TonyStarks
100+ Head-Fier
Same. Batt outline and + are red.
SONY NW-WM1Z M2 / WM1A M2
Sonywalkmanuser
Headphoneus Supremus
You have enabled battery saver function of android which is a different function from battery care.
Battery care stops charging at 88%. It has a white icon with a wavy arrow pointing to the left.
Batter saver will appear as red battery icon when discharging.
Battery saver might give you a little more battery life by means of reducing the amount of time that the nxp processor scales to its high frequency(1800MHz) stepping but in my own experience with the ZX507 android Walkman over two years plus, there is very negligible gains(both idle standby time and operation time)to be had with battery saver enabled.
To me, the processor on the M2 is already very slow running by all standards, there is no need to slow down further by enabling battery saver.
Rusty82
New Head-Fier
Excellent, thanks for the confirmation.
Sonywalkmanuser
Headphoneus Supremus
this is quite funny, the only way to enable DSD Remastering for Apple Music:
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makkusu2021
Head-Fier
Well, if I am correct only tourists will be eligible for the tax refund. However as per my understanding Japan will only be open to tourists from US, Thailand, Singapore and Australia starting from June (and limited to group visits), still no plan for tourists from other places yet... (and I prefer to go tour myself or with a partner, rather than in a group)
Start to be interested to get a Japanese version of NW-WM1ZM2, given the low exchange rate of Japanese Yen now...
(it's only 5-6 hours flight from my city to Japan, before COVID there are budget airlines available so the price difference of NW-WM1ZM2 between Japan and my place already covered the airfare and several nights of hotel, i.e. a free short trip...)
xjaynine
100+ Head-Fier
- Joined
- Aug 7, 2011
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Any price around 3300 EUR mark is good value. That's close the original price of the M1.
I heard the Japanese units don't include the case. Not a big issue for me as the stock cases were never great.
I heard the Japanese units don't include the case. Not a big issue for me as the stock cases were never great.
Rusty82
New Head-Fier
Correct, effectively non-residents. The newspaper states the following:
Japan will accept small-scale tours for vaccinated tourists from the United States, Australia, Thailand and Singapore as a trial later this month toward the full-scale reception of foreign visitors planned for June, the government said Tuesday.
Japan has closed its borders to foreign tourists since the early stage of the coronavirus pandemic in 2020. But it has been relaxing its travel restrictions in phases since March, accepting businesspeople, technical interns and students, as the COVID-19 situation has improved.
During the trial phase, small groups would go on fixed package tours limited to areas where prefectural governments have agreed to accept them so that their activities can be managed.
Only visitors who have had three COVID-19 shots will be able to participate, according to the Ministry of Land, Infrastructure, Transport and Tourism.
And yea, you don't want to be in a group in an area of thier choice.
Rusty82
New Head-Fier
The current price in Yodobashi camera is 2,950 EUR (and if in person minus another 10%, but unlikely at the moment due to the noted travel restrictions). The case should come with a Japanese sourced one although it seems your mileage may vary as they may remove it if it is shipped.
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shootertwist
100+ Head-Fier
- Joined
- Sep 6, 2010
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I usually use only direct mode but there are times its nice to have a different sound signature or dsp, just to clarify, which among the dsp of the new walkman is system wide and can apply to streaming apps? Many thanks 
audionewbi
Headphoneus Supremus
- Joined
- Jan 24, 2010
- Posts
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Is it possible to try this walkman android app on it's own?
Sonywalkmanuser
Headphoneus Supremus
Just tried the WH1000-XM5 with my Iphone 11 Pro Max(didn't bring my naked WM1AM2 out). I think it has a something that is close to the WM1AM2 sound signature(soundstage and background darkness). I do feel the sound has changed alot from the XM3/4. Sub-bass is not as strong but has improved mid range clarity. The plastic build quality seems not as stiff as the XM4, but the design of the hinges looks much improved.
audionewbi
Headphoneus Supremus
- Joined
- Jan 24, 2010
- Posts
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XM5 already out for purchase, I must have missed that.
Sonywalkmanuser
Headphoneus Supremus
I have used the most accurate online japanese to english translator to convert the Japanese editor Reiji Asakura's impression:
https://online.stereosound.co.jp/_ct/17538311
The volume of information, stability, and depth of sound have all changed overwhelmingly.
The "NW-WM1AM2" and "NW-WM1ZM2" have reached an unprecedented dimension. ...... Reiji Asakura
For this comparison of old and new, we were asked to listen to the same sound sources on the NW-WM1A and NW-WM1AM2, and the NW-WM1Z and NW-WM1ZM2. The headphones used in the comparison between the WM1A and WM1AM2 were the "MDR-Z7M2", while the WM1Z and WM1ZM2 were the "MDR-Z1R". The headphone cable is the "MUC-B20SB1".
