SmilinKev
New Head-Fier
Back in June, I was thinking about buying a portable amp/DAC to replace the TEAC HA-P50 I was using. Searching for alternatives, I found the “OPPO HA-2 Portable Headphone Amplifier/DAC Discussion Thread” here on Head-Fi. I read the entire thread – and I’m still subscribed and keeping up with it. When I was done, I decided to give the HA-2 a try: I ordered one and waited for it impatiently.
While I waited, I wrote (at page 106, Post #1582, of the thread) to thank folks for how much I learned from them. In addition, I noted there was nothing in the discussion about how the Oppo HA-2 handled different kinds of music in a “lossy” format, in everyday on-the-go situations, and in combination with the kind of “mid-fi” Apple IOS equipment I use. So, I promised to do an evaluation of my way of using the HA-2 and post the results. Promise fulfilled: here they are. Enjoy!
[Too busy or too ADHD to wade through a long review? Then here's my bottom line: the Oppo HA-2 would be a legitimate addition to an IOS-based portable system using only "lossy" (i.e., 256kbps AAC) files. It's my opinion that it makes all types of music sound better! Want to know why? Then keep reading . . .]
Here's the iPod 128gb (in an Otterbox Defender
case) hooked to the Oppo HA-2 by a Belkin "mixit"
clip.
Goals of this Review
Since Oppo offers a 30-day, money-back guarantee, I put together a framework for evaluating whether it would make sense to keep the HA-2 as a permanent part of my portable gear. Three days before I received my HA-2, I settled on a list of five related questions to guide me:
1. “Does the HA-2 make any noticeable differences in audio quality and impact when I listen to ‘lossy’ music (256 kbps AAC) while on-the-go?”
2. “If there are sonic differences, what are they – and are they positive or negative? Do they withstand changes in types of music and/or headphones?
3. “If the sonic differences are positive and durable, are they enough to justify the substantial cost [from my perspective] of adding the HA-2 to my portable gear?”
4. “Aside from sonic differences, are there other features (if any) of the HA-2 that make it more or less desirable as an addition to my gear?”
5. “Overall, does the HA-2 make listening-on-the-go truly BETTER?”
Making a global judgment about “BETTER,” then, was at the heart of my evaluation project. And, for me, “better” would mean that the HA-2: (a) made music more attractive and compelling; (b) drew me deeper into the music and kept me there longer; (c) made it harder to quit listening and (d) kept it simple (or made it simpler) to take the music along wherever I was going.
The Evaluation Process
Although I made an effort to be systematic about gathering data and making judgments during this project, I’m NOT under an illusion that I did any kind of “scientific” research. However, I think what I discovered was relatively unambiguous and might be helpful to others who are thinking about adding the Oppo HA-2 to their portable gear.
I did NOT take any measurements of the gear I used and I was not listening as a true “audiophile” might. I don’t have the technical training, equipment budget, or discerning ears necessary to produce the kinds of reviews and advice offered by folks like Tyll Hertsens at InnerFidelity.com. Instead, I simply made notes about what happened to the music I heard during a two-phase inquiry: one to get a reliable baseline about the Oppo HA-2’s effects on listening to music (in 256 AAC format) in relatively stable, controlled and quiet listening conditions; and then a subsequent assessment of the Oppo HA-2’s performance with that same kind of music in the “real world.”
Phase One: Listening in the “Lab”
I set up an organized “listening laboratory” (one-half of our dining room table!) where I could listen to two-minutes segments of 15 different pieces of recorded music with which I am very familiar. I chose pieces and segments that I really enjoy, since I was going to hear them over and over again. I also picked ones that would provide opportunities to discover the Oppo HA-2’s characteristics, strengths and/or weaknesses. All the selections were drawn from files in Apple Music’s default “lossy” format: 256 AAC files. I make no apologies for ignoring higher resolution files for this project. I can almost never detect any musically meaningful differences between AAC 256 and ALAC files with my portable gear - and know I would never detect such differences while listening on-the-go.
All CD tracks I used were originally ripped to my MacBook’s iTunes Library and stored there (and in my 160gb iPod Classic) as ALAC files, then converted to 256 AAC files as they were synced to my Version 8.4 IOS devices [iPhone 6 Plus, iPad (Mini 2 Retina & Air), and iPod Touch (5th & 6th Generation)]. Here are the selections I used:
Allman Brothers Band, “In Memory of Elizabeth Reed.” 2nd Set: An Evening with the Allman Brothers Band, Epic CD (EK 66795), 1995.
The Beatles, “You’re Going to Lose That Girl.” Help!, Apple iTunes” Beatles Box Set, downloaded purchase (in 2011) from the iTunes Store, 2009.
Chemical Brothers, “Believe.” Push the Button, Astralworks/Virgin CD (ASW 63282/724356328228), 2005.
