the 1840 is well built, considering how little there is in the way of external design. The headband is essentially split into two thin headbands covered in leather (unsure whether it's genuine or synthetic). This is about the only real area on the 1840 I wish would've been different, as it just makes sense to have one single headband pressing down to the scalp, not two. The 1840 leaves two VERY distinct red indentations on my head after extended periods of use. Unsure whether it's just my aversion to faux leather on my skin (I tend to keep my hair extremely short), or if it's the downward force of the dual headband that is causing those marks. It's not uncomfortable by any means, but it is worth noting.

The aluminum, gunmetal-toned, extension arms feel very solid, which I don't foresee ever, ever breaking or bending without some truly powerful force put behind it. There are no clicks, or grooves for size adjustments. The 1840 resizes in a very smooth manner, which may be a problem for those who like to perfectly match left and right sides. The arms hold the ovally shaped plastic cups, which may be a contrast to the strong aluminum, but doesn't look out of place in the general design of the 1840. The plastic doesn't feel cheap or fragile, and I'm happy to find that they aren't covered in fingerprint-prone gloss. Just a non-descript matte black which lends itself well to the 1840's no nonsense styling. The cups swivel vertically, but not horizontally, which may be a problem for oddly shaped heads, though I don't have any personal issues with it.

The outer cup's grills are a thing of absolute beauty. Reminiscent to the grills of the Sennheiser HD650, this grill design is among my absolute favorite designs for open-backed headphones. There is no branding, logos, etc., giving owners a glimpse at the 1840's exposed internals. I'm a sucker for naked drivers, and the 1840 does not disappoint. This may be the only area on the 1840 that truly stands out aesthetically, among the otherwise safe and inoffensive design. The 1840's oval pads are made of incredibly comfortable, soft, and airy velour, which are also easily removable for cleaning/replacement. I don't see how these pads can't fit over everyone's ears properly. Among the best pads I have ever used.

The 1840's cups house Shure's proprietary connection. Admittedly, I'm not a fan of this type of input and would've preferred standard 3.5mm or mini-XLR inputs. The dual ended cable is pretty standard fare. Not overly thin nor thick, neither too short nor too long, it gets the job done. Non-grippy and doesn't seem prone to tangling. On the source end, it terminates into a gold-plated, straight 3.5mm plug with a screw on 6.3mm adapter. The barrel is thick (Shure branded), with a great amount of strain relief. I can understand why people would upgrade the cable to something a little more luxurious, though I don't have any specific issue with it. It's just a decent, utilitarian cable.

After all is said and done, the Shure 1840's build quality is pretty top-notch, though a bit less luxurious than the price would suggest. It's just well built and non-descript.

Accessories:

The 1840 comes with the bare essentials and then some.
  • Hard Case. You can never, ever go wrong with an included hard case.
  • Extra velour pads. Among the best pads on any headphone, and you get an extra pair. Good on you, Shure.
  • Two sets of 6ft cables. Not sure why there is a need for two identical cables, but I guess you can just leave one cable at home, and the other elsewhere.
  • 6.3mm gold-plated adapter

Comfort:
Rating: Amazing.

Personally, I feel there isn't much out there that compares to the 1840's comfort. It is relatively lightweight, clamps just enough without being too loose or tight, and the oval cups allow the 1840 to be worn while laying down. The velour pads allow plenty of air to keep your ears cool, with plenty of diameter to fit any sized ears. The pads may be among THE best pads I have ever felt, bested by only a handful of pads, one being Shure's own SRH1540 Alcantara pads, which are ever so slightly even more pleasing on the ears, though don't keep the ears as cool. The only real downsides in terms of comfort is the dual headband design (leaves two noticeable red indentations on my head) and the lack of horizontal swivel, which may be an issue to some. The 1840 is a headphone I could easily live with as a main gaming headphone, since I can wear it all day, and feel no real discomfort.

Design Issues:

As mentioned before, the split headband design is unneccessary, and would've been more comfortable as a single headband design. Not sure if Shure did it for weight or aesthetic reasons. The only other real design issue I see is the lack of horizontal swivel on the cups, as it limits freedom of movement to adjust for oddly shaped heads.

Isolation/Leakage:

As a completely open headphone, you seriously can't expect much if any isolation from the 1840. Not that it needs to be said, but anyone in your general vicinity will hear what you're listening to. In short, if you need noise control, don't use the 1840 or any other fully open-backed headphone. It isn't terribly noisy, but the noise leak is loud enough to be an issue if you need to keep quiet.

Sound:
Rating: Very Good.

The SRH1840 at first listen comes off as a neutral (if just slightly cold up top), open, crisp, detailed headphone, with fantastic and natural soundstage. It has all the makings of a great, analytically oriented, open headphone, and I'm happy to report that it is, for the most part. If you don't pay attention to it's price, you can appreciate the sound quality, despite some shortcomings.


With SRH1540 pads:
Rating: Decent.

The 1840 with 1540 pads takes on a completely different character. It becomes v-shaped with strong bass, recessed mids, and similar (not identical), energetic treble to the stock pads.

Bass
Rating: Decent

This is without question the weakest area of the 1840's sound in both quantity and quality. The bass overall is *just* south of neutral, giving way to the 1840's stellar mids, and crisp treble. Fortunately, the 1840 is not without warmth in the bass. It reminds me of the old K701's bass in that it does have some warmth and body behind it, though it ultimately falls slightly behind the rest of the spectrum. It noticeably rolls off in the sub bass, so don't expect some impact in the lowest depths. The bass keeps a good sense of speed and decay, being just a tad too quick to decay for my own preference. It is well textured, though in it's good texturing, the distortions can become noticeable. Though it can be categorized as bass light and on the lean side, there are instances where the bass hits with some good punch, and the tone in the bass keeps the 1840 sounding relatively well balanced and neutral. As briefly mentioned before, the problem with the 1840's bass is the somewhat audible distortion. It's not a clearly noticeable problem, and many people may not even notice, but it is there, and depending on your listening volume and sources, you just may hear it easily enough. Overall, I don't find it to be a glaring issue, but one that doesn't befit the 1840's price and status as Shure's current flagship open-backed headphone.