First of all, the narration of the live sound source made the difference between each model clear. in the comparison between WM1A and WM1AM2, the volume of sound information increased, and the stability and depth of bass sounded different. This leads to the reproduction of a sense of sound volume, making the MC extremely vivid. The difference is that the reality of the voice has become much more realistic.
Furthermore, the difference between the WM1Z and WM1ZM2 was another dimension, including the amount of information. There was a difference not only in the volume of sound, but also in the expression of symbolism and messages. I could recognize significant differences in all elements such as frequency response, time axis, sense of contrast, and gradation.
In particular, the reproduction and texture of the bass of the male voice was better and snappier. Voices are clearer and sound more impressive to the audience. It is good to be able to feel the atmosphere of a live performance, the communication between the performers and the audience, and the invisible interaction between the performers and the audience.
As for the music sources, there were "Cheek to Cheek" (192 kHz/24 bit/FLAC) by Mie Emoike, "2021 Seiji Ozawa Matsumoto Festival: "Firebird" Suite (1919 version)-Part 4: King Kaschei's Demon Dance" (96 kHz/24 bit/FLAC), and "I can't give you anything but love" (96kHz/24-bit/FLAC), the beginning of the acoustic bass solo.
Image: The Walkman "NW-WM1AM2" and "NW-WM1ZM2," which appeared on the market for the first time in six years, had undergone a surprising evolution. Hearing about the commitment to craftsmanship that went into them (2) : Reiji Asakura's "Iimono Kenkyujo" Report 74
Cheek to Cheek" has very little distortion even when listening to it on the WM1A, and it is clear that the sound was created very carefully. The tenderness and beauty of the vocals also come out beautifully. However, I felt that I would like a little more sharpness and grandeur in the bass. This is a very good sound.
However, when I switched to the WM1AM2, I could hear the bass's breadth, volume, and bounciness. The difference in the amount of information in vocals and the sense of nuance when vocalizing is very apparent. I also have the impression that the sense of body and the volume of the sound image are different.
The grand cassa of "The Firebird" shows the shaking of the skin and the feeling of vibrating air and spreading ripples very well with the WM1AM2. This bass is so powerful that it would hit you in the stomach if played through large speakers, but it had the same sense of power when heard through headphones.
The bass also seemed to have one more step in its swell on the WM1A, but on the WM1AM2, the way the bending and the amount of information in the sound changed over time was well portrayed.
In "Cheek to Cheek," the difference between the WM1AM2 and the WM1Z seemed smaller than I expected: the WM1AM2 clearly and distinctly outlines the sound, while the WM1Z is more detail-oriented, so at first listen, it seems to have less power and tempo. It has a gentle atmosphere.
In contrast, WM1ZM2 is in another dimension. In the song "I can't give," the bass guitar is much more bouncy, and the melodic sense of the scale is properly expressed. Every detail is reproduced, the bounciness of the sound, and the chord progression is clear.
The bass guitar is producing melodic sounds at the same time as separating the time axis. The sense of this melody standing still is very good. The accurate sound reproduction on the time axis was not felt so well by other models.
In "Firebird," the WM1Z was a bit far away from the stage, and I felt like I wanted to get closer to the stage. In contrast, the WM1ZM2 has a much wider bass volume, and the power of the ensemble and the way all the instruments sounded was very realistic. The most appealing aspect of the WM1ZM2 is that it reproduces microscopic information while firmly portraying the overall image.
The reproduction of airiness was also different. This piece was recorded at the Kissei Bunka Hall in Matsumoto, Nagano Prefecture. This is a hall with little reverberation to begin with, and I thought the clear impression of the hall was reproduced well.
The WM1ZM2 is a Walkman that has reached an unprecedented dimension. Well done!
https://online.stereosound.co.jp/_ct/17538311
The volume of information, stability, and depth of sound have all changed overwhelmingly.
The "NW-WM1AM2" and "NW-WM1ZM2" have reached an unprecedented dimension. ...... Reiji Asakura
For this comparison of old and new, we were asked to listen to the same sound sources on the NW-WM1A and NW-WM1AM2, and the NW-WM1Z and NW-WM1ZM2. The headphones used in the comparison between the WM1A and WM1AM2 were the "MDR-Z7M2", while the WM1Z and WM1ZM2 were the "MDR-Z1R". The headphone cable is the "MUC-B20SB1".
