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 table of contents

2011holidaygiftguide 3

over-earheadphones 6
in-earheadphones 15
wirelessheadphones 24
headphoneamps 31
(& other gear)

summitfi 41

featurettes

powercorner 22
headphonecables 33
desktopaudio 35
portabledevices 39

don’t forget
the music page47
 introduction

2011holidaygiftguide 4

fall2011

Founder’s Letter
jude mansilla

We Head-Fi’ers aren’t easy giftees to shop for—at least not when it

comes to our audio gear. You want a Cypher Labs AlgoRhythm Solo for
Christmas? Your family will never remember what it’s called. You’ll
get socks.

So, fellow Head-Fi’ers, go through the guide, print out the pages with
the products on your holiday wish list, and leave them out for your
loved ones as hints of what you’d like to unwrap come holiday time.
It’s either that, or you’ll be adding to your tie collection. Again.

Seriously, though, I hope you enjoy the following holiday gift guide. It’s
in no way intended to be an encyclopedia of all the world’s headphone
hi-fi products, but, rather, a look at some of this community’s favorite
products for gift ideas—and, in most cases (unless otherwise
indicated), products I have direct experience using and listening to.

Best Regards,

Jude
Founder, Head-Fi.org
 over-ear headphones

Sony MDR-V6
Closed, full-size, on-the-ear headphone (around $65)
www.sony.com

If you’re wondering why this headphone is included in the guide, call it a bit of sentimentality from me--the Sony
MDR-V6 was the headphone that got me started on this long, winding headphone hi-fi journey back in the 1980’s.

Is it the best at the price? No, and hasn’t been in a long time. You can find headphones that isolate more, sound more
refined, have better detail retrieval, etc.

Yeah, it’s old, but it’s still a well-isolating, fun, bright, lively sounding headphone with good bass extension and
impact. The MDR-V6 and its pro-audio twin (the Sony MDR-7506) is still widely used in studios and on-location as a
pro monitoring piece.

This many years later, I still like the classic ol’ V6, and still feel comfortable recommending it from time to time.

Grado SR-60i and Grado SR-80i

Open, full-size, on-the-ear headphones (around $60 and $80, respectively)
www.gradolabs.com

Why have I listed both the Grado SR-60i and the SR-80i? Because, so often, SR-60i owners end up quickly upgrading
to the SR-80i.

After many years being happy with the Sony MDR-V6, the Grado SR-60 and SR-80 represented the next steps in my
Head-Fi journey. These entry-level Grado headphones have probably created more headphone audiophiles than any
other headphone models, for their affordability, for their accessibility at many audio retail locations, and for their lively
presentations.

The Grado SR-60i and Grado SR-80i sound immediately impressive, addictive, especially to those who aren’t already
grizzled Head-Fi veterans.

I’ve gifted several sets of Grado SR-60i and SR-80i headphones, and they’ve been met with great smiles and
enthusiasm every single time.

“The best thing about the Grados is that they don’t try to be a jack of all trades. They are absolutely stunning for what
they are; clear, detailed, bright, and aggressive Rock cans. As far as I am concerned the SR60i really is one of the
best all-around values in personal audio.”
Head-Fi member/reviewer ljokerl
 over-ear headphones

Sony MDR-ZX700
Closed, full-size, on-the-ear headphone (around $120)
www.sony.com

I hadn’t heard the MDR-ZX700 until very recently, and what I heard I really liked, so I predict it may end up on my personal
holiday wishlist. Its bass is energetic, yet controlled, which is a trait I don’t think is common enough in affordable closed
headphones. The MDR-ZX700’s mids and highs are resolving without being edgy.

If you’ve heard the Shure SRH440, but felt it on the colder side of your tonal preferences, then the Sony’s more authoritative
bass (and a slightly warmer tilt than the Shure) might be more your speed.

I consider the MDR-ZX700 a sort of modern spin by Sony on its classic Sony MDR-V6--a more current, affordable closed
headphone, and another classic in the making.

“The bass-midrange balance of the ZX700 is a bit better than that of the V6, making the transition appear smoother and
the general signature – more balanced. Indeed, I couldn’t think of a better term for the overall sound of the ZX700 than
‘well-blended’ as the sound signature really does sit better with me than the sum of its parts.”
Head-Fi member/reviewer ljokerl

Audio-Technica ATH-M50
Closed, full-size, around-the-ear headphone (around $160)
www.audio-technica.com

I’m including the closed-back ATH-M50 in this guide because it is a very strong
favorite in this price range with Head-Fi’ers, known for solid overall performance
at the price, with a tendency toward bass emphasis and sparkly treble. I see few
headphones recommended as often by our community, both for starters looking for a
good entry into Head-Fi’dom, as well as for seasoned Head-Fi’ers looking for a good
closed around-the-ear headphone.

“The ATH-M50 is one of those rare products where the quality/price ratio really hits
the sweet spot, and in fact is like a small miracle in the world of pro audio. When you
get Grammy Award-winning audio engineers and producers like George Massenburg,
Frank Filipetti, Al Schmitt, etc., singing its praises publicly, you know it’s got to be
something special.”
Head-Fi member/reviewer Rob Chang (Lunatique)
 over-ear headphones

Sennheiser HD 558
Open, full-size, around-the-ear headphone (around $190)
www.sennheiser.com

For a nice open-back full size headphone in this price range, Sennheiser’s HD 558 is one of the best choices I’ve come
across. Lightweight, and well padded, the HD 558 is among the most comfortable headphones I’ve owned (at any price),
and I’ve owned a lot of headphones.

And, thankfully, the HD 558 sounds as good as it is comfortable, projecting a wide, open sonic image. Though its bass
presentation is more on the neutral side, there’s still a sense of fullness down low. Smooth, yet with outstanding detail
overall, is how I’d characterize this headphone.

Creative Labs Aurvana Live!

Closed, full-size, around-the-ear headphone (around $70)
www.creative.com

Creative Labs has been discussed a lot on Head-Fi’s forums, particularly their audio/MIDI interface products. Of their
slew of headphone products, though, one routinely shines through with frequent member recommendations, and that’s
the Creative Aurvana Live.

“...the CAL!s are bass-heavy headphones with a very rich-sounding midrange and a warm tonality. However, the
Creatives boast better clarity in the (far less forward) midrange and a more dimensional sound - the soundstage has
some depth in addition to the width. They are more laid back and balanced and at the same time a little faster when
the music calls for it. The bass is textured, fairly well-controlled, and surprisingly deep (capable of dropping below 30Hz).”
Head-Fi member/reviewer ljokerl

Bose QuietComfort 15
Closed, full-size, active-noise-canceling, around-the-ear headphone ($299)
www.bose.com

The Bose QuietComfort 15 has the most effective active noise cancellation circuit I’ve yet used; and, for an active noise
canceler, this headphone sounds pretty good, too. If the amount of active noise attenuation is your primary consideration,
the QC15 would be my top recommendation—it’s uncannily good in this regard.

Musically, the QC15 sounds pretty good, but, if you’re used to high-quality headphones (like ones we more typically
discuss at Head-Fi in this price range), the QC15 is not likely to wow you with its musical output.

As a travel headphone, though--considering its combination of standard-setting active noise cancellation and good
sound (for an active noise canceler)--the Bose QC15 is an easy travel headphone recommendation.
Skullcandy Roc Nation Aviator and Skullcandy Mix Master Mike
Closed, full-size, around-the-ear headphones (around $150 and $250, respectively)
www.skullcandy.com

The Skullcandy Aviator (pictured below), in my opinion, is one of the coolest looking headphones on the head, even if it
takes a bit of youthful spirit to pull it off. I’m frequently asked about the Aviator when I wear it out-and-about, maybe more
than any other headphone. Sonically, I think the Aviator holds its own as a portable headphone, even at $150, with its
surprisingly even-handed presentation (especially surprising, considering Jay Z had something to do with it), and a nice
open sound. That openness comes at the expense of isolation, which the Aviator is devoid of (despite technically being a
closed headphone)--think of it as an open headphone in that regard.

The Mix Master Mike is a DJ-type headphone (designed in conjunction with its legendary DJ namesake), with a couple of
unique features. DJ’s often do one-ear listening, so the Mix Master Mike sums both channels to mono when either earpiece
is rotated for one-ear listening. The single-side headphone cable can be plugged into either the left or right earpiece.
And there’s a mute button.

Prominent (but not overwhelming) bass, good mids, and a softer treble, all combine nicely for an easy-to-listen to sound
signature that is modestly detailed. Isolation is good, but certainly not great. Overall, I think the Mix Master Mike is the
most refined sounding Skullcandy headphone so far. Build quality seems good, but rather plasticky in the hand. The Mix
Master Mike might be a tough sell, though, to Head-Fi’ers at $250, which is a price point at which many outstanding
headphones reside.

I visited Skullcandy’s headquarters this past summer, and mark my words when I say that Skullcandy will be one of the
companies to watch in 2012, as it continues its transition from a lifestyle brand to an audio brand.
 over-ear headphones

10

V-MODA Crossfade M-80

Closed, portable, on-the-ear headphone (around $200)
www.v-moda.com

V-MODA’s M-80 is quickly pushing its way into the Head-Fi

community’s collective psyche as one of the top choices for a
closed, portable, around-the-ear headphone (alongside the likes
of the Sennheiser HD 25-1 II and the beyerdynamic DT 1350).