With SRH1540 pads:
Rating: Decent

It is a different beast. No longer is the 1840 bass light, now transformed into quite a bass heavy behemoth. Plenty of bass body that surprisingly reaches quite low and deep for an open headphone, with substantial impact. It is truly a wonder how a fully open headphone like the 1840 retains a lot of bass energy just with a change of pads. The pad swap to the 1540 pads effectively allow the drivers to work considerably less to provide a more than satisfactory amount of bass. The bass is noticeably slower than the stock pad's bass. The 1540 pad's bass is long of note and decay. It has a very euphonic amount of decay which lingers in a manner which makes it seem like it wants to make a statement. Yes, the bass is potent, and can be considered basshead friendly. Quite possibly more potent than the X1 or DT990's bass which are the only two open fully dynamic headphones I have heard with truly potent bass. It is truly and undeniably powerful. It can most definitely stand to be more controlled, but it is by no means a messy bass. Just very prominent.

Mids:
Rating: Great

This is the greatest strength in the 1840, being neutral, well presented and balanced, with clear definition and sharpness. Vocals sound proper, focused, and lively without being too forward, or too distant. There is some articial forwardness in the upper mids which may cause some fatigue at louder volumes. The mids aren't thick of note, nor too thin. It's pretty accurate sounding to my ears overall, if just a little on the cold side. Not cold as in dry or lifeless, but things like vocals come off ever so slightly less organic rather than perfectly natural.

With SRH1540 pads:
Rating: Decent

This is where the drawbacks of the pad swap manifest. The mids take a very noticeable step back. The bass isn't to blame, as even in bass light recordings, the mids are noticeably pushed back and bit stuffy at times. This is easily the biggest tradeoff when changing from the stock pads to the SRH1540 pads, and if you bear major importance on mids, you will not be pleased by the difference. It isn't overly offensive, but it is a definite step down from the fantastic mids of the stock pads. It sounds a bit low-fi comparison to it's bass and treble. The mids are no longer well defined, and now sound a bit diffused and a bit mashed in with the background.

As an example: At times, some 'S' sounds may sound like 'TH' or even 'F'. Something like "Set me free" may sound like "Thet me free".

So all in all, you gain a LOT of bass energy, and lose mid clarity. This will undoubtedly convert the 1840 into a lower end headphone, but one that may much more appreciated for bass heavy genres, especially songs that don't rely on vocals.

Treble:
Rating: Great

An abundant amount of sparkle and clarity, without it being overwhelming or artificial sounding. The treble further aids the soundstage, particularly in gaming. The treble can at times sound a bit bright, especially at louder volumes. For this reason, along with it not being to handle loud volumes as well as I'd hope, I feel the 1840 works best at a moderate volumes or less. The louder you get, the brighter and less natural sounding the treble will get.

With SRH1540 pads:
Rating: Very Good

I don't hear a massive change between the stock pads and the 1540 pads in terms of it's treble. There is still a clean sharpness. Less zing overall up top, but still lively. Due to the added warmth and body of the bass, the 1840 with the 1540 pads doesn't sound as bright and is less fatiguing at louder volumes in comparison. Due to the much stronger level of bass, and recessed mids, the treble doesn't aid the sense of space in the same manner as it did with the stock pads.

Clarity:
Rating: Fantastic.

As usual for every neutrally balanced, slightly bass shy headphones I have reviewed, clarity is abundant. It's detailed to a fault, as it can easily pick apart bad recordings. It's not as ruthless as the Alpha Dogs, and can shave off some upper end harshness, but overall, this is not a headphone to use for less than stellar recordings. On the gaming side, the 1840 can venture on god-mode inducing, aural wall-hacking. It's not necessary to spend this much money for an amazingly clear headphone for gaming purposes (AKG K70x series has you covered on the cheaper front), though it is here, if you're interested in the 1840.

With SRH1540 pads:
Rating: Very Decent

The bass sounds quite dominating, and the treble still shines and sparkles, with less aggression. That leaves just the mids, which sadly drop off considerably, lessening clarity by a noticeable amount. If you want clarity, leave the 1840 with it's stock velour pads, as intended. It's decent overall, but clearly on a lower level from the 1840's inherent clarity.

Soundstage:
Rating: Fantastic.

The soundstage on the 1840 is airy, spacious, and plentiful. It is among the most natural-sounding soundstages I've heard, with a natural size, neither being too contricted nor overly wide/deep. While there may be headphones that reach out further to the sides, they may be lacking in depth, so the soundstage may sound inconsistent. This is not an issue with the 1840. Just naturally spaced to my ears.

With SRH1540 pads:
Rating: Good.

While the soundstage is reduced by a fair amount with the 1540 pads, it is still relatively open and spacious. Definitely spacious enough for some solid gaming. It could stand to be deeper, but that's my only complaint. With a huge bass boost, a tradeoff of soundstage was to be expected. Bass driven headphones tend to suffer a bit in terms of soundstage size. Not a golden rule, but one that applies more often than not.

Positioning:
Rating: Amazing.

As expected of an open headphone with a fantastic soundstage, the positional cues are easily top tier. Very easy to locate in the virtual space, regardless of direction, with amazing clarity, and no bass bleed intruding on the mids. If you happen to own the 1840, there really isn't any need to own another headphone for competitive gaming purposes. It is that good. Many times did I feel like I was verging on god-mode level type sound-whoring.

With SRH1540 pads:
Rating: Good.

The reduction in soundstage as well as hazy mids make it a little harder to pinpoint sounds compared to the stock pads. However, the 1840 remains fairly competent for all forms of gaming, with the added bonus of being even more immersive and fun. Chances are, if you're going to play competitively, you're gonna want to stick to the stock pads. That being said, competitive gaming with the 1540 pads isn't an impossible task, as I was still able to perform very well in my tests, and didn't have as hard a time locating sounds as I was expecting with the mid recession and strong bass presence. It was clearly not as easy a task as it was when gaming with the stock pads, but overall, I didn't find much wrong with it.

Amping:
Necessary

I found it to require some moderate amping, both for game chat boosting purposes, and in order to aid it's less than organic tone. For gaming, I found the Mixamp to lack enough juice to power both the 1840 and game chat at a moderate volume. You will definitely want more than just a portable amp for the 1840. To further aid the sound quality, I would heavily advise on connecting it to a desktop amp that is known to sound darker/warmer than neutral. This will better offset the deficiences and mitigate some of the slight coldness up top. I wouldn't use either Schiit Magni, or Objective O2 for the 1840. Perhaps a warm tube amp would suit it best. Without the need of voice chat, I felt the 1840 to do well with the Mixamp alone, though chances are, if you're thinking of the 1840, you'll most likely want to invest on a good desktop amp to bring them up to their potential.

