That was actually my feeling. I went back to the stock FW for a while on both the ZX300 and the WM1A. But I wasn't satisfied either because with most of my headphones, WM1A and ZX300 are really improved by WalkmanOne signature WM1Z.
With the stock FW, I felt like a very significant regression. After having also tested the other signatures, it is WM1Z that I prefer because it is the one that I find the most natural.
With Bright and Warm, I sometimes seem to perceive somewhat accentuated resonances (this is still what I noticed these last days while listening to various albums by Víkingur Ólafsson).
So I reinstalled WalkmanOne signature WM1Z on the 2 DAPs, choosing the MX3 region (J3 was not yet available) which, from my point of view, then offered the best mids. When I listen to locally stored tracks with the IER-Z1R, I use the DAP's equalizer. And when I listen to AppleMusic with my phone by activating the BT Receiver mode on the DAP, I also activate the Wavelet application, and I select the AutoEq intended for the Z1R (about 50% of the setting). I compared MX3 and J3 with the Z1R last night, and I think I finally preferred J3, for the same reasons I mentioned in my previous post.
The real question is perhaps that the signature of the Z1R no longer suits me perfectly today?
For now, I'm still amazed by the performance of the Z1R, their high resolution, and their high and wide soundstage like I've never encountered on any headphones. With live recordings, it's totally amazing (if you like the rock band The National, try listening to the album "Boxer Live in Brussels": you have the impression of being physically in the concert hall and feeling the vibrations in your whole body).
But from a sound signature standpoint alone, I ultimately think I prefer the tonal balance of the N3. But the N3 don't match the qualities of the Z1R when it comes to resolution, definition, transparency or the soundstage. What a dilemma!
I found the XBA-N3 to be quite the enigma. Fit was great, but there was way way too much bass for me in the beginning? I had no idea at the time I didn’t need to use the provided Hybrid Tips. Typically the black Sony Hybrids fit well, but the bore diameter seems to enhance the bass. Once I switched to wide bore tips I was on my way! Though that was a couple years after my purchase.
Also MrWalkman’s firmwares brought out the midrange into resolution and focus. With all the “tuning” adjustments provided the N3 was a new animal. Finally after years brought out into the front of my collection. Still it fell to 2nd place with the IER-Z1R doing everything special it does 2X better. I will agree the N3 is a breeze to wear, getting fit easy and right off the bat.
Still the IER-Z1R brings more to the table (IMO). The trick, I think is to somehow not judge, but enjoy each for their similarities and differences?
Another that has joined the fold is the EarSonics ONYX. At 561.00 it does everything the N3 does but on a larger scale, even to challenge the IER-Z1R for ear-time in my collection.
E was my original region. I found it too analytical, cold and accurate. Perhaps good for some, but not my cup of tea. Everything was elevated especially the higher frequencies.
E was my original region. I found it too analytical, cold and accurate. Perhaps good for some, but not my cup of tea. Everything was elevated especially the higher frequencies.
Same analysis. I also used Region E for a long time with the ZX300 because I felt it gave it some punch. But then, the switch to J allowed me to see how much E reduced the musicality of the DAP and produced with certain recordings an overly aggressive and cold reproduction, because of the impact on the higher frequencies.
I spent a lot of time last night listening to J3 and compared it to MX3 on my other 1A.
What I found is J3 fills out the low end, opens up the sound stage and brings the vocals and center part of the sound stage right into my head. With MX3 the vocals and center of the sound stage is recessed, pushed forward away from my head.
I also found it took some experimenting with the volume to hit the sweet spot in the sound on J3. Too low the soundstage is compressed, too high the highs start to get harsh.
This was using the Solaris 2020 and DHC Balanced Clone Silver cable.
I also found it took some experimenting with the volume to hit the sweet spot in the sound. Too low the soundstage is compressed, too high the highs start to get harsh.
What I found is J3 fills out the low end, opens up the sound stage and brings the vocals and center part of the sound stage right into my head. With MX3 the vocals and center of the sound stage is recessed, pushed forward away from my head.
I really like this test firmware in J3 region and WM1Z mode on my WM1A ..
As in Europe I won't go through WM1A or 1Z M2 as we don't have any chance to get an uncapped version, and it should take some time before it will be rooted and being able to install other region firmware => I decided to go with my old WM1A to Nayparm mods and see what happens.
I think, I will probably still use for some more years the WM1A with my Vision Ears EXT..
If, with all the capacitors mods, I can get even some little faster and cleaner bass impacts, it should be perfect for me. Maybe with the 4000mha battery, I can also reach nearly 40 hours Hires files playing time, like the WM1AM2 version.
What I found is J3 fills out the low end, opens up the sound stage and brings the vocals and center part of the sound stage right into my head. With MX3 the vocals and center of the sound stage is recessed, pushed forward away from my head.
It is exactly that. The soundstage with J3 seems more faithful to the conditions in which the recording was made. Large, open stage for live recordings in large concert halls. Stage more focused on vocals or soloists for studio recordings or live in smaller concert halls. Of course, this is only noticeable in recordings with a good sound recording. Conversely, other regions sometimes bring a spatialization effect that is a bit disconnected from the original recording.
Regarding the sound, you'd get improved caps for both the balanced and single-ended amps, bigger caps on the power supply part, plus another supercap, which would make more instant power available when needed by the amp. There's also better internal wires, as well as a bigger battery, allowing for up to ~50-60 hours of playback.
Changes are mainly concerning caps ... WM1A becomes nearer WM1Z in terms of hardware
Single Ended caps upgraded to Audio Note Standard
*Larger balanced out Audio Notes bicapped with Kemet ultra low ESR High Polymer caps.
Twin Supercharged! An additional SuperCap installed.
The very best Audio Note Kaisei and Audio Note Standard caps (16 Caps replaced + 8 Additional) The main power cap is 10 times the physical size of the stock cap, *balanced out caps are 12 times larger and the others 3
Changes are mainly concerning caps ... WM1A becomes nearer WM1Z in terms of hardware
Single Ended caps upgraded to Audio Note Standard
*Larger balanced out Audio Notes bicapped with Kemet ultra low ESR High Polymer caps.
Twin Supercharged! An additional SuperCap installed.
The very best Audio Note Kaisei and Audio Note Standard caps (16 Caps replaced + 8 Additional) The main power cap is 10 times the physical size of the stock cap, *balanced out caps are 12 times larger and the others 3
I would say that will all those caps replaced, including the power supply ones & the additional super cap, a WM1A would sound better than a WM1Z - of course, that is if the WM1A also uses the WM1Z sound, so it's a fair comparison.
Oh, got it! I actually had no similar issues with my MDR-1AM2. It's impressive, really, as the MDR-1AM2 can (at least sometimes) make the highs seem like a bit too much in a way.
I wonder how great would the Z7M2 would sound like... Unfortunately I had to sell them some time ago.
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