The M-80’s sound signature includes rich, detailed mids,

accompanied by smooth treble response, and full bass (with
emphasis placed where I think any bass emphasis should be,
which is down in the deep-bass region). It’s a sound signature
that I think many audiophiles will find very easy to love, and with
enough of a down-low kick to also satisfy the more typical non-
Head-Fi’er consumer tastes. (I find most non-audiophiles tend to
prefer bass emphasis to neutrality.)

On sonics alone, I think the M-80 is entirely in HD 25-1 II and DT

1350 territory. That the M-80 sounds so good and looks so stylish
is a huge win. I think it’s a headphone that will force the makers
of its more conservatively styled (read: staidly styled) competitors
to take notice. With the M-80, V-MODA may be poised to have a
more serious impact on this fast growing premium headphone
market than might be evident on the surface. It certainly doesn’t
hurt that their over-ear headphones are all built like tanks (which
is obvious the moment you handle one); and that V-MODA’s
entirely unique style apes nobody else’s.

Watch V-MODA closely in 2012, as they’re serious about

becoming as respected in our circles as the likes of Sennheiser,
beyerdynamic, Sony, and other respected brands at Head-Fi.

“Packaging and accessories are brilliant. Build quality is top

notch and very fitting for a portable model. Comfort, a subjective
thing to be sure, is better (for me) than any similar type of
headphone I’ve ever tried. These things alone add up to a great
user experience, even if that was all the M-80s had going for
them... And then there’s the sound. Large, solid, impactful bass
that mostly stays well controlled. Warm, full mids that make any
genre seem engaging. And a smooth balanced top end that is
reasonably detailed but extremely forgiving of poor material or
equipment. I enjoy these. A lot. Even at home when I have plenty
of ‘better’ options, these are still fun to listen to. That seems
like a successful product to me.”
Head-Fi member/reviewer John Grandberg (project86)
 over-ear headphones

11

Shure SRH440
Closed, around-the-ear headphone (around $100)
www.shure.com

A closed-back, pro-audio-oriented headphone, the SRH440 has found popularity for studio use. However, many
audiophiles also appreciate its more neutral tonal balance, the SRH440 having none of the bass bloat that many of its
closed competitors have. Though a full-size headphone, it folds into a pretty compact, portable bundle.

At its street price of around $100, I think the Shure SRH440 is one of the better bargains in Head-Fi’dom, particularly
because it can be challenging to find a good, affordable, neutral-ish closed headphone.

beyerdynamic DT 1350
Closed, portable, on-the-ear headphone (around $300)
north-america.beyerdynamic.com

On sound alone, the beyerdynamic DT 1350 is my current favorite closed, portable around-the-ear headphone. Sonically, I
simply couldn’t expect much more from something this compact, as the DT 1350 sounds to me like a very good full-sized,
closed around-the-ear headphone. This little beyerdynamic also seems durable enough to easily withstand the physical
abuse of being crammed into my backpacks and messenger bags.

The DT 1350 is part of beyerdynamic’s new Tesla line (a new family of headphones with monstrously powerful magnets).
Though it was designed as a pro audio headphone, it still may be the most audiophile-friendly closed, portable around-
the-ear I’ve heard.

For portable use, it’s important to note that the DT 1350’s plug housing is rather large (more like a full-size headphone’s
plug); and that it does not come with portable-use accoutrements like inline remote or a headset mic. Yes, I’d love to
have those features at times, but, still, its sound quality currently puts the DT 1350 in my on-the-go bag more than any
other headphone. Put this headphone on your wishlist now, because the DT 1350 is regularly backordered.

Sennheiser HD 25-1 II and HD 25-1 II Originals

Closed, portable, on-the-ear headphone (around $180 to $250)
www.sennheiser.com

One of the all-time headphone hi-fi classics, the Sennheiser HD 25-1 II is still the top choice for a closed, portable on-
the-ear headphone for many Head-Fi’ers. It’s one of my all-time favorites in that category.

With robust bass, relatively neutral mids, and a lively treble, the HD 25-1 II is definitely on the fun side of the audiophile-
type sound signatures.

With an extremely tough build (yet still lightweight), the Sennheiser HD 25-1 II remains a popular DJ headphone for its
bombproof durability, outstanding isolation, and retro-hip utilitarian looks. And if you want one of the grooviest looking
portable headphone choices around, pick up the “Originals” version, which is a special adidas co-branded edition--same
headphone, but with very cool, sporty adidas blue stripes, cable, and pads.

“These cans are tried and true, with a great all-’rounder sound. Good energy throughout, the bottom end provides a nice
driving rhythm and the top end is tuned for just the right amount of shimmer with hi hats.”
Head-Fi member/reviewer Armaegis
over-ear headphones

12

Bowers & Wilkins P5 Mobile

and BlueAnt Embrace
Closed, portable, on-the-ear headphones ($299 and $199)
www.bowers-wilkins.com
www.myblueant.com

Another good around-the-ear passive isolator is the über-stylish Bowers

& Wilkins’ P5 Mobile. The P5 looks like something crafted by Swiss
watchmakers. The P5 is so luxurious that your fingers never come in
contact with anything but metal or soft leather.

And the P5’s style continues with its appearance when worn, its lines
elegant and graceful, but bold enough to be tastefully noticeable.

How does the P5 sound? It doesn’t quite have the sound quality and detail
of the top audiophile portables, but it still sounds very good, with a sonic
signature best described as smooth. The Bowers & Wilkins P5 does provide
extremely effective noise isolation (passively), inline controls and headset
microphone, and so is a fantastic, voguish travel headphone.

Following is a quote from my review of the Bowers & Wilkins P5:

“The P5’s artisanal materials, fit, finish and style make

for a headphone that many of its owners will be proud
to own. Its delicate lines and light weight belie its
vault-strong construction. Almost a year later, and I
still love handling and wearing the P5. Something this
gorgeous, this well crafted, does instill that sense of
pride of ownership that one might feel owning, say, a
beautiful wristwatch.”

That the stunning looking P5 is such a huge hit isn’t the least bit
surprising to me. I absolutely love this headphone, for what it is.
If $299 is just too much a stretch for you--but the allure of the P5 is too
strong to resist--consider the BlueAnt Embrace, which I suspect may have
been inspired by the P5.

From the standpoint of design, the Embrace looks like the P5’s more
conservative, less extravagant sibling. The leather used on the Embrace
isn’t as fancy or supple as the P5’s, but the Embrace’s padding in the
headband and earpads is more abundant, and super cushiony–its earpads
are like fluffy pillows. I have to give the Embrace the edge in comfort.

In terms of sound, I prefer the P5’s brand of smoothness to the Embrace’s,

although the Embrace’s warm signature (with mid-bass emphasis) and
reasonable level of detail is both pleasant and fun. For its first foray
into premium wired headphones, the Embrace is an impressive effort by
BlueAnt (a company known for its Bluetooth headsets).
 over-ear headphones

13

Fischer Audio FA-003

Closed, full-size, around-the-ear headphone (around $180)
www.fischeraudio.com

A very well-regarded, affordable closed headphone on Head-Fi.org, I’ve only heard the FA-003 briefly (and it made a great
first impression). While I await more personal experience with this headphone, here’s what veteran Head-Fi member,
reviewer, re-masterer LFF had to say about it:

“The actual sound of the FA-003 is very open and sounds like an open headphone design. However, the isolation is very
good. I was able to listen to music while my wife was asleep without even a single track waking her up from three feet
away. This is truly the best of both worlds. If you have heard an HD-600, then you know for the most part what to expect
from the FA-003. It has a very balanced, neutral sound without ever being sibilant or boomy.”
Head-Fi member/reviewer Luis Flores (LFF)

Koss PortaPro
Open, portable, on-the-ear headphones (around $40)
www.koss.com

There’s something--a certain je ne sais quoi--that makes Koss’ PortaPro timeless. It’s not just its looks, as looks alone
might render the mighty PortaPro dated (though there’s no denying its vintage aesthetic is part of its charm).

This is a bassy headphone, and its bass defines it--heavy, just shy of sloppy by audiophile standards, but always fun.
Despite its bassiness, the PortaPro still manages to sound coherent. Its mids and highs are good, but if you’re looking for
a mid-centric and/or bright headphone, you’re going to have to look elsewhere. Also, if you’re a detail freak, walk past the
PortaPro. Looking for fun sound on the go? And served up with retro-hip style? Put the Koss PortaPro on your list.

“I love the PortaPros for the uncompromising retro-throwback design and sound that just somehow feels like it would
have been right at home in the 80s.”
Head-Fi member/reviewer ljokerl

Sennheiser PX 90 and PX 200-II

Portable, on-the-ear headphones (PX 90 is open, PX 200 is closed. Priced around $30 and $90, respectively)
www.sennheiser.com

The Sennheiser PX 90 has a charming, no-frills design. With the simplest of headbands, affixed to which are equally
unadorned open earpieces, the PX 90 reminds me of the legendary (and equally stark) HD 414.