Personal Recommendation?:

    • Movies, Music, In General? No
    • Gaming? Yes
I know this may sound as a surprise, considering how high it has scored overall, but as it stands, I feel the SRH1840 is a bit overpriced at $500. At it's original MSRP of $875, I would've considered it to be an absolute rip off. $350 sounds more along the lines of what I think would be a good price for it when you add up all it's strengths. If you happen to already own the 1840, you're basically set with a competitive gaming beast. However, seeing as I feel they really only do exceedingly well for competitive gaming, and detail analyzing, there are cheaper headphones that also do well in this regard for a fraction of the price. For other forms of media, I feel it's just a tad bit too cold and analytical to truly evoke much excitement. It's not completely lacking in musicality, but it isn't exactly what I'd describe as musical. Definitely more technical than musical. In stock form, it's current price puts it dangerously close to some truly wonderful headphones without it's shortcomings, which is why I can't give my personal recommendation as far as a headphone I'd use for all purposes.

With SRH1540 pads:

    • Movies, Music, In General? Maybe
    • Gaming? Yes
The 1540 pad swap makes it considerably more fun at the expense of clarity and mids in general. While the 1840 with the 1540 pads isn't anything special, it's still decent enough for general use, except where clarity (especially in the mids) is important. If you own/plan on owning the 1840, the 1540 pads makes it an enjoyable headphone for non-competitive gaming and media not reliant on mids. Not going to blow anyone's mind (except in terms of how potent the bass is even on an open headphone), but all it takes is a simple pad swap, not a whole other headphone.

Final Impressions:

I'm a bit torn with the 1840. Had it been priced at around $350, I think it would have held it's ground very well for those looking for an crisp and clear headphone. As stated earlier, I feel it's a bit overpriced, despite it's strengths. The bass needs some work in both reducing distortion and meeting the rest of the spectrum to aim true neutrality. I feel it could also use a tad more warmth in terms of balance, to my ears. It is still fairly competent, with MANY virtues (excellent clarity, mids, soundstage, comfort), which may tip some towards purchasing it. The 1840 is a solid headphone, especially for competitive gaming, though a bit overpriced due to it's bass needing some refinement.

With the SRH1540 pads:

If you already own a good headphone you find fun and immersive, the 1840 equipped with 1540 pads probably won't outperform them in any real capacity other than bass quantity (not quality) and comfort. If you don't happen to own one, forking over the small amount of funds necessary for the 1540 pads will essentially give you a whole new, decent, bass driven headphone. I feel it's worth the small investment, considering the not so subtle change in sonic characteristics that more or less compliment the stock 1840's detail oriented sound.
While it doesn't exactly excite me for music in any real manner, the added warmth of Dolby headphone lended itself well to the 1840, allowing the 1840 to sound a bit more engaging. As far as other open headphones like the Q701 and MA900, they definitely outperform the 1840 as far as fun gaming goes, with a stronger impact in bass which aids immersion.
Plenty of bass and immersion, at the expense of some clarity mainly in the mids. The 1540 pads reduce the soundstage a bit, though not enough to completely hamper the 1840's ability to throw a decent soundstage for non-competitive gaming.
Get ready for lots of god mode level sound-whoring without the harshness of headphones like the AD700, or plastic tonality of the older K701.
The big bass, and hazy mids hurt the 1840's competitive gaming prowess, though it isn't a complete loss, as it still does decently in this regard. If you're focused on competitive gaming, stickthe stock 1840 pads.
Easily amongst the best in comfort. Excellent weight, and amazing velour pads that breathe easy, aren't too soft, or too firm. It's lack of horizontal swivel may be an issue to some, and the split headband may cause double the downforce on your head, though I'm willing to bet not many will have an issue with comfort whatsoever. As for the 1540 pads, they are even more comfortable than the stock velour pads, though they trap heat a bit more.
*IF* I exclude the price, I feel the 1840 is an excellent headphone overall for gaming in particular. It will undoubtedly come off as polarizing to some however. As it stands, I consider it a poor value price-wise, though if you buy the 1540 pads, you can think of it as owning two complimentary headphones for the price of one, with one being considerably more refined than the other.

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Sennheiser HD650

Sells for $350-$500
Oh, one of the most beloved and well known headphones in the audiophile community. These were my 'dream' headphone since the beginning of my audiophile journey. One I never thought I'd ever buy back then. It's also one of the few headphones that after I learned what sonic quality I wanted in a headphone, didn't think I would personally like. If I had bought them months or years ago, I'm not sure I would've liked them. I tend to prefer a bright, aggressive, bass and treble-centric headphone. The HD650 is known to be the opposite. Dark/warm, relaxed, and smooth, with dulled treble response. You can see why I was very adamant about not ever giving these a chance.

It wasn't until recently that I wanted to venture out and look for something a little different from my normal preferences. An alternative that I'd use whenever I wanted to sit back, and enjoy a soothing sound, with forward mids/vocals that I could watch my TV shows, movies, anime with. Ironically, my secondary can is considerably more expensive than my main can (DT990s) at the time. Lol, Head-fi logic. Well, I went and took the plunge, hoping for the best, but expecting the worst. I thought I would hate them. Really. It was an experiment that would cost me, but one I needed to do at some point, as the HD650 was always that ONE headphone I was always curious about (more than any other).

So what happened? Did I like them? Hate them? To my surprise... I loved them for music, movies, TV, and anime, and liked but wasn't thrilled by them for gaming. Let's get into the sound.

Bass:

The lows. Well, this is surprising. They are actually pretty bassy. Not DT990 bassy, but they have a nice, full, bassy sound. I'd say it's between the DT880 and 990 in presence. It's a warm bass, with medium speed. Pretty much ideal for all-rounder headphones with good bass that would please those that like balance and a fun signature. The bass quantity is enjoyable for all crowds, unless you're a pure neutral-head or pure bass-head. I didn't find myself wanting more bass, though they do roll off in the sub-bass, which is typical of most dynamic headphones, something the HE-400 has no problems with.

If I could score the bass, it'd be; Quantity: 7.5, Quality: 8. Just really pleasing bass all around.