The Jimi Hendrix Experience, “Manic Depression.” Live at Winterland [1968], Ryco CD (RCD 20038), 1987.
Steven Isserlis (Cello), “Cello Suite No. 1 in G major: Prelude.” Bach: The Cello Suites, Hyperion CD (CDA67541), CD #1 of 2, 2007.
Knife Party, “404.” Abandon Ship. Earstorm/Big Beat/ Atlantic CD (545605-2), 2014.
Kris Kristofferson, “Sunday Morning Coming Down.” The Austin Sessions, Atlantic CD (83208-2), 1999.
Adam Lambert, “The Original High.” The Original High, Warner Bros CD (549641-2, 2015.
Cyndi Lauper, “Rollin’ and Tumblin”.” Memphis Blues, Mercer Street Records CD (DWT 70166), 2010.
The Mirecourt Trio (with Craig Olzenak, Clarinet), “Daweswood: Suite for violin, clarinet, cello and piano; I. ‘The Bud’ – Allegro,” Chamber Music with Clarinet by Rick Sowash, Gasparo CD (GSCD-285), 1991.
Mario Joao Pires (Piano), “Nocturne No. 5 in F sharp major, Op. 15 No. 2: Larghetto.” Frederic Chopin: The Nocturnes, Deutsche Grammophon CD (447 096-2), CD #1 of 2, 1996.
Pistol Annies, “Trailer for Rent.” Hell on Heels, RCA CD (88697-94916-281), 2011.
Prince, “Illusion, Coma, Pimp & Circumstance.” Musicology, NPG/Columbia CD (CK 92560), 2004.
U2, “Mysterious Way (The Perfecto Remix).” Achtung Baby (iTunes Deluxe Edition), downloaded purchase (in 2013) from Apple iTunes Store, 2009.
Van Morrison, “Goin’ Down to Monte Carlo.” Born to Sing: No Plan B, Exile CD (509996 23491 2 3), 2012.
My “laboratory” investigation was structured by a rough sort of quasi-experimental design. I used a random number table to determine what would happen in each of 75 “listening trials.” For each trial, I first let the number table determine which of the 15 two-minute pieces of music I would listen to twice in a row. Second, the table determined whether I would use the Oppo HA-2 during the first listen or the second listen during that trial. Third, the number table determined which one of five different on-ear headphones I would use for the trial: (1) 2015 V Moda XS; (2) 2014 Beats Solo 2; (3) 2014 Sennheiser Urbanite; (4) 2013 Sennheiser HD 239; and (5) 2015 Skullcandy Grind. All of the headphones are in excellent shape and “broken-in” as a result of an initial 24-hour burn-in – and regular use since then.
For the planned 75 trials, I used the same IOS device that has been the source component for my portable listening since I got it last April: my 64gb iPhone 6 Plus. I originally intended for those 75 trials to be all I did for Phase One. However, just as I was finishing the trials, Apple announced the release of its new 6th Generation iPod Touch. I ordered a 128gb model right away! When I got it loaded up with 256 AAC music files, I used it as the IOS source component in an additional 15 random trials (one for each piece of music I had previously selected). At first I thought I might be detecting a slight advantage of the new iPod Touch (6th Generation) over the iPhone, but a subsequent comparison of my notes for each piece of music didn’t justify that impression. I think the new iPod Touch simply “felt better” during its 15 listening trials because it was so much easier to bundle with the Oppo HA-2 and it could be used solely as a dedicated portable music player. Therefore, I’m going to assume that the “music listening” results from the 75 original trials with the iPhone 6 Plus were also representative of what would be heard by using the new iPod Touch models.
The 75 trials (150 two-minute “listens”) were necessary to make sure all possible combinations of music selection, headphone and HA-2 use were represented: 15 pieces of music X 5 headphones X 2 HA-2 Possibilities (“Used” or “Not Used) = 150. For example, the very first pair of listens determined by the table of random numbers turned out to be: “Listen to Maria Joao Pires play Chopin’s ‘Nocturne No. 5 in F sharp major’ by using the Sennheiser Urbanite, with & then without the HA-2.” The second pair of listens chosen at random was: “Listen to U2’s ‘Mysterious Ways (The Perfecto Remix)’ by using the V Moda XS headphones, first without & then with the HA-2.” I just kept using the random number table and “rolling the dice” like this until all the possible combinations had been covered. Changing things around, both within and between trials, went a bit slowly and awkwardly at first. However, the routine (switching the music and, if necessary, the headphone and the HA-2’s status) became almost automatic by the 15th trial or so. The total amount of time I spent on this part of the project was around twelve hours spread across five days.