What you get for around $30 with the PX 90 is an elegant, well-balanced sounding headphone that’s great for on-the-
go use. If you’re a Head-Fi’er with several people on your gift list you’d like to introduce to Head-Fi’dom, the PX 90 is an
excellent, affordable choice.

The PX 200-II is an easy go-to for a portable around-the-ear headphone under $100 with a more neutral sound signature.
If you’ve found most portable around-the-ears too bass-heavy for you, put the PX 200-II at the top of your list, especially if
you want something ultra-portable. A closed, on-the-ear design, the PX 200-II provides good passive noise isolation, too.
 over-ear headphones

14

Phiaton MS400
Closed, portable, around-the-ear headphone (around $230)
www.phiaton.com

Phiaton makes some of the most striking looking headphones, and the MS 400 is, to my eyes, the most fetching of their
many eye-catching designs. In a world littered with faux carbon fiber, Phiaton elected to use real carbon fiber, along with
an abundance of striking Ferrari-esque red leather.

Fortunately, the MS400 also sounds good.

“I’ve worn dozens of different headphones to work in the past several years and none of them gathered as dense of a
stream of interest, comments, and compliments as the Phiatons do. But of course even in a portable set sound quality
should come first and the smooth and easy-going sound of the MS400 is very appealing in a portable. Like Ultrasone
and AKG, Phiaton seems to understand that bass notes are the first to get drowned out on a busy city street, and the
MS400 do a great job of compensating. Those in search of a more analytical signature should probably look elsewhere.
For an involving, convenient, and strikingly beautiful audio experience on the go, however, the Phiatons come highly
recommended.”
Head-Fi member/reviewer ljokerl

Sennheiser HD 600 and HD 650

Open, full-size, around-the-ear headphones (around $400 and $500, respectively)
www.sennheiser.com

Is there a more widely owned and lauded pair of headphones than the Sennheiser HD 6XX series in the world of high-end
audio? And all the acclaim for these headphones is absolutely deserved, earned over many years on the market. The
Sennheiser HD 600 and HD 650 both have sonic performance that can scale so far up in world-class rigs, I struggled with
whether or not to include them in the Summit-Fi (high-end audio) section instead.

Though detailed, both the HD 600 and HD 650 do not have the hyper detail that some of the newer breed of high-end
dynamic headphones have. Still, when I’m listening to them, I don’t find myself longing for more (even though I know
headphones like its successor flagship HD 800 can certainly give me more).

I think the magic of these headphones is that, in terms of detail and tonality, they can be like listening to good
loudspeakers, and there’s instant comfort in that. Some find this overly laid-back, but I’m not one of them.

As for what differentiates these two headphones, the HD 650 is the slightly warmer of the two, and yet I personally find it
more refined than the HD 600, especially in the upper registers. There’s no question that there are more similarities than
differences, so if you’re already straining your budget, you can feel comfortable choosing the HD 600.

In my experience, getting the best out of the HD 600 and HD 650 absolutely requires the use of good headphone
amplification, so make sure to feed ‘em right.

“I quite like the Sennheiser sonic signaure, which many people refer to as being relaxed, or veiled. I think of it as being
very smooth and non-offensive. The treble and upper mids never get fatiguing or too bright, and the overall tonal balance
is very good, with nothing sticking out or recessed in any of the frequency ranges.”
Head-Fi member/reviewer Rob Chang (Lunatique)
customin-ear 16 about Custom-Fit
In-Ear Monitors
universaliems 19 Like a bespoke suit, custom in-ear
monitors (IEMs) are made just for
you, molded to the exact shape of
your ears (usually by an audiologist).
And like a custom suit, custom IEMs
are exceptionally comfortable, and
usually trés expensive. To my ears,
the best custom IEMs are some of
the best sounding headphones of
any type currently available.

Whichever custom you choose,

expect to pay about an additional
$50.00 to get molds of your ears
made at a local audiologist (that you
will then send in to the IEM maker).

Ultimate Ears Custom In-Ear Reference Monitor

 in-ear (custom)

16

Ultimate Ears Custom In-Ear Reference Monitor

Closed, custom in-ear monitors ($999)
www.logitech.com/ue

As UE (Ultimate Ears) puts it, the three-drivers-per-side Customer In-Ear Reference Monitor is designed for “professional
studio engineers and producers for use during recording, mixing and mastering original music content. Other applications
include front of the house venue tuning, live recording and mixing. This is also an excellent product for ‘audiophile’ or
serious music listener because of its natural and authentic sound reproduction.”

Given that description, it shouldn’t be surprising that the IERM is the most neutral-sounding custom IEM I’ve heard. Both
bass extension and treble extension sound excellent to me, the entire audioband presented without emphasis. The IERM is
one of my neutral references.

Imaging is also one of its strengths, the IERM edging out most of the other custom IEMs I use, in terms of presenting a
convincing, cohesive soundstage.

If you’re in the market for a custom IEM, and pure neutrality is your goal, the IERM would be my first recommendation.

JH Audio JH13 Pro and JH16 Pro

Closed, custom in-ear monitors (starting at $1099 and $1149, respectively)
www.jhaudio.com

Only two years old, but already a legend, JH Audio’s JH13 Pro is coming up against several new competitors in the cost-no-
object custom in-ear monitor realm, but it’s still the first custom IEM I recommend for those who aren’t quite sure what
their preferred sound signature is. Why? Because I find most people prefer mildly emphasized bass, which the JH13 Pro
has, along with neutral mids and treble, and quite possibly unmatched treble extension in an in-ear monitor. The JH13 Pro
sports six balanced armature drivers per side.

The JH16 Pro is the go-to custom for those who want more strongly emphasized bass (emphasis that Jerry Harvey made
sure to tune way down low, as it should be, and in such a manner that it leaves the mids virtually untouched). The JH16
Pro--because of that perfectly executed bass emphasis--is my go-to custom IEM for air or train travel, as extra bass is
always welcome in the din of those environments.

Each JH16 Pro earpiece contains eight balanced armature drivers. Yes, eight. How Jerry Harvey coaxes complete
cohesiveness from that many drivers (and, trust me, he does) is one of Head-Fi’s great mysteries, as far as I’m concerned.
 in-ear (custom)

17

Westone ES5
Closed, custom in-ear monitors ($999)
www.westonemusicproducts.com

If your tonal preference is more toward neutral, but not entirely so, then Westone’s flagship five-drivers-per-side ES5 is a
fantastic choice. It is more neutral than the JH13 Pro, but with richer midrange than UE’s IERM. In terms of detail retrieval,
it is on par with the other flagships.

Other major selling points of the ES5 include its comfort and isolation. Westone’s ES series of custom IEMs all have the
Westone heat-activated “flex canal,” which makes my ES5 one of the most comfortable IEMs I’ve worn. That soft tip also
results in better isolation than most of my other custom-fit IEMs provide.

Also, Westone’s ES5 packaging is second-to-none, with a Pelican case, and a very cool dessicant cylinder fitted to the
interior of that case (to help keep your ES5 dry).

FitEar MH334
Closed, custom in-ear monitors (147,000 yen, or $1908 at the time of writing)
fitear.jp

I thought I was aware of all the top custom-fit IEM makers. On a recent trip to Tokyo, however, the gentlemen at Fujiya Avic
(a store every Tokyo-bound Head-Fi’er must visit) asked me to listen to a demo model of the FitEar MH334. To say the least,
I was impressed with what I heard. The next day, at the Tokyo Headphone Festival (which is put on by Fujiya Avic), I was
fitted for my very own custom MH334.

When it arrived, the build quality was the first thing I noticed, including the flawless bubble-free transparent main
earpiece bodies and the well-dressed internal wiring.

Wearing the MH334 revealed the best isolating custom-fit IEM I’ve yet used. I don’t know if its particularly outstanding
isolation is due to a perfect fit, something specific to the MH334’s construction, or both.

And the sound! Voiced by one of Japan’s top mastering engineers, the four-drivers-per-side MH334 is the best-sounding
IEM I have heard driven straight from my iPhone 4S (compared to others driven similarly), a nearly perfect blend of
revealing and smooth, impactful and balanced. I’m looking forward to also using it in a wide variety of externally-amped
portable rigs.

Currently available only direct from FitEar, the only negative I’ve got for the FitEar MH334 is its price, which, as of this
writing, translates to $1908! I’m hoping FitEar soon finds broader distribution, as they may be poised to shake things up in
the custom-fit IEM market, if this MH334 is any indication.
 in-ear (custom)

18

Unique Melody Merlin

Closed, custom in-ear monitors ($779)
www.custom-iem.com

I haven’t yet heard anything made by Unique Melody. But the guys from UM came all the way from Australia to exhibit at
2011 CanJam @ Rocky Mountain Audio Fest in Denver; and several people whose ears I trust did listen to their demos in
Denver and told me very good things about what they’d heard.

I felt compelled, then, to search the forums to see how Unique Melody was faring within our community, and the answer is
very well, to say the least.

One of their products that I find fascinating, in concept, is the Merlin custom-fit IEM. Sporting a driver combination I think
is entirely unique to it, the Merlin has five drivers per side, four of which are balanced armatures, and one of which is a big
dynamic driver. The Merlin is promoted as “a bit of a sidestep from [Unique Melody’s] house sound signature and heads on
into the world of unabated fun.” The dynamic bass driver takes things down to 10Hz.