Mids:

This is the star of the show. And when I say star... I mean, it is absolutely one of the best interpretation of mids/vocals I have EVER heard on any headphone...EVER. I'm usually fine with mid recession as I tend to prefer bass and treble emphasis, but MAN... once I heard the HD650... it made me see mids in a whole new light. The vocals are so sweet, so upfront, so rich, so haunting! Based on mids alone, I recommend this headphone to ANYONE looking for a headphone that does vocals some amazing justice. The only other headphone that provides really sweet mids that I've heard is the Audio Technica ESW9, but the ESW9 is a closed on ear, with a considerably smaller soundstage, and overly smooth treble, and stuffy sound signature in comparison. The ESW9 is good, but not HD650 good.

The HD598 also has very forward mids, but I felt the lean bass, and thinner sound, made the mids sound unnaturally forward and shouty. The warmth and fullness of the HD650 basically destroyed any chance the HD598 had in a direct comparison. There was no competition. The HD650's mids demolish the HD598's in tone, realism, and richness. The HE400 is often compared to the HD650, and despite my preference for the HE400, the HD650 is clearly the king of mids here. The HE400 has great, INTEGRATED mids, that don't sound pushed back or forward with a realistic tone. That being said, the HD650's forward mids are special. The HD650 clearly wins here. As far as Q701 and HD650's mids, the HD650 wins again. The Q701 has forward mids, but they aren't nearly as full sounding, or as rich.

Long story shot, the mids are godly. If I had to score them: Quantity: 10, Quality: 10. That is perfection, because that's how I feel about the HD650's mids.

Treble:

Oh the treble. This is single-handedly the ONLY reason I have put off getting the HD650 for so long. If you read about the HD650, the treble will always be discussed and debated on. Are they too smooth, rolled off, undetailed... veiled? This is a debate that will never end on Head-fi. As a fan of treble sparkle and some emphasis, I was absolutely mortified about hearing what people said of the HD650's smooth, laid back, dull, treble.

So how did they sound to me? Surprisingly, I REALLY liked the treble! I didn't LOVE it. I still do prefer some more sparkle, but as the relaxing alternative to my typical treble emphasized headphones, I didn't find the treble overly smooth or dull on the HD650. Trust me, when your main can is the DT990 which is known for it's SUPER treble emphasis, and compare it directly to the much more reserved and rolled off treble of the HD650, you would tend to notice a huge difference. In all honestly, I really thought the treble on the HD650s was right where it should be for the type of headphone that the HD650 is. Without that treble, I think the HD650 wouldn't sound as rich and 'creamy' as they do. Would I use the HD650s as my ONLY headphone? To be frank, no. They performed well in absolutely everything except genres that desired an aggressive signature. Stuff like metal, and EDM just didn't have the energy on the HD650s. So no, they aren't the perfect all rounders. However, through some vocal dependent tracks, and stuff like movies, TV, and most non-music needs (even gaming), the HD650s are indeed in a very good place. Unfortunately, I tend to listen to EDM and metal more than anything, so the HD650 lost a few points.

To score the treble; Quality: 7, Quantity: 7. If the treble is boosted by a bit, these could be what I'd consider very natural to neutral with a slight emphasis towards bass. I think they'd be less rich overall though, so I personally wouldn't want to touch what makes the HD650 what they are.

Amping:

I have the HD650 paired up with the Audio-GD SA-31 which is much more powerful than pretty much any amp most of you use, or would use, so I'm not exactly sure how they'd sound with less power, but I personally felt that they aren't as hard to drive as people make them out to be. They need considerably less power than the DT990/600, and possibly even the DT990/250. I'd say they'd need about as much as the DT990/32 for at LEAST volume level. We know power =/= volume, but it helps. To be clear: they do not need a lot to be driven LOUDLY. I tested them with the Mixamp only, and they can be driven off it loud enough. I didn't test it enough to see how well they're actually driven, but they sounded good. They may be a little thinner sounding, which could actually be a good thing for gaming, as it makes pinpointing sounds a bit easier than the very rich, thick signature the HD650s have with the SA-31.

Okay, so how did they perform for gaming?

Soundstage:

I haven't gotten to the specifics of gaming with the HD650s yet, but I'll mention the soundstage first. With and without extra amping the Mixamp, I felt the HD650's soundstage to be medium sized. Not big, and not little. However, I didn't find them to be stellar in terms of depth, so the sense of space for gaming, wasn't as good as I would have hoped. I was always expecting the HD650 to not be the greatest pairing for Dolby Headphone, and my fears were slightly warranted. The front/back depth isn't great. Let's get that out of the way. The width is good, but not close to being the best. The DT990 destroys the HD650 in both depth and width. So how's the air within the soundstage? Well, the problem with the HD650, is that it's a very full sounding headphone. Thick, warm tone tends to make the soundstage seems less airy and smaller. This is one of those times where a thinner/leaner sounding headphone has the advantage, like the AD700/HD598/K701. The HD650 isn't STUFFY like say the ESW9, but that rich tonality doesn't help gamers.

Positioning:

Positioning and soundstage tend to go hand in hand, so if the soundstage isn't great, the positional cues will suffer. How did the HD650 fare positional-wise? Well, they were good. Not great, and could obviously be better, but they do their job. I could play something like Black Ops without any problems, though having used headphones much better for soundstage/positioning, I could tell they lacked a bit. I'd put the HD650 just ever so slightly above the DT880 positional wise, but they aren't that much better.

Clarity:

You need clarity for soundwhoring in competitive gaming. Despite the laid back treble, I found the natural tone of the HD650 to be very detailed. The forward mids came off very clean and clear, and I felt I didn't miss any sounds. I've heard better overall (even the 990's are better for soundwhoring). The problem is that the HD650 is a very thick sounding headphone. Basically, the issues I explained in the soundstage section is what hurts clarity for gaming purposes.

Comfort:

I mentioned that Sennheiser likes their clamp. The HD201, HD280 Pro (!), PC360, and HD598 all have some form of clamp. The HD650 is no different. They do clamp a bit more than I'd personally like, but it's a minor gripe overall. I find the HD650 to be very comfortable overall, and over extending the arms a little, to wear the HD650 slightly loose alleviates the clamp a bit. I've felt better, but not much better. The velours are great. Not too firm, and not too soft. The cups are huge and will fit ears very comfortably. I like the oval shape, which makes them easier to use while laying down compared to circular cups.