After the 75 trials were finished, I did a less comprehensive assessment of the HA-2’s impact when listening to streaming radio. For four days, I used the V Moda XS headphones (my favorite for portable use) and either the iPhone 6 Plus or the new 128gb iPod Touch to listen to several 20-minute segments each day from : Apple Music (streaming the Beats 1 radio station); Simple Radio Pro (streaming the AEGYO Radio KPOP station from Tokyo, Japan); and Pro Radio (streaming the BBC 1, BBC 2 and BBC 3 radio stations). I switched the HA-2 in and out of use at least three times during each 20-minute session and listened for any differences as the station streamed music, talk, advertising, news or whatever else happened to be streaming during the broadcast. I made quick notes during each session and a longer summary after it was over.
During all of Phase One, fortunately, it was relatively easy for me to take meaningful “on-the-fly” notes. I served for over 20 years as a judge for competitive intra- and intercollegiate cross-examination debate tournaments. I had to learn to focus on what I was hearing and seeing each individual speaker do (in order to determine awards for exemplary performers) while simultaneously recording the flow of logical arguments and supporting evidence offered by each team to support its position. This Oppo HA-2 evaluation project was a much simpler situation! I just stopped very briefly after each trial to check the shorthand notes I had just taken and be sure that I could accurately interpret and evaluate them later.
Let me offer two quick “technical” notes – and then I’ll get to the first phase’s results. Throughout this project, I used the HA-2 only on its “Low Gain” setting, which was more than sufficient to drive each of the five headphones to safely loud levels. I also did NOT use the HA-2’s “Bass+” feature. [However, I did try out the “Bass+” later with several EDM tracks – and it created more of an “in-the-club” experience. I also tested it with passages from a violin concerto – and it produced NO perceptible auditory difference at all when the soloist was playing alone in the middle and high registers. When the orchestra joined in, however, the “Bass+” give the tympani player and the cello and bass players a lot more muscle to hit the lowest notes! In other words, “Bass+” not only “emphasizes” the bass, it also controls and sequesters that emphasis. If there’s no bass present, then the HA-2 with “Bass+” in the “ON” position does not create any. ]
Phase One: Results
After all the listening for Phase One was done, I set everything aside for a few days. When I returned to my notes, several things emerged clearly, prominently and consistently throughout what I had written. Here’s what I found:
1. When the HA-2 was used, the perceived soundstage was “bigger,” “wider,” “more three-dimensional,” “encompassing,” “stable,” “realistic,” etc. This was true even when the only “reality” was a “virtual reality” created by electronic music and effects; even that sort of “soundstage” was more believable, although sometimes mind-bending! I was also consistently finding myself placed at a more natural and intimate distance from the soundstage and within its surrounding acoustic environment. I have no idea what goes on inside the HA-2 that makes the soundstage seem more natural and involving, but I’m sure those of you who understand the technical side of such devices will have answers about how it is accomplished.
2. When the HA-2 was used, I heard more detail in all types of music, effects and ancillary sounds made by performers. That heightened level of detail created listening experiences that were more fun, more involving, more revealing and more musical.
3. When the HA-2 was used, there was a significant improvement in the quality of imaging. I could much more easily “see” and “feel” the shape and size of instruments and how they were arranged and played. I automatically perceived singers –regardless of how closely they were grouped – as separate individuals, each with unique and identifiable “signatures” to her/his voice. It was also much easier for me to perceive the acoustic topography of each performance space, whether it was an actual location or a “virtual” creation.
4. When the HA-2 was used, the varying degree of “enhanced bass” that was characteristic of all my on-ear headphones (except for the Sennheiser HD 239) was reined in and made to mind its manners. For example, the Beats Solo 2 still had enough THUMP to satisfy all but the most demanding basshead. However, the HA-2 transformed it into a more focused and satisfying WHACK! The HA-2 took any bass emphasis that threatened to become blowsy and tightened up its range, edges and impact, kept it from muddying the midrange and rolling a foggy haze over the treble regions, and really let the music ROCK or THUNDER or GROWL or SNARL in a meaningful way when the bass and sub-bass frequencies were lit up.
5. When the HA-2 was used, I always enjoyed the music more and got more involved with it. I nodded my head to the point my neck was tired; I tapped my fingers on the table and my toes on the floor; I played air drums and air guitar; I was a ghost conductor for a stellar symphony orchestra; I was Steven Isserlis’s understudy on the cello; I was dancing in a posh Monaco club while Daft Punk did the DJing; I was sipping cheap whiskey at a scarred table in a Memphis dive where Cyndi Lauper belted out the blues. As a result of all such shenanigans, I also had a much more frequent tendency to listen waaaaaaay past my two-minute sample limit when the HA-2 was used!