At RMAF, one of my buddies, grinning big, said of the Merlin, “Did you hear the bass on those things?!” I didn’t, but I’ll be
sure not to miss it next time.

“This high end hybrid custom delivers on its promise of outstanding bass performance with very natural and well
balanced mids and highs. Soundstage is phenomenal and the entire presentation is somewhat unique.”
Head-Fi member/reviewer John Grandberg (project86)
 in-ear (universal)

19

Spider realvoice
Closed, in-ear, vertical earphone (around $90)
www.spidercable.com

The first time I heard the realvoice was at the recent CanJam @ Rocky Mountain Audio Fest, and I have to admit I was
surprised. I know Spider’s initial line of business was cables--HDMI cables, audio/video cables, and even some little odds-
and-ends accessories. I assumed the earphones were just a me-too endeavor. However, in a meeting with Spider’s Ronny Tsai,
he indicated they’re serious about our space. A prototype he let me listen to (any details of which I can’t yet discuss) was
outstanding, and convincing proof to support that Spider is doing far more than just dipping its toes in headphones.

As for products currently available, the Spider realvoice earphone is an impressive start, even at $90. Its largish appearance
gave me pause at first, but it turns out I was able to get an easy, firm fit from the get-go. And the sound? Smooth, but with
good detail, and definitely some bass emphasis, the overall tilt being on the warmer, fun side. And I was surprised by its
soundstage, which was actually quite impressive for a $90 in-ear.

Monster Cable Turbine Pro Copper

Closed, in-ear monitor (around $400)
www.monstercable.com

If you’ve only listened to Monster’s Beats line of headphones, you haven’t heard the best headphones Monster has to offer. In
my opinion, this one’s their best. I call it simply “the Copper,” and this dynamic-driver-type IEM is very good, especially if you
like bass emphasis (which the Copper does well), and a fun, lively sound signature.

The Monster Turbine Pro Copper comes with a lot of eartips, and I strongly suggest you try them all, as the signature can
change, depending on the fit. I have the best luck with the hybrid foam/silicone tips.

Though it’s the most neutral sounding of the Monster IEMs I’ve tried, the Copper is not neutral. When the fit is right, the
Copper--which uses a single, dynamic driver per side--has a bass-emphasized response, with that emphasis mostly down
in the low-bass region (where I prefer any bass emphasis to be). The overall tonal balance tips to the warm side, but then
there’s a treble lift that gives some sparkle.

This is one of my fun-signature universal-fit IEMs. I find it very musical, even if it’s not the most revealing, most reference-
class IEM. It doesn’t surprise me one bit that it’s a popular IEM choice at Head-Fi, and more popular here than any of
Monster’s other products. Though I prefer the Copper, if you want a little more warmth (and even more bass boost) try the
Monster Cable Turbine Pro Gold version.

“You can throw whatever you want at it and it won’t blink twice. Trance, rock, pop, country—the Coppers handle them just
fine. With that kind of versatility to go along with a popular signature I have no doubt that these will be liked by many.”
Head-Fi member/reviewer rawrster
Westone 4
Closed in-ear monitor (around $450)
www.westonemusic.com

The Westone 4 is one of my favorite universal-fit IEMs (in-ear monitors),

especially when I’m looking for a more tonally flat sound signature. And the
4’s detail retrieval is outstanding from bottom to top.

Across the audioband, the Westone 4 does not provide any specific area of
emphasis, and certainly no over-emphasis. Bass extends low, but without any
extra weight imparted by the 4. Though detailed throughout, I find the the
4’s midrange detail to be one of its greatest strengths—again, without any
emphasis imparted to achieve it. The treble balance is also excellent, with
enough to provide some sparkle, but never enough to impart any edginess.

The 4 also is very comfortable to wear, with a surprisingly compact chassis

(considering there are four drivers per side). Like Westone’s other universal
fit IEMs, it sits very flat in the ear, which results in an IEM that can be worn
while laying your head down.

Put the Westone 4 at or near the top of your list if you’re looking for a more
neutral sound signature, but look elsewhere if you prefer tonal emphasis of
any kind (like bumped-up bass), as that’s not what this IEM is about.
in-ear (universal)

21
 Portable Headphone Amps Designed for IEMs
www.ttvjaudio.com www.headamp.com www.raysamuelsaudio.com

featured portable amps

(from left to right)

Ray Samuels Audio Shadow

Headamp Pico Slim
TTVJ Slim

In-ear monitors (whether universal-fit or custom-fit) often have a couple of things in common: high sensitivity and
good isolation from ambient noise. This presents an interesting challenge to those devices driving them.

Whether an external headphone amplifier or the built-in headphone output of your digital audio player (be it a
dedicated portable media player or smartphone), many IEMs will quickly reveal any noise in the audio chain, as well
as any channel imbalance (especially at the lowest part of the volume range).

Three of most popular designed-for-IEM portable headphone amps in the Head-Fi community are the TTVJ Slim
($349), HeadAmp Pico Slim ($399), and the Ray Samuels Audio Shadow ($395). These amps maintain
perfect channel balance at any volume level, and virtually background-noise-free performance. All three of these
portable amps accomplish this with the use of stepped volume controls and special attention to low circuit noise.

“ [The Pico Slim] is a very smooth and refined sounding portable, without any edge or grain, and good extension in
the bass and treble.”
Head-Fi member/reviewer HeadphoneAddict
 in-ear (universal)

23

Phonak Audéo PFE 232

Closed, in-ear monitor ($599)
www.audeoworld.com

Swiss-engineered, with custom-spec, balanced armature drivers, the dual-driver Audéo PFE 232 may surprise a lot of
people. For starters, it’s $599, which puts it squarely in the category of very expensive, as far as universal-fit IEMs go. Still,
I expect a lot of people who hear the PFE 232 will find its performance justifies the price.

How does the PFE 232 sound? That’s sort of a trick question, as one can customize the sound of it by swapping out three
different sets of passive filters (included). The green filter provides extra bass, the black filter enhances perception of bass
and treble, and the gray filter (which comes installed) is for enhanced perception of the mid-frequencies. I prefer the gray
filter (it’s the most even-keeled of the three). Whichever you choose, you get a different flavor of what is unquestionably the
best dual-driver universal-fit IEM I’ve yet heard--detailed, delicate, yet fun.

How does one justify a universal-fit IEM that gets into custom IEM price territory? The outstanding fidelity of the PFE
232, combined with the flexibility of the filter system (which means you’ll have a greater chance of finding your preferred
signature), makes it a compelling choice, even at the price.

Shure SE425
Closed, in-ear monitor (around $300)
www.shure.com

Many a veteran Head-Fi’er has cut his teeth on high-end in-ear monitors with Shure. Among the first to push multi-
armature IEMs into the mainstream, Shure’s latest generation SE in-ear monitors are outstanding.

As far as performance for the price, the sweet spot of the line is, to me, the SE425. For around $300, the SE425 serves up
a decidedly audiophile-friendly signature, with its specialty being the sweet and detailed midrange that Shure has become
known for. Bass extension and impact is good, and on the more neutral side. Treble is good, but some (including me) might
find it could use just a touch more sparkle.

The SE425 is very comfortable, and I really like the detachable cable, and the cable plug’s 360-degree swivel (which helps
prevent annoying cable twisting). I like my SE425 so much I ordered a custom Moon Audio Silver Dragon cable for it.

Etymotic ER-4PT
Closed, in-ear monitor ($299)
www.etymotic.com

Ask the most veteran Head-Fi’ers what their first good in-ear monitor was, and the answer you may get back more than any
other would be the Etymotic ER-4 (either the ER-4S or the ER-4P). The latest version of the ER-4 from Etymotic Research is
the ER-4PT. With a single balanced armature driver per side, the ER-4 is, in the opinion of many experienced audiophiles,
one of the standards (of any type of headphone) for neutral tonal balance. You want booming bass, extra sparkle in your
treble, or extra-rich mids? Look somewhere else.

Also, if you like the maximum amount of isolation from ambient noise, the Etymotic ER-4--with the included triple-flange
tips--are rated for 35dB to 42dB of isolation. I don’t know of any other IEM (universal-fit or custom) that provides more
isolation from outside noise. The ER-4PT is simply a modernized version of the legendary Etymotic ER-4, from the company
that started so many audiophiles (including yours truly) down the road of high-end in-ear monitors.
 in-ear (universal)

24

HiFiMAN RE-262
Closed, in-ear monitor ($149)
www.head-direct.com

The HiFiMAN RE-262 has a somewhat unorthodox look, and an even more unique sound signature. Rich and sweet, the RE-
262 has magical midrange, and an eminently musical quality that I think many would find immediately seductive. The bass
extension is good, but some may find it on the lighter side. The RE-262’s treble is nicely textured and smooth. But, again,
that midrange--the emphasis there lends a lusher tint to the overall presentation, and I love it. It’s like a little taste of tube
sound--liquid single-ended triode tube sound--somehow packaged into diminutive IEMs.

Though the RE-262’s chassis looks rather different from most of the IEMs on the market, you get used to it quickly, and it is
very easy to insert into your ears. I also find the RE-262 very comfortable for long-term wear.