Value:

The Sennheiser HD650 is a considerably expensive headphone. If your main purpose for getting a headphone is gaming, there are considerably better options for less. If pure audio fidelity, and non-gaming purposes is your main purpose, the HD650 is incredibly hard to beat. Their sound signature is just stellar for most things, save for a few genres, and they're competent for gaming, just not stellar. I personally can't justify owning both the HD650 and HE-400, so I stuck with the HE-400 which is a more energetic, and better equipped for gaming use.

Final Impressions:

The HD650 has a very special place in my heart. It took years to finally take the plunge, but I'm VERY glad I did. They have quickly become one of my very favorite headphones. Though their gaming performance isn't as stellar as I would have hoped, it's better than I expected. I absolutely love the HD650 overall, and they have made me see the importance of mids, if even for just non-gaming, non-music use. Movies and TV shows are made for the HD650. Their incredible tonality, rich/full sound, perfect mids are an absolute blessing. Treble is definitely it's weakest aspect of sound, but they aren't veiled, just...reserved.

For gamers looking for all-rounders, these do put up a fight. They're better than the vast majority of headphones I mentioned on this guide in terms of audio fidelity, but in raw performance for gaming, they're outclassed by others costing considerably less.

Final Scores....
Fun: 8 (Great)
Competitive: 7 (Good)
Comfort: 8 (Great)
Overall: 8 (Great)

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Stax SR-407

DISCONTINUED

Before I begin, I want to thank Justin at Headamp for loaning these out to me. If it weren't for Justin and Headamp, I don't think I would have become as interested in electrostatics as I am now. To drive the SR-407, I was also sent the Stax SRM-252S electrostatic amp (NOT the amp pictured above), which is also sold on Headamp for $495. The SR-407 is the very first electrostatic headphone I've demoed. I honestly did not know what to expect. Perhaps my assumption of 'stats in general was that they were mostly on the bright side with lots of air and detail, perhaps too analytical, sterile, and dry. I didn't read much into 'stats as they were a niche product in my eyes, being too situational, too expensive, and too picky with what you can use them with. They need their own specialized amps, unlike dynamic and planar magnetic headphones which work with most traditional devices. Electrostats just seemed too restrictive for my taste. I didn't like their looks (aside from the Sennheiser Orpheus, Stax Omega 007, and 009). I can honestly say that while they are indeed a bit restrictive, electrostatics are more than worth looking into.

Build Quality:

The Stax SR-407's build quality isn't anything special. It has an extremely retro design, made of almost all brown plastic from what I can see. The cups are rectangular and aesthetically hideous to my eyes, but there is a charm to it's non-standard looks. The adjustment sliders are decent, and hold their place very well. I'd prefer a little more freedom in it's extension, but it fits me fine at full extension. The headband strap is absolutely the best part of the 407's build, the underside covered in extremely soft and comfortable suede-like material.

The earpads are made of brown pleather (I believe). There isn't a lot of surface contact area, so it's not horribly sweat inducing as other pleather-padded headphones. It could definitely stand to be thicker, though that may alter the amazing sound quality.

The cable is flat/ribbon-like and a very decent length. Seems to be tangle proof. It's a bit wide and strap like. I'm definitely a fan of this type of cable.

Comfort:

The Stax-407 is passable in comfort. It's pretty lightweight, but the rectangular cup design will feel awkward at first. The 407 is lightweight. The pads don't have much contact with the skin, but it's pleather, and ultimately will induce sweat. As mentioned previously, the pads are a bit thin, and with a little force, you can feel the plastic housing so close to the skin.

The headband strap is soft, and perfectly forms to one's head shape. Quite possibly the most comfortable headband 'strap' I've ever felt. Literally no force felt on the top of my head. The clamping force is moderate. The 407 feels secure on my head. Not loose, not too tight.

Accessories:

Bare essentials. Just the headphone.

Isolation/Leakage:

It's an extremely open headphone, so don't expect any privacy in or out.

Sound:

The sound? THE SOUND. If there was one word to describe the SR-407 (and I assume any 'stat worth their grain in salt), that word would be: EFFORTLESS. What I mean is that the 407 sounds like producing sound is the easiest thing to do in the world. It's almost problematic, because you can pump up the volume to louder than bearable levels, and it will happily sing with no perceivable distortion anywhere to be found. I found myself jamming out to music and realizing that it's a bit louder than I tend to listen to with other headphones. That's how clear, grain free, smooth, and effortless the sound quality is. This is indeed the first time I have felt that there is ZERO fault in the headphone if you ever hear distortions.

The 407 is a neutral sounding headphone. Quite linear, with lots of speed, texture, quick decay, air, and instrument separation in spades. There is basically NO harhness to be found despite it not being rolled off. I've heard smoother/darker headphones that can be harsh. I don't know how the 407 does it, but there just isn't any harshness to my ears, despite a bell like clarity. My only gripe I have with the sound signature is that it's slightly dry (coming off the velvety smooth, liquid, and full bodied LCD2), and mids while blended in perfectly well with the treble and bass, doesn't sound 'forward' so it doesn't bring immediate attention to itself. It's not the fullest sounding headphone either. More neutral than natural/organic, which is the planar magnetic's strength over electrostatics, from what I've read. Still, the 407 is not sterile or too analytical, keeping a great amount of musicality and enjoyment to it's sound.

On to the different aspects of sound.

Bass:

I expected the bass to be weak and understated. While the sub bass is noticeably lacking in comparison to the LCD2, mid bass is tight, punchy and clearly present. I can listen to EDM or Hip Hop and jam with the 407. Not 'bassy' by any means, but the bass is nicely presented. It has more body and impact than the Q701, but not as much as the K702 Anniversary. I'd say it's basically neutral. However, if the source is bassy, these will surely please anyone not a pure basshead. It can be quite fun.

Mids:

The mids are presented very, VERY cleanly, though they aren't forward or recessed. They are blended in with the bass and treble, not bringing a lot of attention to itself. If anything, it's not romanticized in any way. It's there, it's clean, and well balanced. Again, neutral. Does this mean that it's safe? Yes. Boring? Not at all. It sounds faithful to the source. Unlike something like the Sennheiser PC360 headset which is also well balanced, but lacking in energy. Energy is definitely not one thing the 407 is lacking.