6. So, the HA-2 made the music – all of the music – BETTER . . . and it also improved the headphones’ performances! The Oppo HA-2 made each of the headphones seems more accomplished and versatile, at least in the relatively controlled and quiet setting of Phase 1. “First Place” went to the V Moda XS, which gained a great deal of authority and seductive musicality from bonding with the HA-2. “Second Place” went to the Skullcandy Grind; it worked surprisingly well with every genre of music at a level way above its $60 price point, and the HA-2’s sophisticated, polished input wasn’t wasted by it. “Third Place” was shared by: (a) the Sennheiser HD 239, which seemed more authoritative and powerful with the HA-2’s help; and (b) the Beats Solo 2, which showed just how impressive and balanced a headphone it could be once the HA-2 trimmed up its shaggy bass. In “Last Place,” was the Sennheiser Urbanite. It has always seemed to offer me a mildly “remote” listening experience and the HA-2 couldn’t help it completely overcome that impression. However, the Urbanite is still in a winning position in comparison with lots of other on-ear headphones I’ve heard – and it’s very stable and comfortable to wear.
Phase Two: Listening in “The Real World”
Okay, the HA-2 was clearly making things “BETTER” when I listened in more or less “controlled” circumstances at home, but that’s not where I intended to use it on a regular basis. I’ve got a nice home system created for headphone listening and I wasn’t shopping for a mini amp/DAC unit to add to it. Therefore, Phase 2 of my project focused on whether the HA-2 could maintain its advantage over a state-of-the-art solo IOS device’s performance when I actually left the house and went “portable” with it. What did I find out? In a word . . . well, actually in three words, the answer was “Oh, Wow, YES!”
I spent five days carrying around the 128gb iPod Touch, the HA-2 (which I frequently switched “in” and “out” of the system), and the V Moda XS headphones. I took a few quick notes each time I switched the status of the HA-2 and when I switched listening environments – and each evening I took 30-45 minutes to review and summarize the day’s notes. I gave everything a final combing and summing up on the evening of the fifth day. Here’s what I found . . .
The iPod and HA-2 were very easy to carry. I linked them via a Belkin “mixit” Lightning-to-USB clip, which kept interconnect cord length to a minimum. [See the photo at the top of this review.] I secured the two components in adjacent pockets of a small “stash” bag (from Lewis ‘N Clark, at Target and on Amazon for around $10) that’s actually designed so travelers can securely carry passport, IDs, credit cards, cash, etc. I used it in a “cross-body” configuration, but it can also be hung around your neck. I’ve included a photo or two that shows my system getting rigged up and then ready-to-go. [The handsome yellow fellow playing the guitar and guarding my iPod and HA-2 is my good luck charm and namesake Minion, “Kevin.”]
iPod & HA-2 slide neatly into the Lewis 'N Clark bag.
Kevin (the Minion) says, "Let's Go!" We're ready!
My “real world” testing took me into very noisy venues (like a crowded Walmart Super Center and a mall during “Back to School” sales), somewhat less challenging environments (like a Subway Sandwich shop at lunchtime), and what I regard as “ideal” places for listening to my portable gear (like a quiet Barnes & Noble bookstore with free magazines to browse and a coffee bar).
The results of these “real world” listening sessions are easy to summarize: regardless of where I went and what I was doing while I was there, the HA-2 made it much more fun and relaxing to have music along for the trip than did just the iPod Touch alone. If I had never heard what the HA-2 does for playback of basic 256 AAC files, then I would still be very impressed with how well Apple has done at giving us decent, enjoyable music from its portable players. I have always liked the iPod family of devices – and it’s my opinion that they have reached a higher level of musical performance with the new iPod Touch, iPhone 6 and iPhone 6 Plus. But when the HA-2 effortlesly hooks up with a 128gb iPod Touch and the two of them seamlessly integrate with Apple’s new “Apple Music” service, I have basically been blessed with my version of “Portable Audio Nirvana!”
Final Thoughts
I purposely finished the bulk of this project in time to be able to take advantage of Oppo’s 30-day money-back guarantee. However, I came to the unequivocal conclusion that, for me, the Oppo HA-2 was absolutely worth the price I paid for it from Oppo’s online store (including free shipping and Illinois sales tax): $317.69. I found it to be very attractive, well made, completely “plug-and-play,” exceptionally easy to use, and a perfect size and weight to be truly portable. It’s my opinion that the HA-2 is not just for those who want to listen to high-resolution music files. THE OPPO HA-2 CONSISTENTLY MAKES MY EXPERIENCE OF LISTENING TO 256 AAC FILES SIGNIFICANTLY BETTER!
Does my passion for the Oppo HA-2 mean that I think you should buy one? “NO!” Absolutely not! What I hope is that you will think about listening to the Oppo HA-2 yourself. I respectfully suggest that you try it and see if your response warrants spending $300 to add it to your portable system. You might discover, during a 30-day trial, that your experiences and reactions are close to mine. That would be great! Or you might discover that you think the HA-2 is too small, awkward to use, produces screechy and distorted sound, and that I’m a naïve, biased, delusional hack with crappy taste in music and an even worse sense of hearing. That would be great, too! Send the HA-2 back and then keep looking for something else that will help you enjoy your music more. Either way, let me (and other “mid-fiers” on Head-Fi) know what you discover. Thanks!