First of all, the narration of the live sound source made the difference between each model clear. in the comparison between WM1A and WM1AM2, the volume of sound information increased, and the stability and depth of bass sounded different. This leads to the reproduction of a sense of sound volume, making the MC extremely vivid. The difference is that the reality of the voice has become much more realistic.
Furthermore, the difference between the WM1Z and WM1ZM2 was another dimension, including the amount of information. There was a difference not only in the volume of sound, but also in the expression of symbolism and messages. I could recognize significant differences in all elements such as frequency response, time axis, sense of contrast, and gradation.
In particular, the reproduction and texture of the bass of the male voice was better and snappier. Voices are clearer and sound more impressive to the audience. It is good to be able to feel the atmosphere of a live performance, the communication between the performers and the audience, and the invisible interaction between the performers and the audience.
As for the music sources, there were "Cheek to Cheek" (192 kHz/24 bit/FLAC) by Mie Emoike, "2021 Seiji Ozawa Matsumoto Festival: "Firebird" Suite (1919 version)-Part 4: King Kaschei's Demon Dance" (96 kHz/24 bit/FLAC), and "I can't give you anything but love" (96kHz/24-bit/FLAC), the beginning of the acoustic bass solo.
Image: The Walkman "NW-WM1AM2" and "NW-WM1ZM2," which appeared on the market for the first time in six years, had undergone a surprising evolution. Hearing about the commitment to craftsmanship that went into them (2) : Reiji Asakura's "Iimono Kenkyujo" Report 74
Cheek to Cheek" has very little distortion even when listening to it on the WM1A, and it is clear that the sound was created very carefully. The tenderness and beauty of the vocals also come out beautifully. However, I felt that I would like a little more sharpness and grandeur in the bass. This is a very good sound.
However, when I switched to the WM1AM2, I could hear the bass's breadth, volume, and bounciness. The difference in the amount of information in vocals and the sense of nuance when vocalizing is very apparent. I also have the impression that the sense of body and the volume of the sound image are different.
The grand cassa of "The Firebird" shows the shaking of the skin and the feeling of vibrating air and spreading ripples very well with the WM1AM2. This bass is so powerful that it would hit you in the stomach if played through large speakers, but it had the same sense of power when heard through headphones.
The bass also seemed to have one more step in its swell on the WM1A, but on the WM1AM2, the way the bending and the amount of information in the sound changed over time was well portrayed.
In "Cheek to Cheek," the difference between the WM1AM2 and the WM1Z seemed smaller than I expected: the WM1AM2 clearly and distinctly outlines the sound, while the WM1Z is more detail-oriented, so at first listen, it seems to have less power and tempo. It has a gentle atmosphere.
In contrast, WM1ZM2 is in another dimension. In the song "I can't give," the bass guitar is much more bouncy, and the melodic sense of the scale is properly expressed. Every detail is reproduced, the bounciness of the sound, and the chord progression is clear.
The bass guitar is producing melodic sounds at the same time as separating the time axis. The sense of this melody standing still is very good. The accurate sound reproduction on the time axis was not felt so well by other models.
In "Firebird," the WM1Z was a bit far away from the stage, and I felt like I wanted to get closer to the stage. In contrast, the WM1ZM2 has a much wider bass volume, and the power of the ensemble and the way all the instruments sounded was very realistic. The most appealing aspect of the WM1ZM2 is that it reproduces microscopic information while firmly portraying the overall image.
The reproduction of airiness was also different. This piece was recorded at the Kissei Bunka Hall in Matsumoto, Nagano Prefecture. This is a hall with little reverberation to begin with, and I thought the clear impression of the hall was reproduced well.
The WM1ZM2 is a Walkman that has reached an unprecedented dimension. Well done!
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Sonywalkmanuser
Headphoneus Supremus
Source: https://online.stereosound.co.jp/_ct/17538308
The "NW-WM1AM2" and "NW-WM1ZM2" Walkmans, which have appeared on the market for the first time in six years, have undergone a surprising evolution. Hearing about the commitment to craftsmanship that went into them (Part 1)
Reiji Asakura's Good Things Laboratory Report 73
2022-05-10
Sony's portable Walkman players, the NW-WM1ZM2 and NW-WM1AM2, are the latest models in this series that has been around for over 40 years, since the first
model, the TPS-L2, in 1979. Both are successors to the NW-WM1Z and NW-WM1A, which were released in 2016, and are said to have achieved advances in sound quality and operability based on five years of knowledge.