Treble:

The treble to me is the biggest strength in the 407. It's extremely clean sounding, yet completely grain free to my ears and no harshness. Even on sibilant tracks, I didn't feel any fatigue.This may sound like hyperbole, but this is definitely the best treble I've heard on any headphone. Sparkle and smoothness bundled in one, which isn't typically found on traditional headphones. No ringing, no harshness, no fatigue. You basically have to hear it for yourself to understand what I'm talking about.

Soundstage:

My first taste of electrostatic soundstage. It's quite open and with plenty of space between sound cues, but it's a bit two dimensional and linear in comparison to the better dynamics and planar magnetics. So it has a very good soundstage size, but not the best depth. However, it still translates very well into gaming.

Positioning:

The SR-407 performs very well for gaming in Dolby Headphone. The soundstage is a pretty decent size. Paired with the amazing clarity and slight dryness of the sound overall, sound cues come out very, very clearly. Soundstage depth isn't the best, but DH helps it out enough to make positional cues pretty strong.

Clarity:

The 407 is easily one of the clearest headphones I have heard, if not the absolute clearest. Bass is quick, very textured, and tight. The mids are very well balanced and clean, though not forward in the same way the LCD2 and HD650's mids are. Treble, as mentioned earlier is the cleanest, most refined treble I've heard on any headphone to date. Smooth and sparkly at the same time, with zero grain, and no perceivable ringing to my ears. While other headphones like the K701 are emphasized for clarity, they can't compare to the overall refinement and effortlessness of the 407.

Amping:

As stated, these demand an electrostatic amplifier. In terms of that, the SRM-252S is the cheapest 'desktop' 'stat amp in production, and to my ears drives the 407 just fine. I don't feel a lack of anything.

Value:

Value is purely subjective, but I personally feel that for around $575 you get a headphone that stands toe to toe with the LCD2 (and exceeds it in certain areas like neutrality, and clarity). You do need to spend money on an electrostatic amp, the SRM-252S being nearly $500 itself. Considering the 407 is basically the same in sound as the more expensive SR-507 (with different pads and materials), which I've read as being on par with the HE-6 and HD800 (if not better) to certain people, this may be the best entry point into high-end audio for a price not in the realm of impossible.

Final Impressions:

Call me an absolute believer of electrostatic headphones. So much refinement, clarity, and technical superiority over dynamics and arguably even planar magnetics. The Stax SR-407 makes a very compelling case for itself as the perfect starting point into electrostatic headphones (and possibly end). It's not perfect, with a slight dryness to the sound, wonky design, mediocre build quality, and okay comfort, but it's sound quality more than makes up for these shortcomings. For gaming, it's one of the better all-rounders on the guide, without question.

Final Scores...
Though it's not as immersive as the K702 Anniversary or the more bass-oriented headphones on the guide, the 407 has it's own special sound that is fun in it's own way. Bass is very good for a neutral headphone, lagging a little behind the K702 Anniversary, but having more energy and presence than the Q701, and having a nice, fun amount of bass when it's called for.
Though the soundstage depth isn't the best, the clarity and virtual space is so clean, it makes for a very solid and competitive gaming headphone.
It's not the most comfortable headphone, but not atrocious by any means. No pressure on top of the head is a large plus.

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Ultrasone Pro 2900

Sells for $400+.
Surprise Review!

I can't thank @calpis enough for selflessly sending me his pair of Pro 2900 to review and compare. So all of you Pro 2900 owners, or those who were curious about them, thank calpis! I owe it to him to be a little more thorough in my impressions.

Okay, I've spent the last few days abusing my ears with almost nothing but Pro 2900 audio, so if anything, I can say I'm quite acquainted with them, and they're very fresh on my mind. I was able to test them with a variety of games, including Modern Warfare 2 and Black Ops, which are my go-to games for positional audio. Let me start with the build. Man, these are built like absolute tanks. Like seriously, it's plastic, but it's the strongest plastic I have ever felt on a headphone. The only other headphone that felt like an absolute tank was the M50, and these have those beat in just how ridiculously well built they are. You'd have to be a moron to break these.

Now for the sound. Let me break down the specific aspects of it's sound.

Sound:

The Pro 2900 is bright. The Q701 sounds like a warm monster next to them. They are VERY aggressive sounding headphone. The PRAT factor is incredibly high here. They are super quick, with tons of bite. This is NOT a headphone to relax and chill to. This is a headphone to jam out to. They are also very revealing, and dry sounding. The sound doesn't have the rich body of the Q701 or the D7000. The Pro 2900 is weird in that while it's notably a v-shaped sounding headphone, it is quite analytical. The speed of the bass is so quick and unobtrusive, the recessed mids come out highly detailed (but quite distant). The emphasized treble just bring a very clear sound. If I could compare the Pro 2900 to anything, it'd be the DT880 and HE-4. The DT880 and HE-4 however had a warmer tone, richer body, and slower, more present bass making them more fun, personally.

Bass:

These are supposed to have the same drivers as the mid bass monster known as the Pro 900, right? Well, they didn't sound like that to me. They initially started out somewhat bass light. The Q701 had more bass presence. HOWEVER, I dunno when it happened, but that changed. The bass on these? AMAZING quality. Literally the most articulated bass I have ever heard. I'm not talking quantity. I'm talking about how incredibly textured and quick the bass is. Something about how the bass notes hit that just blew me the hell away. You know how some headphones tend to have a one note type of bass that doesn't exactly sound realistic? Well, the Pro 2900 just presents bass in so many layers, I can't help but feel in awe. That being said, it's not particularly emphasized or strong, but they are definitely more present than the Q701. I'd put them on a DT880 level of bass presence. I like a bit more bass emphasis from fun cans like the DT990, HE-4, and D7000, but these are pretty on par with the DT880s in terms of quantity. Quality definitely surpasses the DT880 (which is slower) which was probably the second bass in bass quality for me. Seriously though, give them a very bass emphasized song, and you will be absolutely blown away by that masterful quality. Just don't expect them to immediately please you if you like some form of emphasized bass. The bass is there when a song absolutely calls for it, so I'd say it's the most natural aspect of the Pro 2900's sound. With the right songs, the bass is simply breathtakingly beautiful.