Keep in mind that though the RE-262 isolates, I don’t find it to block ambient noise as well as much of its IEM competition.
If you were under the impression that
there was no such thing as good wireless
headphones—let alone outstanding
ones—then connect yourself to your music
only via the ether tether of the following
headphones. You’ll be amazed.

(And one of them is my choice for 2011

Head-Fi Product of the Year.)

featured sennheiser rs 220

 wireless headphones

26

Sennheiser MM 450 Travel

Closed, on-the-ear, portable, wireless Bluetooth headphone (street price around $450.00)
www.sennheiser.com

My experience with stereo Bluetooth headphones had not been at all encouraging until I came across the MM 450 Travel. This
feature-packed closed-back headphone is easily the best sounding Bluetooth stereo headphone I have ever heard. No, you won’t
mistake it for Sennheiser’s flagship HD 800, but you also won’t believe your music is being piped to you through Bluetooth.

The MM 450 also has very good active noise cancellation (no, not as good as the Bose QC15’s noise cancellation, but still very
good), can be used passively (via an included cable) when the battery dies (or when you’d rather not drain its rechargeable
battery), includes a very nifty TalkThrough feature that allows you to hear the world around you (using its built-in stereo
microphones), can be used as a Bluetooth headset, and has control buttons with which to easily control your calls and music.

I’ve logged many thousands of miles of travel with the Sennheiser MM 450 Travel, and it has been fantastic for use on buses,
planes and trains. Of all the active noise-cancelers that Sennheiser currently offers, the MM 450 Travel offers the best balance
of portability, utility and sound, in my opinion.

(We discussed the Sennheiser MM 450 Travel in Episode 007 of Head-Fi TV.)

Sleek Audio CT7 W-1 Wireless Custom

Closed, Kleer wireless, custom in-ear monitors (starting around $800)
www.sleekaudio.com

Until I heard the Sennheiser RS 220, the best-sounding wireless headphones I’d heard all used Kleer wireless technology. I’ve
heard a prototype of Sleek Audio’s universal-fit in-ear Kleer wireless system, and it was extremely impressive--and that was a
few years ago.

A Sleek Audio Kleer wireless system is now available with Sleek Audio’s CT7 custom-fit in-ear monitor earpieces. The CT7 has
been well reviewed on Head-Fi (in both wired and wireless setups), and Sleek has had a few years since last I heard their
prototype to further refine their wireless rigs. A wireless custom-fit IEM? C’mon now, how can I resist? The next time I talk about
the CT7 W-1, expect it to be from personal experience.

NOTE: For the CT7, expect to pay about an additional $50.00 to get molds of your ears made at a local audiologist (that you will
then send in to Sleek Audio).
 wireless headphones

27

Sennheiser RS 220
Closed, around-the-ear, wireless headphone (around $599)
www.sennheiser.com

If I had to choose a Head-Fi Product of the Year for 2011, the Sennheiser RS 220 would be it. This
headphone is a remarkable feat of engineering--a solid bridge between wireless freedom and wired fidelity.
If this was easy to do at a reasonable price, it would have been done before, many times over--and that
hasn’t happened, because it most certainly is not easy to do. Not surprisingly, it took Sennheiser to do it.

Prior to the RS 220, Sennheiser made valiant strides toward this end, especially with the RS 170 and RS
180, both impressive Kleer-equipped wireless headphones (and both still available). Impressive as the RS
170 and RS 180 were, however, they were a different flavor of awesome, that flavor being outstanding-for-
wireless headphones; whereas the RS 220 is an outstanding headphone, period, even by wired standards.

The RS 220’s low-latency, bit-perfect wireless transmission means full preservation of dynamic range, and
this probably helps explain one area (but certainly not the only area) the RS 220 simply outclasses all other
wireless headphones--diaphanous, delicate detail. It’s macrodynamic abilities are also outstanding, but
keep in mind that the RS 220 maxes out at 106 decibels (which is plenty high enough for me, and I certainly
hope for you, too).

The RS 220 has fast become my most-used full-sized over-ear headphone, as it gives me the freedom to
move around my home office area, moving from my desk to my chaise to my sofa, with fidelity that evokes
the sound of a nicely driven Sennheiser HD 600.

After so many years of expecting this kind of sound only from wired headphones, I still find myself motioning
with my hands to move the non-existent headphone cables out of the way as I adjust my seating position.
And I still regularly take the RS 220 headphone off my head when I get up from my office chair, forgetting it’s
wireless. That’s why the Sennheiser RS 220 is my pick as 2011’s Head-Fi Product of the Year.
sennheiser rs 220
desktopamps 30 Headphone amps &
Other Head-Fi Gear
budaudac 31 There is a lot of other gear
discussed by Head-Fi’ers other than

portableamps 32 headphones, including amps to

power those headphones, digital-
to-analog converters (DACs), other
source components to feed the amps
that power those headphones, other
audio accessories, and occasionally
even loudspeakers for when we don’t
feel like listening to headphones.

woo audio WA5 and schitt audio valhalla

 headphone amps & gear

30

Desktop Headphone Amplifiers

At 2011 CanJam at Rocky Mountain Audio Fest, I plugged the Audeze LCD-3 into the solid state Apex HiFi Audio
Butte ($495), www.ttvj.com, and smiled big. Physically, the Butte is unimposing. Aesthetically, it’s unassuming.
Sonically, it drove the LCD-3 beautifully and transparently, allowing the new Audeze flagship do its thing,
unembellished, unencumbered.

Several Head-Fi’ers were gathered ‘round it at one point, toward the end of the show, and every single one of us walked
away impressed by the combo. Knowing that the LCD-3 was in my immediate future, I knew the Butte had to be, too, so
I ordered one on the spot.

Another affordable desktop amp I use and recommend is the Schiit Audio Valhalla ($349), www.schiit.com,
which is a Class-A, single-ended triode amp. It’s an affordable trip into beautiful tube sound, and with good flexibility,
supporting headphones with nominal impedance of 32-600 ohms.

In the context of the Sennheiser HD 800 (which itself is priced at around $1500), we have to adjust the definition of
“affordable” a bit. With that in mind, the best affordable tube amp I’ve used with the HD 800 happens to be the Ray
Samuels Audio Raptor ($1175), www.raysamuelsaudio.com. This is a glorious pairing, and I’ve brought it with
me to two CanJam at RMAF events to let others hear it, too.

On of the best tube amps I’ve heard, in a variety of rigs, is the Woo Audio WA 5 LE (starting at $2500), www.
wooaudio.com, a two-chassis, single-ended triode, transformer-coupled, Class-A headphone amp that uses the
venerable 300B tube. I personally love the sound of a great 300B amp, and the WA 5 LE is a great 300B amp. Though I
don’t have one yet, that may have to change. As is customary with Woo, the WA 5 LE uses point-to-point wiring.

One of the most acclaimed cost-no-object high-end amps on Head-Fi has been the Eddie Current Balancing
Act ($3950), www.eddiecurrent.com, a fully-balanced tube headphone amp and preamp that also uses 300B tubes.
Many seasoned Head-Fi’ers consider the Balancing Act one of the best amps available at any price, and my experience
with it (at shows) makes it obvious why. At the most recent CanJam at Rocky Mountain Audio Fest, I heard the
Balancing Act paired with the Audeze LCD-2 for the first time, and that rig was simply out of this world.

The Balancing Act is also one of the most beautiful headphone amps on the market, that can’t even be fairly described
as simply retro. The chassis lines, the old-fashioned control knobs and indicator lamp--combined with the prominently
placed vacuum tubes--result in a look at seems very completely from another era. Simply gorgeous.

While we’re on the subject of gorgeous amps--and returning to solid state--the SPL (Sound Performance Lab)
Phonitor (around $2150), spl.info, might very well be the best-looking solid state headphone amplifier on the
market. Fortunately, it has the performance to match, being one of only a couple of solid state amplifiers I’ve used that
I feel matches well with the HD 800. Pictured at right.

The Phonitor also has the best, most comprehensive, tonally neutral crossfeed I’ve yet used. Its crossfeed flexibility
puts the Phonitor at the forefront of headphone imaging coherence and accuracy, and it’s an amp I may have to add to
one of my reference systems. (We discussed the SPL Phonitor in Episode 009 of Head-Fi TV.)

Another fantastic solid state headphone amp--and my current personal reference amp to use with the HiFiMAN HE-500,
Audeze LCD-2 and LCD-3--is the fully balanced Ray Samuels Audio Apache ($2995), www.raysamuelsaudio.
com. (The Apache is also a preamp.) Though it works well with a great number of headphones, driving those particular
planar magnetic models seems to be the Apache’s forte--like it was made especially for them.
 headphone amps & gear

31

HeadRoom BUDA + UDAC Package

Desktop, fully-balanced headphone amplifier and DAC combo
($2679 as a system; or, individually, $1699 for the Balanced Ultra Desktop Amp, and $1199 for the Ultra Desktop DAC)
www.headphone.com

HeadRoom has been a part of several personal headphone hi-fi milestones in my life. Back before Head-Fi.org even existed,
I won a HeadRoom-sponsored contest that supplied me with my first high-end headphone rig (HeadRoom Max headphone
amplifier and Sennheiser HD 600 headphone). Soon after I started Head-Fi.org, HeadRoom was the first company to offer
sponsorship support. And when I was still of the mind that computer audio wasn’t worth my time, Tyll Hertsens (founder of
HeadRoom and now of InnerFidelity) stopped by my office with one of HeadRoom’s first high-end USB DAC products, which
convinced me to delve into computer audio (and from which I’ve not looked back).