In this series of interviews, we took the time to interview the development team about their thoughts and hard work that went into this highly anticipated new product. The interview was conducted by Hiroaki Sato and Kazuhiro Sekine of the Mobile Product Design Department, Mobile Product Division, and Mitsuken Tanaka of the Mobile Product Planning Department. (Editorial Department)
NW-WM1ZM2, estimated market price around ¥400,000 (tax included, right)
NW-WM1AM2 Estimated retail price: approximately ￥160,000 (tax included, left)
Internal memory: NW-WM1ZM2 = 256GB (actual usable area: approx. 215GB), NW-WM1AM2 = 128GB (actual usable area: approx. 103GB)
Body material: NW-WM1ZM2 = machined oxygen-free copper, NW-WM1AM2 = machined aluminum
Operating system: Android 11
Supported formats: MP3/WMA/FLAC/WAV/AAC/HE-AAC/Apple Lossless/AIFF/DSD/APE/MQA
Display: 5.0-inch (12.7 cm), HD (1280 x 720 pixels)
Wireless LAN: IEEE 802.11 a/b/g/n/ac (2.4/5GHz band)
Bluetooth codecs: SBC/AAC/LDAC/aptX/aptX HD
Main features: USB DAC function, DSEE Ultimate, DSD remastering engine, DC phase linearizer, etc.
Continuous use time: FLAC/192kHz/24bit = approx. 35 hours with stereo mini jack / approx. 35 hours with balanced standard jack, DSD 5.6MHz/1bit = approx. 18 hours with stereo mini jack / approx. 13 hours with balanced standard jack
Connections: 3.5mm stereo mini jack, 4.4mm balanced standard jack, Type-C (USB3.2 Gen1 compliant)
Memory card: microSD/microSDHC/microSDXC
Dimensions/Weight: NW-WM1ZM2 = approx. W80.5 x H142.5 x D21.0mm (max.) / approx. 490g (including rechargeable battery), NW-WM1AM2 = approx. W80.5 x H142.5 x D20.8mm (max.) / approx. 299g (including rechargeable battery)
Asakura On March 25, the new Walkman models NW-WM1ZM2 and NW-WM1AM2 were released. We have heard that both have evolved in sound quality, so today we would like to ask you about the planning intentions and difficulties of the second-generation models.
Tanaka: Thank you very much. As you can tell from the model numbers, these new products are the successors to the NW-WM1Z and NW-WM1A, respectively.
The biggest difference is that the previous model was equipped with Linux OS, while the new model is equipped with Android 11 in response to the recent demand for streaming services and high-resolution/lossless support in Japan.
The previous two models were both released as part of the Signature Series, but from this year, the definition of the Signature Series has been tightened so that only one model in each category can be called a Signature Series model, and only the high-end WM1ZM2 is now positioned as a Signature Series model.
Asakura: Both the original WM1Z and WM1A were well received by users, so why did you decide to create a second-generation model at this time?
Sato: After the release of the WM1A and WM1Z, we launched the DMP-Z1, which was in a sense a flagship product. However, in terms of sound quality of portable players, I thought that both the WM1Z and WM1A could compete on equal terms with the DMP-Z1.
But recently, the music playback environment has changed dramatically, and we can no longer talk about music without streaming. That is one of the reasons why we began to think that it would be necessary to support the Android OS.
Tanaka: However, it was not a simple matter of just using Android as the OS. From our research to date, we strongly felt that for WM1Z and WM1A users, there was no point in releasing a successor unless the evolution of sound quality was the first priority, and that simply changing the OS was not enough.
Asakura Certainly, people who buy products in this price range are more likely to play files than streaming.
Tanaka: That is why we aimed for the highest sound quality as a portable player in the second generation model. For the WM1ZM2 in particular, we developed it based on the concept of "the ultimate portable player that allows you to enjoy all music sources at the highest quality," including streaming.
The first-generation NW-WM1Z on the left and the new NW-WM1ZM2 on the right, both with larger parts and a slightly larger body size.
Asakura: Could you tell us about the basic specifications of both models?
Tanaka: The basic specifications are the same, with the only difference being the internal memory capacity. The Hi-Resolution models can play back up to DSD 11.2 MHz natively and 384 kHz/32-bit linear PCM. It is the first Walkman with a "DSD Remastering Engine" that converts input signals to DSD for processing, and the latest version of DSEE, which complements compressed signals, is the "Ultimate" version.
In addition, as I mentioned earlier, streaming services are now supported, and the terminal for connecting to a PC or other device has been changed from the Walkman port to USB Type-C.
Another trend in the Corona Disaster is that more and more people are listening to their Walkmans at home. In response to this trend, we have enlarged the LCD screen to 5 inches so that it can be used comfortably at home. The pixel count is 1280 x 720.