Mids:

This is their DEFINITE weak point. It's noticeably recessed compared to the treble. It falls shortly behind the bass, and quite a bit compared to the treble. Male vocals sound a little unnatural, but female vocals (due to mids going up to the treble) sounded quite unnatural. The Pro 2900 will not be one for female vocals, especially those who tend to bring out sibilance. They will murder your ears with the Pro 2900. On certain songs like 'Kaskade ft. Skylar Grey - Room For Happiness (Fire)', Skylar's voice was very metallic and unnatural sounding. When put next to the Q701... the recessed mids were quite obvious.

Treble:

The showrunner. The treble is prominent. I can't compare directly with the DT990, but it's up there. It has no reservations about them being treble heavy. I'm guaranteeing this would be the deal breaker for a lot of people. That being said, while the treble while is prominent, it wasn't grainy. It was a very high quality treble. The DT880 and DT990's treble were grainier. The treble can be quite fatiguing, so take note if you like smoother treble.

Soundstage:

I won't mention soundstage for music as I'm not too focused on it when I'm not gaming in virtual surround. For gaming, I felt the Pro 2900's soundstage wasn't exactly 'open'. It did spread out pretty far to the extreme left and right, but depth wasn't amazing. It felt like a cross between a closed headphone, and an open one. Considering the Pro 2900's are open, I was left a little disappointed in their soundstage. It wasn't airy like an open can. Felt like a closed can with a big soundstage.

Positioning:

Okay, this is where they are indeed quite excellent. They are great at directionality. No complaints. Not the very best, but they won't bring any issues for gamers using Dolby Headphone. A solid performer, can't say anything negative here. GREAT. I had a 40-0 game on MW2 and a 32-0 game on Black Ops with these, so they are quite capable, I'd say.

Clarity:

As stated before, they are actually revealing and analytical despite their v shaped sound. For GAMING, think of the Pro 2900 as a less bassy DT990 in terms of clarity.

Comfort:

Ah yes, I was skeptical about them, because I've heard several complaints about them, especially the padding on the headband. Perhaps I was desensitized by wearing the K701 and Q701 for so long, but the Pro 2900's padding was quite literally the same as the PC360's headband padding which are non-issues whatsoever. The ear pads feel very similar to the Q701s. Lovely velour that is neither too soft, nor too firm. They were just fine, and cause no discomfort for me. As for clamp, yes, these have a mild clamp, so those who don't like clamp may be irked by it. I actually prefer it, because they stay in place. It's better than any of the Sennheisers I've used in this regard. The headband extension is great, and sturdy. Big heads shouldn't have a problem with the size.

Value:

My biggest issue with the Pro 2900 is the price. It costs as much as the HE-4, and I honestly feel it competes more with the DT880/Q701 price range. The HE-4 is superior to me as a whole. The good thing about the Pro 2900 is that it easy fairly easy to drive and sounds great off the Mixamp. The HE-4 is most certainly the absolute opposite. The Pro 2900 sounds mid-fi to me, and not a bridge between mid-fi and hi-fi that the price seems to suggest. If these were price around $250-300, it'd be some serious competition to the popular Beyers and AKGs. As it stands, it's not good enough to warrant purchase over the Beyers, though if you happen to own them, they won't let you down.

Due to them being great for both fun and competitive gaming, those looking for all-rounders that just do all forms of gaming well, the Pro 2900 shouldn't be overlooked if you feel the price is justifiable. Better positioning than the DT880, and more analytical, while still retaining a healthy dose of fun.

Again, many, MANY thanks to calpis for sending them to me. You have my deepest gratitude.

Final Scores...
The Mixamp pairs up quite well with the Pro 2900, and the bass is satisfying, but not overly powerful. When the bass hits hard, that quality of the Pro 2900's bass really shines.
Directionality is very good. Soundstage could be bigger, but it's good overall. Pro 2900 owners shouldn't have any issues dominating at least when it comes to using these as their main headphone.

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Ultrasone Pro 900

Sells for $300-$330.
So I gotta say, the Pro 900 is lethal with Dolby Headphone. They are stupid awesome for gaming.

The DT990 is it's closest sounding alternative, but you definitely trade off that open soundstage for a closed one, so if there are any DT990 fans looking for a closed headphone that bears some resemblance, but with lesser treble, and more focused/stronger bass, the Pro 900 is it.

Fun:

You will be absorbed into your games with the Pro 900, make no mistake. The ambience won't come close to the D7000's, but it's damn good on it's own merits. There's something about the pulse the Pro 900s emit that really keep you excited every single minute you use them for gaming. The bass is strong as all hell, but very, VERY tight, making for an incredibly fun can that doesn't smother detail with it's bass. I'd say it does gaming bass better than the DT990, for sure. Not to knock the DT990, since it's open AND has that amazing bass. The Pro 900 is closed, which should make it's bass an obviously logical strength.

Competitive:

I know that the Pro 2900 is less bassy, making it for more focus on detail, but the Pro 900's bass really, REALLY doesn't get in the way. Directionality was great (just as it was on the Pro 2900). Soundstage was also similar, despite it's closed vs open design. The Pro 2900 didn't ever sound open in any case. The recessed mids didn't truly rear it's ugly head when I was gaming, so I'll consider them recessed but clean sounding, not making them much of an issue. The Pro 900 is stronger in the fun category than competitive, but it is by no means weak for competitive gaming. You can and will maintain focus even with the addition of that lovely bass. I'd say even with the tip towards bass, the Pro 900's bass keeps you ever so slightly more focused than the DT990's bass, though I'd say the DT990 is better overall for competitive use due to it's expansive soundstage/open sound that keeps other details more spread apart and easier to pick up.

Comfort:

Personally, I would say they are an 8 for me, and I can wear them all day long, but I know realistically, you guys won't find it as comfortable due to it's clamp grip, and whatnot. I honestly don't see why people have issues with the Pro 900's top padding. It's infinitely better than the Q701's padding, which was not really an issue after some time. The Pro 900's top padding is a lot like the Sennheiser PC360's. Can't see how that can bother anyone.

Isolation:

I know I haven't done this with any other headphone, but that's usually because I prefer open headphones, which don't isolate well at all. Because the Pro 900 IS closed, I feel it necessary to mention how well it does. I feel that it keeps outside noises out well enough (certainly leaps and bounds better than the D7000), and does incredibly well keeping sound from leaking out, even with it's velour pads.