As we approach 2012, and more than ten years into Head-Fi, HeadRoom still has it goin’ on. The latest BUDA + UDAC
combo is an outstanding rig, and can drive most any headphone beautifully, authoritatively. Their early roots in the USB
DAC game have proved fruitful, and their latest DAC is now engineered around the ESS9018 SABRE DAC/processor. The
result is an ultra-resolving DAC that has impressed me whenever I’ve heard it in meet conditions (and which I really should
spend time with in my personal systems).

As for HeadRoom’s amps, there are few companies who can claim deeper roots in headphone amp design and engineering
than HeadRoom. From HeadRoom’s description of the BUDA:

“ The Balanced Ultra Desktop Amp incorporates our best Max electronics modules employing Burr-Brown OPA627 within
buffer and summing stages plus a Walter Jung Diamond Buffer-based discrete component output power amp stage
lovingly hot-rodded and tweaked by HeadRoom audio engineers. All active amp stages are fully biased into power-hungry
Class-A operation, resulting in spectacularly smooth, intensely high-definition natural sound reproduction.”

And that is the hallmark of HeadRoom’s amps, in my experience: An ease and naturalness that only the best solid state
amps, or good tube amps, tend to exhibit.

If you know the people at HeadRoom, you know they have an intense passion for what they do (and loads of fun doing it),
and it shows in their products. That passion is part of what makes HeadRoom one of the legendary marks in our space.

(I still have that HeadRoom Max I won in the contest; and more than ten years later, its still an impressive piece.)
 headphone amps & gear

32

Portable Headphone Amplifiers

It seems there are infinite choices now, when it comes to portable headphone amplifiers. The portable amp I’m
most impressed by at the moment is ALO Audio’s upcoming Rx Mk3 ($650), www.aloaudio.com, which is a
fully balanced, portable beast of an amp, and the first to challenge the Ray Samuels Audio SR-71B ($650),
raysamuelsaudio.com, in terms of the ability to authoritatively drive any dynamic headphone, up to and including the
HiFiMAN HE-6. I had an early prototype of the Rx Mk3 here for a while, and did not want to return it. Subsequent listens
to later prototypes at CanJam @ RMAF, and then the Tokyo Headphone Festival, have shown it to be increasingly refined
as it approaches its production state.

In addition to its revealing sound signature, and having extraordinary driving power for a portable amp, the Rx Mk3
adds a very well implemented bass control. I don’t know the exact specs of this bass control yet, but it was extremely
effective and refined (it was great for giving thinner-sounding headphones more low-frequency body), and it only
seemed to have an effect on bass, leaving the mids alone. This is one of the products I’m eagerly awaiting, and I
already have an order in.

CEntrance’s DACport ($400), www.centrance.com, is an ultra-portable Class-A headphone amp and USB DAC,
powered entirely by USB bus power. About the size of a partially smoked Double Toro cigar, the diminutive DACport
yielded one of the lowest (if not the lowest) jitter measurement ever published in a Stereophile review (that I can recall
anyway, and I’ve been reading Stereophile for a long time)--amazing. I’ve heard the DACport on many occasions, and
it’s fantastic, and is certainly unique in its form factor.

Practical Devices’ XM6 (starting at $395), www.practicaldevices.com, is my current go-to portable amp/USB DAC
combo. Its list of features is almost too long to list here, but includes adjustable crossfeed, bass boost, treble boost,
output impedance adjustment, adjustable gain, media control dial, and more. The USB DAC section is also very good
for something of this size (I ordered the Wolfson WM8741 upgrade option). We discussed the Practical Devices XM6 in
Episode 002 of Head-Fi TV.)

If you’re in need of even more affordable portable amp/DAC solutions, make sure to check out the offerings from
iBasso (www.ibasso.com), and FiiO (www.fiio.com.cn), both of which offer a strong selection of outstanding value-
priced portable amps and amp/DAC combos.
 universal cables

33

One of the most popular modifications Head-Fi’ers make to their Mini plugs, 1/4” plugs, dual 3-pin XLR, the proprietary plug
high-end headphones is to replace their stock cables. Headphones required for use with the SR-71B / Rx Mk3—I use all of these.
with removable cables—like the HD 800, HD 6XX, LCD-2/3, HE Every replacement headphone cable I order from now on will be the
Series planars, and many others—are just begging Head-Fi’ers to universal adapter-end type.
go for that easy upgrade.
(See next page for photos.)
The Head-Fi’ers’ desire to recable--combined with the fact that
many Head-Fi’ers also own several different kinds of amps—led
companies like ALO Audio (www.aloaudio.com) and Moon Audio
(www.moon-audio.com) to come up with universal headphone
cables that have detachable adapter ends that allow the heaphone
to be used with just about any amp made without having to swap
out the main cable.
 desktop audio

35

“No in-ear or full

sized headphone
images as
naturally as the
Imagine mini.
The mini resolves
dynamic shading
better than
headphones,
and you feel
more viscerally
connected to
music over
speakers.”

PSB Imagine mini loudspeakers

Audioengine P4 loudspeakers and Audioengine’s N22 amplifier

 desktop audio

36

Desktop Audio (Yes, Loudspeakers!)

Even Head-Fi’ers occasionally hang up their headphones and want to listen to loudspeakers from time to time. CNET
Audiophiliac blogger Steve Guttenberg recently reviewed the PSB Imagine mini loudspeakers, www.psbspeakers.com,
on Head-Fi.org. You can read the complete review by clicking here. About the PSB Imagine mini speakers, Steve said:

“...no in-ear or full-size headphone images as naturally as the Imagine mini. The mini resolves dynamic shading better than
headphones, and you feel more viscerally connected to music over speakers.”

The PSB Imagine mini loudspeakers start at $760/pair, and require a separate amplifier to power them (they do not have
built-in amplifiers).

I recently bought a Bowers & Wilkins Zeppelin Air ($600) iDevice dock with AirPlay (www.bowers-wilkins.com), and
to say I’ve been using it a lot would be an understatement. Being able to hop on iTunes on any of my Macs, or on any of my
several iDevices, and wirelessly stream music (losslessly) to the Zeppelin Air is killer. It is the best-sounding iDevice dock I’ve
yet heard, and it can play loud, with 150 watts of total amplification (each of the five drivers with its own amplifier).

The biggest downside of the Zeppelin Air for me is the lack of flexibility that comes with a single-chassis unit. Obviously, the
speakers can’t be separated to improve imaging. And I find the Zeppelin Air needs to be placed farther from the wall than a
lot of shelves might allow, otherwise it can be rather boomy sounding.

I also have the tiny Bowers & Wilkins MM-1 ($499) active (self-amplified) loudspeakers on my desk at my home office, and
they sound beautiful. They do not, however, play very loudly, which is fine for me, because I rarely listen at high volume levels.
Also, despite being so small, they manage to sound surprisingly full—just don’t expect deep bass. As little desktop nearfield
monitors, the MM-1 system is wonderful, with nice, neutral mids, and a surprisingly refined treble.

At my office can be found the Audioengine P4 loudspeakers (starting at $249 a /pair), audioengineusa.com, and
Audioengine’s N22 amplifier ($199). This system is not as refined sounding as the Bowers & Wilkins MM-1, but it still
sounds very good for the price, and it plays much louder, and has deeper, more impactful bass. The N22 has the added
benefit of a built-in headphone output, so, in addition to being very affordable, it’s also very Head-Fi-friendly! For the price,
this Audioengine P4/N22 system is easy to recommend.
“...a fully upgradable DAC, featuring
32-bit D/A conversion, a fully discrete
analog section, and a sophisticated
bit-perfect clock management
system, together with one of the most
advanced asynchronous USB 2.0
input sections available, as well as
SPDIF coaxial and optical inputs, all
with 24/192 capability.”

schitt audio bifrost

 desktop audio

38

Digital-to-Analog Converters (DACs)

Lavry Engineering (www.lavryengineering.com) sent me a LavryBlack DA11 ($1480)
a couple of years ago to demo, and I was so impressed I ended up buying it. When I
finally tired of carrying it to my office and back, I bought a second one.

Lavry gear is used in some of the most prestigious recording and mastering studios in
the world, and using the DA11 reflects that, in terms of its no-frills aesthetics, utilitarian
operation and, most importantly, in its transparency and sonic performance.

The DA11 also has a very unique feature called PIC (Playback Image Control), which
allows the left-right manipulation of each stereo channel in the digital domain, with
minimal to no effect on tonal balance. For headphone users, this means PIC can be
used as digital crossfeed, and I use it frequently, especially when listening to stereo
recordings with heavily exaggerated left-right panning.

The DA11’s inputs include XLR, USB, RCA (coaxial) and optical (Toslink) digital inputs,
and accepts input sample rates between 30kHz and 200kHz (though the USB input is
limited to 96kHz). Analog output is fully balanced, but the DA11 comes with nice Neutrik
adapters for those who need single-ended outputs. It also has a discrete headphone
output, which is actually quite good.

