Hi guys!
First, a preface.
My name is Alex, I'm from Ukraine and I'm a connoisseur of Sash Tres headphones. For more than a month I have been the owner of the 45 Ohm version of these headphones (dark brown in the photo). It should be noted that I have no complaints about them and I agree with all the positive reviews in this thread - they provide a truly outstanding sound for a reasonable price. With Oratory1990 settings, they sound more natural and pleasant to the ear.
Yesterday I received from Sasha a pilot version of the next generation headphones - Sash Tres Second Edition (SE) in natural color (hornbeam), in exchange for an honest review and comparison with the 45 Ohm headphones I have. So far, they are in the only prototype, but I think soon Sasha will have to settle all the technical issues related to the production of the new version and put them into series.
Technical specifications.
As far as I know, Sasha has been working on this model for a long time; experiments with magnets, drawing tracks so that, on the one hand, they cover the entire available area of the membrane and, on the other hand, do not increase the total resistance too much. As a result, new, more powerful magnets of a different size were used (respectively, the internal structure of the case changed) and the design of the tracks on the membrane was completely redesigned - now almost 100% of the membrane area is working and, importantly, their (tracks) density and length have been increased. As a result, we got headphones with a resistance of 25 Ohm and a sensitivity of about 99 dB (my tests showed superiority over the 45 Ohm version in sensitivity by at least 3 dB, obviously due to the new magnetic system).
All this had a beneficial effect on the power required by the headphones. They play very decently in tandem with the baby Shanling M2s (130mW@32Ohm), and a portable Class A amplifier at 300mV@32Ohm is quite enough in any situation (louder - already hurts the ears). For me, their low power consumption was a pleasant surprise.
Design.
The weight, design of the temples, headband, mounts remained virtually unchanged. The cases of my copy are made of exclusive two-tone wood, covered with oil. The design of the output terminals for connecting headphones has been changed - it has become more convenient and, as for me, more aesthetically pleasing.
Sound.
When I got home, I immediately connected the received headphones to my stationary setup (SMSL M300SE + Topping A30 Pro) and started listening. The nature of the presentation of musical material, excellent mids, detailed highs, structured velvet bass and a beautiful stage - all this reminded me of my 45-ohm headphones, which I listened to the day before.
But as soon as I connected my 45 Ohms, the difference between them immediately became clear. The first thing that caught my eye was the width of the stage and the separation of the instruments in the 25-ohm version. When I put on 45-ohm headphones, the impression is that the performer from the stage is transplanted to the bench next to me and sings almost point-blank, that is, the difference in the width of the stage is obvious. I note that the SE version probably makes the stage wider, but only a little bit more than it was envisaged by the sound engineer who did the mastering.
With a more thoughtful listening to jazz, blues and, especially, symphonic music, I noticed a more continuous flow of musical material from the Sash Tres SE. It would seem a paradox; on the one hand, the separation of instruments is much better, but the unity and, as a result, the overall musicality of the presentation of the SE version is higher.
It should be noted; the stage, the separation of the instruments and the presentation of the material is not at the level of sensations, it catches the eye as an obvious thing. Sash Tres SE provide not only enviable depth, but also a confident feeling of no boundaries of imaginary space. John Jenkins - "Late Chamber Music" is perceived not as a stereo recording from two microphones, but as a full-fledged symphonic work: the sound comes from the bowels of the hall and fills the space. The listener is not in the middle of it, but on the balcony.
Low frequencies are the second thing that catches the eye from the differences with the 45 Ohm version of the headphones. Thanks to the new magnets and tracks that cover almost the entire usable area, much more control over the membrane is provided, which has a beneficial effect on the bass. Lows have the highest resolution, excellent speed response and depth (very deep, this immediately catches the eye after the 45-ohm version). Bass can hardly be called dry; the sound of the instruments conveys their “mass” and “size”. Bass, balanced in both density and length, transient response is excellent. The headphones provide excellent impact variability and natural decay of after-sounds. A striking example of the combination of a “delicious” bass and a bewitching vocal part is the composition “I Will Survive” performed by Musica Nuda; the double bass solo part performed by Ferruccio Spinetti sounds large-scale, powerful and with great depth, and at the moment when the vocalist Petra Magoni joins him, you understand how accurately the weight and speed of the sound extraction of each bass note is conveyed, and at the same time the overall scale of the scene, the amazing authenticity and detail of the vocal part of the soloist.