Value:

Overall, the Pro 900 truly houses a resemblance to it's sibling, the Pro 2900, even down it it's soundstage. You trade off the Pro 2900's EXTREMELY articulated bass, for a more prominent, less articulate, but still very high quality bass. I can literally paste the review of the Pro 2900, and change the bass section, and voila. I gotta say, I prefer the treble on the Pro 900 to than the Pro 2900 by a little bit. They are both artificial sounding as a whole, but the Pro 2900's treble sounded more metallic to me.

I may not have been as happy with the Pro 900 for music initially, but considering how little I've been using headphones when gaming, I think it's a big win for the Pro 900 when I say that they MADE me wanna use them all day for gaming. They truly pulled it off in the bottom of the 9th, with 2 outs, man on 2nd and third, down by one, with a bass hit to win the game.

If you have just over $300 to spend on a headphone for gaming that you want to use for fun and some competitive gaming, the Pro 900 is a rock solid choice. It does favor fun more than competitive, but it won't let you down either way, with it's great positioning, unobtrusive bass, and clean sound.

I also want to add that if you were on the fence between the Pro 900 vs the Pro 2900, I personally recommend the Pro 900. The Pro 2900 doesn't have an airy sound, losing the main reason why I believe anyone would go for an open headphone. The mids and treble are similar, making the only real differing aspect being the bass. Considering that the Pro 900 is a ton of fun without sounding messy, it will impress you more than the Pro 2900. The Pro 2900 is more balanced overall, but even calling it balanced is a far stretch, due to mid recession, and more metallic treble. The Pro 900 may also have similar recessed mids, but that trades off for more bass, whereas the Pro 2900 doesn't really give you anything in return for those recessed mids. The Pro 2900 has remarkable texture and refinement in the bass, but is lacking in abundant quantity to make that bass really stand out. The Pro 2900 is also considerably more expensive than the Pro 900 (if you shop well), making it just tough choice in it's price bracket (which is full of amazing headphones, like the HE400, HE-4, D5000, etc).

Final scores:
Fun: 8.75 (Excellent)
Competitive: 7.5 (Very Good)
Comfort: 7.5 (Very Good)
Overall: 7.75 (Very Good)



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GUIDE CONTINUES ON 3RD POST BELOW

Here's things people need to understand between converting 5 or 7 channels into 2 channels (for stereo or headphones), and converting 5 or 7 channels into virtual surround into 2 channels.

There's extra procesing being done before the final result of getting the audio to become 2 channels for stereo or headphones.

Basic stereo. Most things, like your TV speakers will take a 5 or 7 channel source, and process that down to the essentials left and right audio. That's it. No extra processing being done. Whatever is to the left or right (regardless of whether it's in front or behind you), get thrown to one channel: left or right.

Virtual surround: Things like Tempest 3D Audio, Dolby Atmos for Headphones, Creative SBX, etc. These will take the 5 or 7 channel source, process that into a virtual processing that will emulate multiple speakers, and THEN process that down into 2 channels for your headphones. So yes, the end result is 2 channels, but the sound was processed to emulate multiple speakers.

So yes, just because someone says USB = 2 channels, doesn''t mean it's basic stereo. In the terms of Sony's Tempest 3D Audio, of course it's sending 2 channels to something like the Creative G6. Tempest 3D audio already converted the 5/7 channel source down to 2 channel before sending it to the Creative G6.

The only downside of 2 channel through USB for the G6 is that you won't be able to get the proper SBX experience, since SBX requires 5/7 channels to work properly (which SBX turns into processed 2 channel). This is why you want the G6 to get the optical output of your TV or receiver (as long as they are sending Dolby Digital) into the optical input of the G6.

If you're using Sony Tempest, you don't need SBX, if you're using SBX, you don't need Tempest 3D audio. And you definitely do not want to use both at the same time.


AT NO POINT IN ANY METHOD WILL YOUR HEADPHONES EVER GET 5 OR 7 CHANNELS, UNLESS YOUR HEADPHONE IS TRUE SURROUND, WHICH SUCKS.
Hey MLE, I've read your guides and can I get some suggestions? I'm planning to use it both for music and gaming. My current AMP/DAC is the Topping D90 w/ RME ADI 2. I've been using the HD800s, but wasn't satisfied because I thought the positional accuracy was rather poor and didn't match my music taste.( I listen to rock, EDM, Hip-Hop, R&B, Pop, and some orchestral) My current budget for the headphones is about 2700$, if I sell my HD800s. I've been recommended the T1 2nd or 3rd gen, but I'm not sure. Can you give me some advice?
When it comes to gaming, I play OW, CSGO, Tarkov, and PUBG so having both vertical/horizontal sound definement(also from the front and back) is really important to me. Thanks!
 
Dec 10, 2020 at 12:21 PM Post #45,914 of 48,568
Hey MLE, I've read your guides and can I get some suggestions? I'm planning to use it both for music and gaming. My current AMP/DAC is the Topping D90 w/ RME ADI 2. I've been using the HD800s, but wasn't satisfied because I thought the positional accuracy was rather poor and didn't match my music taste.( I listen to rock, EDM, Hip-Hop, R&B, Pop, and some orchestral) My current budget for the headphones is about 2700$, if I sell my HD800s. I've been recommended the T1 2nd or 3rd gen, but I'm not sure. Can you give me some advice?
When it comes to gaming, I play OW, CSGO, Tarkov, and PUBG so having both vertical/horizontal sound definement(also from the front and back) is really important to me. Thanks!
You're kind of in the upper echelons of headphones, which even I haven't reached. I honestly though HD800S would be a positional monster. Perhaps you should be looking intop adding virtual surround, to truly allow yuoiu to get spatial awareness of when things are in front or behind you, and which direction.

Though in terms of the HD800S, that may be just your own preferences.

Maybe try something like a Hifiman Arya? Basing off how much I liked the Ananda, the Arya sounds like a great step to take.

I don't know about the Beyerdynamic T1, but that's a good bet too.

Other than that, not really sure what can offer such a positional accuracy like an HD800S.

Ah, some Mr. Speaker Ethers as well.

Sorry I can't really guage performance up there as I haven't heard them.
 
Last edited:
Dec 10, 2020 at 12:42 PM Post #45,915 of 48,568
Used HE-1000SE.

Lasersharp imaging, very resolving, superb extension, rather bright, even got a 12khz peak. Very transparent, very low acoustic impedance.

Less wide than the Arya but as deep and tall and far more precise.
 

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