Other nice DACs to consider include the new Schiit Audio Bifrost (www.schiit.com),
which, according to Schiit, is “a fully upgradable DAC, featuring 32-bit D/A conversion, a
fully discrete analog section, and a sophisticated bit-perfect clock management system,
together with one of the most advanced asynchronous USB 2.0 input sections available,
as well as SPDIF coaxial and optical inputs, all with 24/192 capability.” With USB input,
the Bifrost is $449, without USB it’s $349.

I heard the Bifrost at 2011 CanJam at Rocky Mountain Audio Fest, and was floored by the
performance for the price. And, yes, I have one on order.

Antelope (www.antelopeaudio.com) is well-known in the pro audio world for its

Isochrone 10M master clock, which has a Rubidium core—yes, a built-in atomic clock.
For Head-Fi’ers, Antelope’s Zodiac DACs are getting a lot of attention. No, they
don’t have atomic clocks built in, but the Zodiacs do have oven-controlled clocks for
thermal regulation and greater clock precision. The base Zodiac model (around $1700)
has a 24/192 D/A converter, with USB support up to 96kHz. The Zodiac+ and Zodiac
Gold models (around $2495 and $3995, respectively) add a greater variety of inputs and
outputs, with the Zodiac+ supporting USB up to 192kHz, and the Zodiac Gold supporting
USB up to 384kHz. All three Zodiacs have dual headphone outputs on the front panel.

I used a relatively early prototype of the Zodiac+, and that was an impressive piece. I’ll
make sure to get some ear time with one of the production Zodiacs soon.
 portable devices

39

Portable source gear (iDevice dacs & iDevice Alternatives)

Portable iDevice DACs

This year has seen the emergence and refinement of iDevice DAC With 32GB of built-in storage (also with a micro-SD expansion slot),
products. These devices allow you to take the music digitally and the C4 can act as a standalone media player. The user interface is
uncompressed from your iPod, iPhone or iPad--thus, bypassing the far from Apple iOS elegant, but it’s usable. In portable media-player
iDevice’s internal DAC circuitry--to allow the use of a higher-end DAC. mode the C4 supports MP3 (32 kbps to 320 kbps), WMA (up to
In short, this renders the iDevice merely a transport, leaving the heavy 24/192), APE (normal compression), and FLAC.
lifting to more capable DACs.
It can also be used as a DAC, or as a transport, as it’s equipped
Cypher Labs’ AlgoRhythm Solo ($579), cypherlabs.com, is very with digital input and output, both via coaxial RCA. But, as a DAC,
popular in the Head-Fi community for its relatively compact design, you are limited to the C4’s built-in headphone output, as it does
and built-in lithium-ion battery, which allows it to be used in portable not have dedicated analog line-outs. The C4 should provide about
rigs, in conjunction with your favorite portable headphone amp. For seven hours of battery life.
that use, it has its own built-in DAC, based on a high-end Wolfson DAC
chip. The AlgoRhythm Solo can also be used as a digital pass-through, As a portable media player, the HiFiMAN HM-801 only comes with
with a coaxial digital output that allows you to pass the digital stream 2GB of internal storage, but does have an SDHC slot for easy
from your iDevice directly to another DAC, if, for example, you have a expansion. And if the Colorfly’s user interface isn’t iOS elegant, the
high-end desktop DAC you’d rather use when you’re not on-the-go. (We HiFiMAN’s is a bit further still. Whereas Apple’s iOS user interface is
discussed the Cypher Labs AlgoRhythm Solo in Episode 003 of Head-Fi TV.) a pleasure to use, neither of these players evokes a feeling of warm
welcome as standalone players. I’ve owned the HM-801 since it was
The Fostex HP-P1 (around $650), fostexinternational.com, was an early prototype, and I still hit the wrong buttons frequently when
released later in the year, and has been a constantly sold-out hit. I’m using it as a portable player.
What makes the HP-P1 so popular is the fact that it does what the
AlgoRhythm Solo does (although its digital output is optical, and it As a portable player, the HiFiMAN supports APE (fast, normal, high),
uses a 32-bit AKM DAC chip instead of a Wolfson), and it has a built-in AAC (16-320Kbps), FLAC lossless VBR (16-bit and 24-bit), WMA
headphone amp. With three gain settings, the amp is quite versatile, (8-355Kbps), OGG (0 to 10), WAV PCM (MS-ADPCM, IMA-ADPCM),
and can very nicely drive most headphones that you’d want to use MP3 (VBR, 8-320Kbps), so there’s more flexibility for native format
portably. The single-unit portable iDevice DAC/amp combination has support with it than the C4.
made the HP-P1 a constant companion of mine. (We discussed the
Fostex HP-P1 in Episode 011 of Head-Fi TV.) Both the C4 and HM-801 have DAC component functionality, and,
given my difficulties with their user interfaces as portable players,
it’s their DAC functions that most interest me. One use I’ve had for
my HM-801 (and which I intend to similarly apply to the C4) is as a
High-End Portable Media Players/ DAC for old disc spinners that might reasonably be called obsolete.
DACs (iDevice Alternatives) (Again, both the HM-801 and C4 have coaxial digital inputs, the
HM-801 via mini jack, and the C4 via RCA.)
If you’re considering a non-iDevice option, and/or you’re looking for
another high-end portable audio option, consider two rather unique The HM-801 has the added versatility of being able to be used as
devices that have found a place with many Head-Fi’ers, the Colorfly a USB DAC, which makes it a fantastic all-in-one amp/USB DAC
coffee house rig.
C4 Pocket HiFi (around $800), www.colorfly.net, and the HiFiMAN
HM-801 (around $790), www.head-direct.com. Both of these devices As for their sound signatures, the HM-801 is a lusher sounding
have DAC sections built around DAC chips normally only seen on higher
piece than the C4’s more neutral presentation. (The C4 has
end full-size digital components, the C4 using the Cirrus Logic CS4398
equalizer settings, but I’ve not yet used them.) Both sound
and CS8422, and the HM-801 using the PCM-1704.
amazing, though, for what they are; and if you’re patient with their
user interface idiosyncrasies—and willing to pay the price for
The Colorfly C4 is, to my eyes, one of the coolest looking audio devices
them—you’re in for a treat.
I’ve seen in a while, portable or otherwise. With what appears to be an
aged-look bronze faceplate, an ALPS pro audio sliding volume control,
and engraved black walnut wood sides and back, the C4 is straight-up
steampunk. It is gorgeous.
desktop audio

40

fostex HP-P1

Colorfly C4 Pocket HiFi

and HiFiMAN HM-801

Cypher Labs’ AlgoRhythm Solo

All of my favorite cost-no-object full
size headphones are open-back,
which can benefit tremendously
from dedicated headphone
amplifiers. And the ones I’ve listed
below--if you’re not familiar with
this class of headphones--will likely
spoil you forever. These headphones
have a way of challenging you to
bring the best out of them, and that
can get very expensive, very quickly.
It’s headphones like these that make
Head-Fi’s unofficial slogan

“Welcome to Head-Fi, and sorry

about your wallet.”

You’ve been warned.

sennheiser hd800
 summit-fi

42

Sennheiser HD 800
Open, full-size, around-the-ear headphone, ring-radiator driver (around $1500)
www.sennheiser.com

The Sennheiser HD 800 is one of the most significant headphones of the last decade. It elevated the state of the art in
dynamic headphones, by a wide margin, when it was first announced at the beginning of 2009; and it encouraged others
in the industry to also push the envelope.

Handcrafted in Germany, the HD 800 was the first (and still is the only) headphone to use low-mass, low-distortion
ring-radiator drivers. These ultra-fast drivers, coupled with the HD 800’s extremely non-reverberant chassis, result in a
ruthlessly revealing headphone.

To wring the best sound out of it, the HD 800 absolutely needs to be matched well with a good headphone amplifier (with
this headphone, I’ve personally had my best results with tube amps). Match it up poorly, and it can be overly bright.
Drive it well, and it’ll reward you with what will probably be the best sound quality you’ve ever heard from headphones.
Yes, the HD 800 is picky, but, in my opinion, it’s worth the effort once you get it right.

The HD 800 is also thought by many (myself included) to be among the most comfortable full-sized headphones ever
made. The HD 800’s headband radius and flexibility (its headband being as close to perfect as I’ve worn), softly-sprung
pivots, large-footprint earpads, and luxurious pad materials make the HD 800 feel feather-light on the head.

In addition to its technical merits, the Sennheiser HD 800 also had epochal industry impact in another way: It began
a strong upward shift in flagship dynamic headphone pricing, arriving with a firmly-enforced minimum price that was
around three times the price of Sennheiser’s previous dynamic flagship (the HD 650). Because this price increase was
met with what most considered a commensurate performance elevation, demand for the HD 800 was extremely strong
at its launch, and remains so. In my opinion, this encouraged other companies to similarly go all-out, developing high-
performance headphones with greater attention to pushing the performance envelope, in the wake of a market that
revealed itself more than willing to pay a high premium for ultra-high-performance headphones.

For all of the above things, the HD 800 is a fantastic, important headphone, and one of my all-time favorites.