The upper frequencies are transparent, airy, as it seemed to me, slightly emphasized. The treble is accentuated, but only a little, just to make the overall sound more spectacular, and also to help build that impressive volume of the scene that the headphones eventually create. High frequencies with excellent layering, Sash Tres SE give out very rich and saturated overtones. Percussions sound clean, separate, the headphones perfectly play back the cymbals and demonstrate their variability. Perfectly emphasizes the magnificence of the high-frequency violin, sounding verified and with crystal clearness, creating the effect of a mountain stream. Thanks to the chic highs in these headphones, you want to listen to your favorite classical works again and again.
The mids are what I love about the Sash Tres 45 ohms. But in the Second Edition version, they are a little closer to the ideal. To match the bottoms, the midrange is transparent, airy, producing the effect of enveloping the listener. Thanks to the cool elaboration of plans and some tonal warmth, rich arrangements create a feeling of circulation, whirlwind, that same “envelopment”. There is a clear bias towards micro-details, each note and sound is outlined and highlighted, directed and localized in space, the sound in this range strives for maximum information content.
Separately, I would like to praise
the vocals: airiness and transparency emphasize the character and emotions in female vocals (“Näckens polska” performed by Louise Hoffsten, as well as “Hildo” performed by Berit Opheim - they sound simply amazing), and the excellent elaboration of the lower range, incl. low-mid, and physicality energizes male voices, especially those rich and deep like those of Leonard Cohen and Nick Cave. The highest detail meticulously conveys the slightest breaths, touching the tongue on the sky, trembling in the voice and all other small sounds-overtones that are not related to the text, but fill the message with a non-verbal component. A striking example is the a cappella track “Brothers in Arms” performed by Club For Five, a solo male baritone accompanied by mezzo-soprano, soprano and contralto, as well as a male bass sounds incredibly large-scale, atmospheric and simply magical. This track perfectly conveys the scale that these headphones are able to play (I recommend listening to the entire album).
Also, it is in the SE version that the guitar parts sound amazing, it seems that the musician touches the strings of the soul with the riff, not the guitar strings. A prime example is the track “Set 'em Up, Joe” performed by Chris Jones (I started with this track and listened to his entire live performance of “Smoke and Noise” in one breath). Acoustic guitar and harmonica, coupled with the performer's baritone, sound excellent; resolution, dynamic range, velvety micro-detailed mids and transparent-airy highs create a special magic.
In summary: The Sash Tres 45ohm are great headphones that are worth every penny you pay for them. But Sash Tres SE is a confident step forward and up the ladder of technicality, musicality, naturalness and naturalness of the presentation of musical material.
Over time, I can say that the differences between these two pairs of headphones for me are no longer as great as when they first met. But the differences with the 45-ohm version in scene, coherence and general musicality of the presentation of the material is something that everyone will undoubtedly hear.
If we compare the Sash Tres SE with other isodynamic headphones, then in terms of the technicality of the presentation of the material, the construction of the stage, the continuity of the presentation, the transparent and detailed high frequencies, the excellent elaboration of plans and the tonal warmth and velvety mids, I would put them on a par with the Hifiman Arya. But Sash Tres SE have much more solid and lively bass (which is enough, in contrast to the obvious lack thereof in Hifiman Arya), adding dynamics and musicality.
Hifiman HE1000SE sound more technical than Arya, they have more bass, but it's still not enough. That is, the HE1000SE provides a little more transparency of high frequencies, a little more of them and a slightly higher resolution of the upper high frequencies, as well as a more pedantic presentation of musical material, but Sash Tres SE (thanks to a denser membrane and a powerful magnetic system) are able to provide more impressive bass, both in density and in depth.
It is worth noting that, like the 45-ohm version, the new SEs are merciless to low-quality recordings - they do not embellish the material, but are distinguished by the highest pedantry in the presentation of the original sound. Therefore, recordings with a compressed dynamic range and / or low-quality mastering can be heard from the first chords. But listening to high-quality recordings in these headphones is the highest pleasure. Separately, it is worth mentioning symphonic music - in these headphones, such recordings sound simply amazing.
I will add that these headphones do not need equalization; they play very lively and absolutely not tiring. I never wanted to add bass or, for example, screw high frequencies.
After listening, I paid the cost of Sash Tres SE without hesitation and now I am the proud owner of the first pilot model.
Fullsize photos you can find here:
https://ibb.co/album/pjzX1t
P.S. Alexander launched his website, where there is a headphone design designer and where you can place an order by choosing the color, design and modification that you are interested in.
https://www.sash-audio.com
. The search for metal grills is still on though untill Sasha is able to make them
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