Keep listenin’ and keep smilin’!
Kev
While I waited, I wrote (at page 106, Post #1582, of the thread) to thank folks for how much I learned from them. In addition, I noted there was nothing in the discussion about how the Oppo HA-2 handled different kinds of music in a “lossy” format, in everyday on-the-go situations, and in combination with the kind of “mid-fi” Apple IOS equipment I use. So, I promised to do an evaluation of my way of using the HA-2 and post the results. Promise fulfilled: here they are. Enjoy!
[Too busy or too ADHD to wade through a long review? Then here's my bottom line: the Oppo HA-2 would be a legitimate addition to an IOS-based portable system using only "lossy" (i.e., 256kbps AAC) files. It's my opinion that it makes all types of music sound better! Want to know why? Then keep reading . . .]
Here's the iPod 128gb (in an Otterbox Defender
case) hooked to the Oppo HA-2 by a Belkin "mixit"
clip.
Goals of this Review
Since Oppo offers a 30-day, money-back guarantee, I put together a framework for evaluating whether it would make sense to keep the HA-2 as a permanent part of my portable gear. Three days before I received my HA-2, I settled on a list of five related questions to guide me:
1. “Does the HA-2 make any noticeable differences in audio quality and impact when I listen to ‘lossy’ music (256 kbps AAC) while on-the-go?”
2. “If there are sonic differences, what are they – and are they positive or negative? Do they withstand changes in types of music and/or headphones?
3. “If the sonic differences are positive and durable, are they enough to justify the substantial cost [from my perspective] of adding the HA-2 to my portable gear?”
4. “Aside from sonic differences, are there other features (if any) of the HA-2 that make it more or less desirable as an addition to my gear?”
5. “Overall, does the HA-2 make listening-on-the-go truly BETTER?”
Making a global judgment about “BETTER,” then, was at the heart of my evaluation project. And, for me, “better” would mean that the HA-2: (a) made music more attractive and compelling; (b) drew me deeper into the music and kept me there longer; (c) made it harder to quit listening and (d) kept it simple (or made it simpler) to take the music along wherever I was going.
The Evaluation Process
Although I made an effort to be systematic about gathering data and making judgments during this project, I’m NOT under an illusion that I did any kind of “scientific” research. However, I think what I discovered was relatively unambiguous and might be helpful to others who are thinking about adding the Oppo HA-2 to their portable gear.
I did NOT take any measurements of the gear I used and I was not listening as a true “audiophile” might. I don’t have the technical training, equipment budget, or discerning ears necessary to produce the kinds of reviews and advice offered by folks like Tyll Hertsens at InnerFidelity.com. Instead, I simply made notes about what happened to the music I heard during a two-phase inquiry: one to get a reliable baseline about the Oppo HA-2’s effects on listening to music (in 256 AAC format) in relatively stable, controlled and quiet listening conditions; and then a subsequent assessment of the Oppo HA-2’s performance with that same kind of music in the “real world.”
Phase One: Listening in the “Lab”
I set up an organized “listening laboratory” (one-half of our dining room table!) where I could listen to two-minutes segments of 15 different pieces of recorded music with which I am very familiar. I chose pieces and segments that I really enjoy, since I was going to hear them over and over again. I also picked ones that would provide opportunities to discover the Oppo HA-2’s characteristics, strengths and/or weaknesses. All the selections were drawn from files in Apple Music’s default “lossy” format: 256 AAC files. I make no apologies for ignoring higher resolution files for this project. I can almost never detect any musically meaningful differences between AAC 256 and ALAC files with my portable gear - and know I would never detect such differences while listening on-the-go.
All CD tracks I used were originally ripped to my MacBook’s iTunes Library and stored there (and in my 160gb iPod Classic) as ALAC files, then converted to 256 AAC files as they were synced to my Version 8.4 IOS devices [iPhone 6 Plus, iPad (Mini 2 Retina & Air), and iPod Touch (5th & 6th Generation)]. Here are the selections I used:
Allman Brothers Band, “In Memory of Elizabeth Reed.” 2nd Set: An Evening with the Allman Brothers Band, Epic CD (EK 66795), 1995.
The Beatles, “You’re Going to Lose That Girl.” Help!, Apple iTunes” Beatles Box Set, downloaded purchase (in 2011) from the iTunes Store, 2009.
Chemical Brothers, “Believe.” Push the Button, Astralworks/Virgin CD (ASW 63282/724356328228), 2005.
The Jimi Hendrix Experience, “Manic Depression.” Live at Winterland [1968], Ryco CD (RCD 20038), 1987.
Steven Isserlis (Cello), “Cello Suite No. 1 in G major: Prelude.” Bach: The Cello Suites, Hyperion CD (CDA67541), CD #1 of 2, 2007.