Asakura: Does a larger screen mean a larger body?
Sato: It is one size larger than the first generation model, but the thickness is slightly reduced, making it easier to hold and more stylish.
Tanaka Some customers are concerned that the Android OS may affect the sound.
Asakura Are there that many users who are concerned about the Android OS?
Sato: Not so many in other countries, but there are a lot, especially in Japan.
The people who cooperated with us for this interview. Mr. Mitsuken Tanaka (left), Mobile Product Planning Department, Mobile Product Division, Home Entertainment & Sound Products Business Group, Sony Corporation; Mr. Hiroaki Sato (second from right), Mobile Product Design Department; Mr. Kazuhiro Sekine (right)
Sekine: There are two main points that users are concerned about.
The first is whether the hardware will produce noise. Of course, since digital processing is carried out at high speed, it is true that digital noise will be generated regardless of whether the device is Android or not. To deal with this, we adopted a design that separates the audio circuit from the digital block.
Also, many people are concerned that going through the Android OS will make the sound worse. It is true that there is a limitation that general Android devices cannot pass 384kHz/32-bit signals. However, we have adopted a dedicated bus design, so 384kHz/32-bit signals can be played without any problem.
Conversely, as an advantage, you can use high-resolution distribution applications such as Amazon Music and Apple Music. In terms of signals, 192kHz/32-bit playback is possible, and since they are distributed in high-resolution, we have taken care not to degrade the sound quality.
Asakura: The machined chassis of the WM1Z and WM1A also attracted attention.
Sato: We have inherited this point. Or rather, we finished it with even stronger attention to detail (laughs).
The chassis of the WM1ZM2 is machined from an oxygen-free copper ingot weighing approximately 2 kg, to which we added high-purity gold plating. The purity of the oxygen-free copper used in the previous WM1Z model was 99.96%, but this time it has been changed to 99.99%.
Asakura: It has evolved from 3N to 4N.
Sato After we made WM1Z, our mechanical engineer told us that 99.99% oxygen-free copper was also available. At that time, I thought the difference was only in two decimal places, but when I made a prototype housing for WM1Z, the sound was surprisingly different.
The body of the NW-WM1ZM2 is manufactured by machining it from a block of oxygen-free copper (left) (center). The one on the right is the one with gold plating added.
Asakura How can the sound change that much for a difference in purity of 0.01%?
Sato: Just by changing the chassis, even the sound balance was different, so we decided we wanted to use this for the next model. Since it is a chassis, it does not pass electrical signals, but it was interesting that it still had an effect on the sound.
Tanaka The amount of impurities was reduced to one-fourth, so that may have had some effect.
Sekine: For the WM1ZM2, the rear cover is also machined from an aluminum ingot. Since both the chassis and rear panel are machined, they are highly precise and look beautiful. Also, machining increases the amount of metal used, unlike stamping, so it is advantageous in terms of sound quality.
Asakura: It is truly perverse (?) to have even the rear panel machined. That's really perverse (?).
Sato: As part of our noise countermeasures, we covered the digital circuits, including the SoC, with oxygen-free copper plates. This also strengthened the ground.
Sekine: For the power supply, we have been using FTCAP capacitors for some time. This is a component originally developed by Sony for sound, and has now evolved into the third generation FTCAP3.
Sato: Finally, we were able to use a polymer capacitor with legs. Personally, I have wanted to use these high-quality sound parts for a long time, but until now I have not been able to find a suitable object.
We consulted with the manufacturer of the FTCAP this time, and they made a prototype. The sound was good, so we adopted it.
Rear panel of the NW-WM1ZM2. This panel is made of machined aluminum to achieve high rigidity.
Asakura: Does the condenser make a difference in the sound?
Sato: Yes, it does. Moreover, the manufacturer, for their own good, made the FTCAP3 in a slightly larger size than the one we were using before. I received the prototype after the design had been finalized, so I was worried about what to do with it.
But when we compared the sound, it was very good, so we checked the differences with the designers and project planners, and they were convinced to change the design (laughs).
Asakura So you changed the design once decided in order to use this condenser?
Tanaka We adjusted the bulge on the rear panel side and had it placed there.
Sato That would normally be impossible (laughs).
Asakura This is a very typical Sony decision. For a low-priced model, it would have been acceptable to compromise, but this is the flagship of the Walkman line, so all the best features should be used.
Tanaka Our customers have also told us that they don't want us to compromise on sound quality, even if it means making it bigger and heavier. Even so, we know that there are limits, so we have considered the best we can do while still being portable.
Asakura What other improvements have been made?