“There is also no doubt in my mind that the HD800 are the imaging champs of the dynamic headphone world. I
have owned or heard almost every significant dynamic headphone there is – Sony R10, At W5000 and L3000, Senn
HD650/600, Grado RS1 and GS1000, all the ones I currently own, and many, many more I have owned and sold. And I
have never heard a headphone image like the HD800. Depth is phenomenal, and somehow width is even better. I really
feel like the sound is IN FRONT of me, not stuck “inside my head” like with so many headphones. The soundstaging is
better with the HD800 than with the DX1000, and that is saying something – I think the DX1000 image sensationally.
But the HD800 is terrific in this regard.”
Head-Fi member/reviewer Skylab
 summit-fi

43

beyerdynamic tesla T 1
Semi-open, full-size, around-the-ear headphone (around $1300)
www.beyerdynamic.com

Not long after Sennheiser announced the HD 800, beyerdynamic started firing gargantuan salvos of high-end goodness
of its own, beginning with the Tesla T 1. The beyerdynamic T 1 approaches neutrality with a slightly more forgiving nature
than Sennheiser’s HD 800. I also find it easier to find a good amp match-up for the T 1 than the HD 800.

If the Sennheiser HD 800 is on the cooler side of your tonal preferences--but you enjoy its detail and transparency--give
serious consideration to the T 1. Like few other headphones, beyerdynamic’s flagship somehow balances ultra-revealing
with sense of ease. Though it’s deserving of outstanding amplification, I’ve not found it a hard headphone to coax
greatness out of. I’ve always enjoyed some of beyerdynamic’s headphones, but the Tesla T 1 (as well as the portable Tesla
DT 1350) made me a beyerdynamic enthusiast.

“While maybe just a touch lush, [the beyerdynamic T 1] is possessed of an amazing transparency and neutrality.”
Head-Fi member/reviewer Skylab

HiFiMAN HE-6
Open, around-the-ear, planar magnetic headphone (around $1299)
www.head-direct.com

The last couple of years has seen the fierce reemergence of planar magnetic driver technology. And one of the two
companies currently pushing the envelope in planar magnetic driver design is HiFiMAN. The HiFiMAN HE-6 almost didn’t
make the guide, not because it isn’t one of the best headphones in the world (to my ears, it certainly is), but because it is
so difficult to drive. Not just any headphone amplifier will do--the HE-6 needs power, and lots of it.

If you want to hear the HiFiMAN HE-6 at its best, I recommend you skip all the trial-and-error, and spend the $3000
needed to buy the Ray Samuels Audio DarkStar headphone amplifier. What the DarkStar wrings out of the HiFiMAN HE-6
places this headphone among the top performers at any price. Unfortunately, I’ve not heard any other amp that can
extract this level of performance from the HE-6.

HiFiMAN HE-500
Open, around-the-ear, planar magnetic headphone (around $699)
www.head-direct.com

The HiFiMAN HE-500 is the everyman’s HiFiMAN world-class planar magnetic headphone. I actually prefer the HE-500 to
the HE-6 (or any other planar magnetic HiFiMAN has released) in all but a few setups. Far more efficient than the HE-6,
the HE-500 can pair with a great many more amps (if you’ve got a headphone amp, it can probably drive the HE-500 just
fine); and its performance, when driven well, reminds me of the HE-6 at its tonal best (even if the HE-500 never does
quite catch the HE-6 in terms of detail retrieval). If you’ve listened to the Audeze LCD-2 and found it a touch too bassy
for your preferences, then the HE-500 should be auditioned.

Now, just because the HE-500 is easier to drive than the HE-6 does not necessarily mean it’s easy to drive. That said,
I’ve found that most good desktop headphone amplifiers (and some of the stronger portable amplifiers) can drive the
HE-500 well; just don’t expect your iPhone’s built-in headphone output to massage high performance from it.
 summit-fi

44

Audeze LCD-2
Open, around-the-ear, planar magnetic headphone ($945)
www.audeze.com

Why is the Audeze LCD-2 the most discussed $500+ headphone in Head-Fi.org’s history? Simply because it puts an ‘X’
in so many of the dream headphone checkboxes. Extremely good detail retrieval across the frequency spectrum? Check.
Outstanding, visceral bass? Check. Easy to listen to, and non-fatiguing? Check, and check. Scales well, from portable
systems to world-class desktop rigs? Check. Relatively easy to drive? More so than any other non-Audeze planar
magnetic headphone, so check that box, too. You get the point.

The Audeze LCD-2 has become my quickest go-to recommendation when asked about high-end headphones. Why?
Because it’s not a bear to find a good rig match for, it can perform well in a great variety of rigs. Also, I’ve found most
people prefer strong, impactful bass, and the Audeze shines there, without giving up anything in the way of low frequency
detail. The LCD-2 is extremely easy to recommend, because just about every Head-Fi’er can find a place for it—which is
why it’s the most discussed $500+ headphone in Head-Fi’dom.

“ These are all around the best headphones I’ve ever heard. Nothing sounds bad on them, and everything feels natural,
transparent and liquid.”
Head-Fi member Dustin Chevalier (dagothur)
 summit-fi

45

Audeze LCD-3
Open, around-the-ear, planar magnetic headphone ($1945)
www.audeze.com

Take everything about the Audeze LCD-2 (sonically), improve on all of it, and what do you get? You get one of the very
best headphones I’ve ever heard, the Audeze LCD-3. It looks a lot like the LCD-2, yes. But it’s equipped with an entirely
new driver that sports a new magnet structure and a much lighter diaphragm. There are other differences, too (like
softer, more supple pads, a new earpiece cable entry design, and fancier wood), but it isn’t until you listen to the LCD-3
that you grasp that this is not the same headphone (as the LCD-2).

The LCD-3 has all the impact and boldness of the LCD-2, but with a noticeable bump up in delicacy and finesse. While
this improvement spans the audioband, it’s most noticeable in the lower registers, where its combination of bass impact
and bass detail is, to me, unrivaled by any other headphone.

Outside of the the Stax SR-009 or Sennheiser HE 90 (Orpheus), the Audeze LCD-3 is simply the best headphone I’ve ever
heard. So, even at nearly $2000, that makes the LCD-3 a solid bargain for an absolutely world-class headphone.

Stax SR-009
Open, around-the-ear, electrostatic headphone (around $5200)
www.stax.co.jp

Sennheiser’s now-discontinued, limited edition electrostatic HE-90 Orpheus had been my personal choice for best
sounding headphone for so long that I assumed it would remain in that spot permanently. However, Stax’s new flagship
now wears my personal best-ever crown. In Episode 008 of Head-Fi TV, I called the Stax SR-009 my choice for best
sounding headphone I’ve yet heard, and nothing has changed my mind about that since.

The Stax SR-009 is the most revealing, most captivating, most neutral, most outstanding transducer of any type I’ve yet
heard. With this headphone, you really will hear things, textures, air, details you hadn’t previously heard in many of your
favorite recordings. The SR-009 is simply sublime. A masterpiece.

Here’s the rub, though: If you want to extract the very best from this headphone, plan on spending approximately $5000
to $6000 more for a top-flight electrostatic headphone amplifier, like the HeadAmp Blue Hawaii SE, Woo Audio WES or Ray
Samuels Audio A-10.

Could it really be worth all that? This is Head-Fi. So, yes, for some people, it’s absolutely worth all that.

(We discussed the Stax SR-009 in Episode 008 of Head-Fi TV.)

“The pinnacle of headphone listening...overall [with the Stax SR-009], I believe we now have our king.”
Head-Fi administrator/member/reviewer Amos Barnett (Currawong)
With all this talk about gear, let’s not forget that ultimately we’re all in this for the music.

And since so many of us are building high-resolution headphone rigs, I wanted to include
links to a couple of places I love to buy high-resolution music from.

HDtracks.com (www.hdtracks.com) was co-founded by David Chesky, composer, and

also the founder of Chesky Records. In addition to the entire Chesky Records library, you
can find the Rolling Stones, Tom Petty, Fleetwood Mac, Diana Krall, U2, and many other
classics. And every genre is represented, whether you’re into classical, jazz, classic rock,
alternative rock, blues, world music, and more. Everything at HDtracks.com is available
for purchase in downloadable form, with good deal of the music there available in 24/88,
24/96, 24/176, and 24/192 high-res.

Head-Fi has worked with HDtracks.com on two albums, one a headphone test album
called Open Your Ears, and the other an amazing binaural album called Explorations In
Space And Time, and we anticipate more to come!

I also just found out about MA Recordings (www.marecordings.com), which is

an independent high-resolution label, with all works recorded and produced by MA
Recordings’ Todd Garfinkle. MA Recordings currently has a library full of classical, jazz,
and world music, all captured with tremendous resolution, and all recorded in elegant-
sounding spaces, like concert halls and churches. All of the MA Recordings library is
available on CD, and a growing number of them are also available as high-resolution WAV
files on disc. I only have a couple of MA Recordings discs right now, but will certainly be
buying more of their works.

NOTE: Mention “I’m a Head-Fi’er!” in the comments section of your order at MA

Recordings, and you’ll and receive a free MA Recordings Hi Rez WAV FILE DVD-ROM
sampler disc!