Knife Party, “404.” Abandon Ship. Earstorm/Big Beat/ Atlantic CD (545605-2), 2014.
Kris Kristofferson, “Sunday Morning Coming Down.” The Austin Sessions, Atlantic CD (83208-2), 1999.
Adam Lambert, “The Original High.” The Original High, Warner Bros CD (549641-2, 2015.
Cyndi Lauper, “Rollin’ and Tumblin”.” Memphis Blues, Mercer Street Records CD (DWT 70166), 2010.
The Mirecourt Trio (with Craig Olzenak, Clarinet), “Daweswood: Suite for violin, clarinet, cello and piano; I. ‘The Bud’ – Allegro,” Chamber Music with Clarinet by Rick Sowash, Gasparo CD (GSCD-285), 1991.
Mario Joao Pires (Piano), “Nocturne No. 5 in F sharp major, Op. 15 No. 2: Larghetto.” Frederic Chopin: The Nocturnes, Deutsche Grammophon CD (447 096-2), CD #1 of 2, 1996.
Pistol Annies, “Trailer for Rent.” Hell on Heels, RCA CD (88697-94916-281), 2011.
Prince, “Illusion, Coma, Pimp & Circumstance.” Musicology, NPG/Columbia CD (CK 92560), 2004.
U2, “Mysterious Way (The Perfecto Remix).” Achtung Baby (iTunes Deluxe Edition), downloaded purchase (in 2013) from Apple iTunes Store, 2009.
Van Morrison, “Goin’ Down to Monte Carlo.” Born to Sing: No Plan B, Exile CD (509996 23491 2 3), 2012.
My “laboratory” investigation was structured by a rough sort of quasi-experimental design. I used a random number table to determine what would happen in each of 75 “listening trials.” For each trial, I first let the number table determine which of the 15 two-minute pieces of music I would listen to twice in a row. Second, the table determined whether I would use the Oppo HA-2 during the first listen or the second listen during that trial. Third, the number table determined which one of five different on-ear headphones I would use for the trial: (1) 2015 V Moda XS; (2) 2014 Beats Solo 2; (3) 2014 Sennheiser Urbanite; (4) 2013 Sennheiser HD 239; and (5) 2015 Skullcandy Grind. All of the headphones are in excellent shape and “broken-in” as a result of an initial 24-hour burn-in – and regular use since then.
For the planned 75 trials, I used the same IOS device that has been the source component for my portable listening since I got it last April: my 64gb iPhone 6 Plus. I originally intended for those 75 trials to be all I did for Phase One. However, just as I was finishing the trials, Apple announced the release of its new 6th Generation iPod Touch. I ordered a 128gb model right away! When I got it loaded up with 256 AAC music files, I used it as the IOS source component in an additional 15 random trials (one for each piece of music I had previously selected). At first I thought I might be detecting a slight advantage of the new iPod Touch (6th Generation) over the iPhone, but a subsequent comparison of my notes for each piece of music didn’t justify that impression. I think the new iPod Touch simply “felt better” during its 15 listening trials because it was so much easier to bundle with the Oppo HA-2 and it could be used solely as a dedicated portable music player. Therefore, I’m going to assume that the “music listening” results from the 75 original trials with the iPhone 6 Plus were also representative of what would be heard by using the new iPod Touch models.
The 75 trials (150 two-minute “listens”) were necessary to make sure all possible combinations of music selection, headphone and HA-2 use were represented: 15 pieces of music X 5 headphones X 2 HA-2 Possibilities (“Used” or “Not Used) = 150. For example, the very first pair of listens determined by the table of random numbers turned out to be: “Listen to Maria Joao Pires play Chopin’s ‘Nocturne No. 5 in F sharp major’ by using the Sennheiser Urbanite, with & then without the HA-2.” The second pair of listens chosen at random was: “Listen to U2’s ‘Mysterious Ways (The Perfecto Remix)’ by using the V Moda XS headphones, first without & then with the HA-2.” I just kept using the random number table and “rolling the dice” like this until all the possible combinations had been covered. Changing things around, both within and between trials, went a bit slowly and awkwardly at first. However, the routine (switching the music and, if necessary, the headphone and the HA-2’s status) became almost automatic by the 15th trial or so. The total amount of time I spent on this part of the project was around twelve hours spread across five days.
After the 75 trials were finished, I did a less comprehensive assessment of the HA-2’s impact when listening to streaming radio. For four days, I used the V Moda XS headphones (my favorite for portable use) and either the iPhone 6 Plus or the new 128gb iPod Touch to listen to several 20-minute segments each day from : Apple Music (streaming the Beats 1 radio station); Simple Radio Pro (streaming the AEGYO Radio KPOP station from Tokyo, Japan); and Pro Radio (streaming the BBC 1, BBC 2 and BBC 3 radio stations). I switched the HA-2 in and out of use at least three times during each 20-minute session and listened for any differences as the station streamed music, talk, advertising, news or whatever else happened to be streaming during the broadcast. I made quick notes during each session and a longer summary after it was over.