Sekine: We have fully adopted high-quality sound solder. We have always been particular about solder, but up until now, high-quality sound solder was used only for parts that were hand-soldered. But now we have finally succeeded in developing a high sound quality version of reflow solder that is applied to the board itself.
Asakura: So all the solder in the board circuit is now of high sound quality? This seems to have an effect on sound.
Sato: Gold is added to this high sound quality solder. The ratio of gold to be mixed also needs to be controlled in ppm units, and this is the result of a very detailed study.
The right photo shows the circuit board for various types of processing, and the digital block where the CPU and memory are located has an oxygen-free copper cutting cover (left photo) to improve ground stability.
Asakura: Why was it difficult to use reflow soldering until now?
Sekine: Reflow solder is used for mounting boards, so reliability tests are more stringent, and we cannot adopt it unless we can clear those tests.
Sato: Components with good sound are often difficult to use (laughs), but this solder was a rare case of a sound quality component that was both easy to use and had good sound.
Sekine: Incidentally, the DMP-Z1 has two clocks, one for 44.1 kHz and the other for 48 kHz, as before, but this time we have an ultra-low phase noise crystal oscillator with the electrodes of the crystal strip formed by gold vapor deposition.
Sato: This is a part that was first introduced in the DMP-Z1, and gold deposition was originally used to extend the life of the crystal oscillator. We thought it might possibly be good for the sound, so we tried it, and sure enough, the sound quality was improved.
Asakura: As a component manufacturer, I am sure you must have been happy to see this product adopted, since you would want a manufacturer who understands sound to use it.
Sato: This is only for the WM1ZM2, but we use KIMBER KABLE for the internal wiring.
The WM1Z also used Kimber Cable for internal wiring, but this time we were able to fit a cable of the same thickness as the MUC-B20SB1, which is available as a headphone accessory, into the chassis.
Sekine: We used an OFC cable for the WM1AM2, and this OFC cable was also selected after proper comparison listening.
*Continued in the second part
The "NW-WM1AM2" and "NW-WM1ZM2" Walkmans, which have appeared on the market for the first time in six years, have undergone a surprising evolution. Hearing about the commitment to craftsmanship that went into them (Part 1)
Reiji Asakura's Good Things Laboratory Report 73
2022-05-10
Sony's portable Walkm
model, the TPS-L2, in 1979. Both are successors to the NW-WM1Z and NW-WM1A, which were released in 2016, and are said to have achieved advances in sound quality and operability based on five years of knowledge.
In this series of interviews, we took the time to interview the development team about their thoughts and hard work that went into this highly anticipated new product. The interview was conducted by Hiroaki Sato and Kazuhiro Sekine of the Mobile Product Design Department, Mobile Product Division, and Mitsuken Tanaka of the Mobile Product Planning Department. (Editorial Department)
NW-WM1ZM2, estimated market price around ¥400,000 (tax included, right)
NW-WM1AM2 Estimated retail price: approximately ￥160,000 (tax included, left)
Internal memory: NW-WM1ZM2 = 256GB (actual usable area: approx. 215GB), NW-WM1AM2 = 128GB (actual usable area: approx. 103GB)
Body material: NW-WM1ZM2 = machined oxygen-free copper, NW-WM1AM2 = machined aluminum
Operating system: Android 11
Supported formats: MP3/WMA/FLAC/WAV/AAC/HE-AAC/Apple Lossless/AIFF/DSD/APE/MQA
Display: 5.0-inch (12.7 cm), HD (1280 x 720 pixels)
Wireless LAN: IEEE 802.11 a/b/g/n/ac (2.4/5GHz band)
Bluetooth codecs: SBC/AAC/LDAC/aptX/aptX HD
Main features: USB DAC function, DSEE Ultimate, DSD remastering engine, DC phase linearizer, etc.
Continuous use time: FLAC/192kHz/24bit = approx. 35 hours with stereo mini jack / approx. 35 hours with balanced standard jack, DSD 5.6MHz/1bit = approx. 18 hours with stereo mini jack / approx. 13 hours with balanced standard jack
Connections: 3.5mm stereo mini jack, 4.4mm balanced standard jack, Type-C (USB3.2 Gen1 compliant)
Memory card: microSD/microSDHC/microSDXC
Dimensions/Weight: NW-WM1ZM2 = approx. W80.5 x H142.5 x D21.0mm (max.) / approx. 490g (including rechargeable battery), NW-WM1AM2 = approx. W80.5 x H142.5 x D20.8mm (max.) / approx. 299g (including rechargeable battery)
Asakura On March 25, the new Walkman models NW-WM1ZM2 and NW-WM1AM2 were released. We have heard that both have evolved in sound quality, so today we would like to ask you about the planning intentions and difficulties of the second-generation models.