During all of Phase One, fortunately, it was relatively easy for me to take meaningful “on-the-fly” notes. I served for over 20 years as a judge for competitive intra- and intercollegiate cross-examination debate tournaments. I had to learn to focus on what I was hearing and seeing each individual speaker do (in order to determine awards for exemplary performers) while simultaneously recording the flow of logical arguments and supporting evidence offered by each team to support its position. This Oppo HA-2 evaluation project was a much simpler situation! I just stopped very briefly after each trial to check the shorthand notes I had just taken and be sure that I could accurately interpret and evaluate them later.
Let me offer two quick “technical” notes – and then I’ll get to the first phase’s results. Throughout this project, I used the HA-2 only on its “Low Gain” setting, which was more than sufficient to drive each of the five headphones to safely loud levels. I also did NOT use the HA-2’s “Bass+” feature. [However, I did try out the “Bass+” later with several EDM tracks – and it created more of an “in-the-club” experience. I also tested it with passages from a violin concerto – and it produced NO perceptible auditory difference at all when the soloist was playing alone in the middle and high registers. When the orchestra joined in, however, the “Bass+” give the tympani player and the cello and bass players a lot more muscle to hit the lowest notes! In other words, “Bass+” not only “emphasizes” the bass, it also controls and sequesters that emphasis. If there’s no bass present, then the HA-2 with “Bass+” in the “ON” position does not create any. ]
Phase One: Results
After all the listening for Phase One was done, I set everything aside for a few days. When I returned to my notes, several things emerged clearly, prominently and consistently throughout what I had written. Here’s what I found:
1. When the HA-2 was used, the perceived soundstage was “bigger,” “wider,” “more three-dimensional,” “encompassing,” “stable,” “realistic,” etc. This was true even when the only “reality” was a “virtual reality” created by electronic music and effects; even that sort of “soundstage” was more believable, although sometimes mind-bending! I was also consistently finding myself placed at a more natural and intimate distance from the soundstage and within its surrounding acoustic environment. I have no idea what goes on inside the HA-2 that makes the soundstage seem more natural and involving, but I’m sure those of you who understand the technical side of such devices will have answers about how it is accomplished.
2. When the HA-2 was used, I heard more detail in all types of music, effects and ancillary sounds made by performers. That heightened level of detail created listening experiences that were more fun, more involving, more revealing and more musical.
3. When the HA-2 was used, there was a significant improvement in the quality of imaging. I could much more easily “see” and “feel” the shape and size of instruments and how they were arranged and played. I automatically perceived singers –regardless of how closely they were grouped – as separate individuals, each with unique and identifiable “signatures” to her/his voice. It was also much easier for me to perceive the acoustic topography of each performance space, whether it was an actual location or a “virtual” creation.
4. When the HA-2 was used, the varying degree of “enhanced bass” that was characteristic of all my on-ear headphones (except for the Sennheiser HD 239) was reined in and made to mind its manners. For example, the Beats Solo 2 still had enough THUMP to satisfy all but the most demanding basshead. However, the HA-2 transformed it into a more focused and satisfying WHACK! The HA-2 took any bass emphasis that threatened to become blowsy and tightened up its range, edges and impact, kept it from muddying the midrange and rolling a foggy haze over the treble regions, and really let the music ROCK or THUNDER or GROWL or SNARL in a meaningful way when the bass and sub-bass frequencies were lit up.
5. When the HA-2 was used, I always enjoyed the music more and got more involved with it. I nodded my head to the point my neck was tired; I tapped my fingers on the table and my toes on the floor; I played air drums and air guitar; I was a ghost conductor for a stellar symphony orchestra; I was Steven Isserlis’s understudy on the cello; I was dancing in a posh Monaco club while Daft Punk did the DJing; I was sipping cheap whiskey at a scarred table in a Memphis dive where Cyndi Lauper belted out the blues. As a result of all such shenanigans, I also had a much more frequent tendency to listen waaaaaaay past my two-minute sample limit when the HA-2 was used!
6. So, the HA-2 made the music – all of the music – BETTER . . . and it also improved the headphones’ performances! The Oppo HA-2 made each of the headphones seems more accomplished and versatile, at least in the relatively controlled and quiet setting of Phase 1. “First Place” went to the V Moda XS, which gained a great deal of authority and seductive musicality from bonding with the HA-2. “Second Place” went to the Skullcandy Grind; it worked surprisingly well with every genre of music at a level way above its $60 price point, and the HA-2’s sophisticated, polished input wasn’t wasted by it. “Third Place” was shared by: (a) the Sennheiser HD 239, which seemed more authoritative and powerful with the HA-2’s help; and (b) the Beats Solo 2, which showed just how impressive and balanced a headphone it could be once the HA-2 trimmed up its shaggy bass. In “Last Place,” was the Sennheiser Urbanite. It has always seemed to offer me a mildly “remote” listening experience and the HA-2 couldn’t help it completely overcome that impression. However, the Urbanite is still in a winning position in comparison with lots of other on-ear headphones I’ve heard – and it’s very stable and comfortable to wear.