Tanaka: Thank you very much. As you can tell from the model numbers, these new products are the successors to the NW-WM1Z and NW-WM1A, respectively.
The biggest difference is that the previous model was equipped with Linux OS, while the new model is equipped with Android 11 in response to the recent demand for streaming services and high-resolution/lossless support in Japan.
The previous two models were both released as part of the Signature Series, but from this year, the definition of the Signature Series has been tightened so that only one model in each category can be called a Signature Series model, and only the high-end WM1ZM2 is now positioned as a Signature Series model.
Asakura: Both the original WM1Z and WM1A were well received by users, so why did you decide to create a second-generation model at this time?
Sato: After the release of the WM1A and WM1Z, we launched the DMP-Z1, which was in a sense a flagship product. However, in terms of sound quality of portable players, I thought that both the WM1Z and WM1A could compete on equal terms with the DMP-Z1.
But recently, the music playback environment has changed dramatically, and we can no longer talk about music without streaming. That is one of the reasons why we began to think that it would be necessary to support the Android OS.
Tanaka: However, it was not a simple matter of just using Android as the OS. From our research to date, we strongly felt that for WM1Z and WM1A users, there was no point in releasing a successor unless the evolution of sound quality was the first priority, and that simply changing the OS was not enough.
Asakura Certainly, people who buy products in this price range are more likely to play files than streaming.
Tanaka: That is why we aimed for the highest sound quality as a portable player in the second generation model. For the WM1ZM2 in particular, we developed it based on the concept of "the ultimate portable player that allows you to enjoy all music sources at the highest quality," including streaming.
The first-generation NW-WM1Z on the left and the new NW-WM1ZM2 on the right, both with larger parts and a slightly larger body size.
Asakura: Could you tell us about the basic specifications of both models?
Tanaka: The basic specifications are the same, with the only difference being the internal memory capacity. The Hi-Resolution models can play back up to DSD 11.2 MHz natively and 384 kHz/32-bit linear PCM. It is the first Walkman with a "DSD Remastering Engine" that converts input signals to DSD for processing, and the latest version of DSEE, which complements compressed signals, is the "Ultimate" version.
In addition, as I mentioned earlier, streaming services are now supported, and the terminal for connecting to a PC or other device has been changed from the Walkman port to USB Type-C.
Another trend in the Corona Disaster is that more and more people are listening to their Walkmans at home. In response to this trend, we have enlarged the LCD screen to 5 inches so that it can be used comfortably at home. The pixel count is 1280 x 720.
Asakura: Does a larger screen mean a larger body?
Sato: It is one size larger than the first generation model, but the thickness is slightly reduced, making it easier to hold and more stylish.
Tanaka Some customers are concerned that the Android OS may affect the sound.
Asakura Are there that many users who are concerned about the Android OS?
Sato: Not so many in other countries, but there are a lot, especially in Japan.
The people who cooperated with us for this interview. Mr. Mitsuken Tanaka (left), Mobile Product Planning Department, Mobile Product Division, Home Entertainment & Sound Products Business Group, Sony Corporation; Mr. Hiroaki Sato (second from right), Mobile Product Design Department; Mr. Kazuhiro Sekine (right)
Sekine: There are two main points that users are concerned about.
The first is whether the hardware will produce noise. Of course, since digital processing is carried out at high speed, it is true that digital noise will be generated regardless of whether the device is Android or not. To deal with this, we adopted a design that separates the audio circuit from the digital block.
Also, many people are concerned that going through the Android OS will make the sound worse. It is true that there is a limitation that general Android devices cannot pass 384kHz/32-bit signals. However, we have adopted a dedicated bus design, so 384kHz/32-bit signals can be played without any problem.
Conversely, as an advantage, you can use high-resolution distribution applications such as Amazon Music and Apple Music. In terms of signals, 192kHz/32-bit playback is possible, and since they are distributed in high-resolution, we have taken care not to degrade the sound quality.
Asakura: The machined chassis of the WM1Z and WM1A also attracted attention.
Sato: We have inherited this point. Or rather, we finished it with even stronger attention to detail (laughs).
The chassis of the WM1ZM2 is machined from an oxygen-free copper ingot weighing approximately 2 kg, to which we added high-purity gold plating. The purity of the oxygen-free copper used in the previous WM1Z model was 99.96%, but this time it has been changed to 99.99%.
Asakura: It has evolved from 3N to 4N.