Phase Two: Listening in “The Real World”
Okay, the HA-2 was clearly making things “BETTER” when I listened in more or less “controlled” circumstances at home, but that’s not where I intended to use it on a regular basis. I’ve got a nice home system created for headphone listening and I wasn’t shopping for a mini amp/DAC unit to add to it. Therefore, Phase 2 of my project focused on whether the HA-2 could maintain its advantage over a state-of-the-art solo IOS device’s performance when I actually left the house and went “portable” with it. What did I find out? In a word . . . well, actually in three words, the answer was “Oh, Wow, YES!”
I spent five days carrying around the 128gb iPod Touch, the HA-2 (which I frequently switched “in” and “out” of the system), and the V Moda XS headphones. I took a few quick notes each time I switched the status of the HA-2 and when I switched listening environments – and each evening I took 30-45 minutes to review and summarize the day’s notes. I gave everything a final combing and summing up on the evening of the fifth day. Here’s what I found . . .
The iPod and HA-2 were very easy to carry. I linked them via a Belkin “mixit” Lightning-to-USB clip, which kept interconnect cord length to a minimum. [See the photo at the top of this review.] I secured the two components in adjacent pockets of a small “stash” bag (from Lewis ‘N Clark, at Target and on Amazon for around $10) that’s actually designed so travelers can securely carry passport, IDs, credit cards, cash, etc. I used it in a “cross-body” configuration, but it can also be hung around your neck. I’ve included a photo or two that shows my system getting rigged up and then ready-to-go. [The handsome yellow fellow playing the guitar and guarding my iPod and HA-2 is my good luck charm and namesake Minion, “Kevin.”]
iPod & HA-2 slide neatly into the Lewis 'N Clark bag.
Kevin (the Minion) says, "Let's Go!" We're ready!
My “real world” testing took me into very noisy venues (like a crowded Walmart Super Center and a mall during “Back to School” sales), somewhat less challenging environments (like a Subway Sandwich shop at lunchtime), and what I regard as “ideal” places for listening to my portable gear (like a quiet Barnes & Noble bookstore with free magazines to browse and a coffee bar).
The results of these “real world” listening sessions are easy to summarize: regardless of where I went and what I was doing while I was there, the HA-2 made it much more fun and relaxing to have music along for the trip than did just the iPod Touch alone. If I had never heard what the HA-2 does for playback of basic 256 AAC files, then I would still be very impressed with how well Apple has done at giving us decent, enjoyable music from its portable players. I have always liked the iPod family of devices – and it’s my opinion that they have reached a higher level of musical performance with the new iPod Touch, iPhone 6 and iPhone 6 Plus. But when the HA-2 effortlesly hooks up with a 128gb iPod Touch and the two of them seamlessly integrate with Apple’s new “Apple Music” service, I have basically been blessed with my version of “Portable Audio Nirvana!”
Final Thoughts
I purposely finished the bulk of this project in time to be able to take advantage of Oppo’s 30-day money-back guarantee. However, I came to the unequivocal conclusion that, for me, the Oppo HA-2 was absolutely worth the price I paid for it from Oppo’s online store (including free shipping and Illinois sales tax): $317.69. I found it to be very attractive, well made, completely “plug-and-play,” exceptionally easy to use, and a perfect size and weight to be truly portable. It’s my opinion that the HA-2 is not just for those who want to listen to high-resolution music files. THE OPPO HA-2 CONSISTENTLY MAKES MY EXPERIENCE OF LISTENING TO 256 AAC FILES SIGNIFICANTLY BETTER!
Does my passion for the Oppo HA-2 mean that I think you should buy one? “NO!” Absolutely not! What I hope is that you will think about listening to the Oppo HA-2 yourself. I respectfully suggest that you try it and see if your response warrants spending $300 to add it to your portable system. You might discover, during a 30-day trial, that your experiences and reactions are close to mine. That would be great! Or you might discover that you think the HA-2 is too small, awkward to use, produces screechy and distorted sound, and that I’m a naïve, biased, delusional hack with crappy taste in music and an even worse sense of hearing. That would be great, too! Send the HA-2 back and then keep looking for something else that will help you enjoy your music more. Either way, let me (and other “mid-fiers” on Head-Fi) know what you discover. Thanks!
Keep listenin’ and keep smilin’!
Kev