Sato After we made WM1Z, our mechanical engineer told us that 99.99% oxygen-free copper was also available. At that time, I thought the difference was only in two decimal places, but when I made a prototype housing for WM1Z, the sound was surprisingly different.
The body of the NW-WM1ZM2 is manufactured by machining it from a block of oxygen-free copper (left) (center). The one on the right is the one with gold plating added.
Asakura How can the sound change that much for a difference in purity of 0.01%?
Sato: Just by changing the chassis, even the sound balance was different, so we decided we wanted to use this for the next model. Since it is a chassis, it does not pass electrical signals, but it was interesting that it still had an effect on the sound.
Tanaka The amount of impurities was reduced to one-fourth, so that may have had some effect.
Sekine: For the WM1ZM2, the rear cover is also machined from an aluminum ingot. Since both the chassis and rear panel are machined, they are highly precise and look beautiful. Also, machining increases the amount of metal used, unlike stamping, so it is advantageous in terms of sound quality.
Asakura: It is truly perverse (?) to have even the rear panel machined. That's really perverse (?).
Sato: As part of our noise countermeasures, we covered the digital circuits, including the SoC, with oxygen-free copper plates. This also strengthened the ground.
Sekine: For the power supply, we have been using FTCAP capacitors for some time. This is a component originally developed by Sony for sound, and has now evolved into the third generation FTCAP3.
Sato: Finally, we were able to use a polymer capacitor with legs. Personally, I have wanted to use these high-quality sound parts for a long time, but until now I have not been able to find a suitable object.
We consulted with the manufacturer of the FTCAP this time, and they made a prototype. The sound was good, so we adopted it.
Rear panel of the NW-WM1ZM2. This panel is made of machined aluminum to achieve high rigidity.
Asakura: Does the condenser make a difference in the sound?
Sato: Yes, it does. Moreover, the manufacturer, for their own good, made the FTCAP3 in a slightly larger size than the one we were using before. I received the prototype after the design had been finalized, so I was worried about what to do with it.
But when we compared the sound, it was very good, so we checked the differences with the designers and project planners, and they were convinced to change the design (laughs).
Asakura So you changed the design once decided in order to use this condenser?
Tanaka We adjusted the bulge on the rear panel side and had it placed there.
Sato That would normally be impossible (laughs).
Asakura This is a very typical Sony decision. For a low-priced model, it would have been acceptable to compromise, but this is the flagship of the Walkman line, so all the best features should be used.
Tanaka Our customers have also told us that they don't want us to compromise on sound quality, even if it means making it bigger and heavier. Even so, we know that there are limits, so we have considered the best we can do while still being portable.
Asakura What other improvements have been made?
Sekine: We have fully adopted high-quality sound solder. We have always been particular about solder, but up until now, high-quality sound solder was used only for parts that were hand-soldered. But now we have finally succeeded in developing a high sound quality version of reflow solder that is applied to the board itself.
Asakura: So all the solder in the board circuit is now of high sound quality? This seems to have an effect on sound.
Sato: Gold is added to this high sound quality solder. The ratio of gold to be mixed also needs to be controlled in ppm units, and this is the result of a very detailed study.
The right photo shows the circuit board for various types of processing, and the digital block where the CPU and memory are located has an oxygen-free copper cutting cover (left photo) to improve ground stability.
Asakura: Why was it difficult to use reflow soldering until now?
Sekine: Reflow solder is used for mounting boards, so reliability tests are more stringent, and we cannot adopt it unless we can clear those tests.
Sato: Components with good sound are often difficult to use (laughs), but this solder was a rare case of a sound quality component that was both easy to use and had good sound.
Sekine: Incidentally, the DMP-Z1 has two clocks, one for 44.1 kHz and the other for 48 kHz, as before, but this time we have an ultra-low phase noise crystal oscillator with the electrodes of the crystal strip formed by gold vapor deposition.
Sato: This is a part that was first introduced in the DMP-Z1, and gold deposition was originally used to extend the life of the crystal oscillator. We thought it might possibly be good for the sound, so we tried it, and sure enough, the sound quality was improved.
Asakura: As a component manufacturer, I am sure you must have been happy to see this product adopted, since you would want a manufacturer who understands sound to use it.
Sato: This is only for the WM1ZM2, but we use KIMBER KABLE for the internal wiring.
The WM1Z also used Kimber Cable for internal wiring, but this time we were able to fit a cable of the same thickness as the MUC-B20SB1, which is available as a headphone accessory, into the chassis.
Sekine: We used an OFC cable for the WM1AM2, and this OFC cable was also selected after proper comparison listening.
*Continued in the second part
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