Caldera

Probably the Caldera is closed in the office. I actually prefer it to the Caldera open that I have at home lol Probably bc I’m less distracted in the office, and can properly concentrate on the subtle qualities of a headphone. At home. I tend to mostly use the HD800S for general use and gaming (flight sims, and some BF6). Because it’s light, it works well with my head tracking gear. For music, coming out of a class-A solid state (Cayin IHA-8), I find them to be kinda sterile and boring tbh. For music,  tend to reach for the Caldera open and the Atrium the most. My Solitaire P should be my most technically accomplished headphone in my collection. But TBH I’m not a fan of their tuning. Thinking of selling it (I got mine second hand, for around 20k rmb), and getting a He1000 unveiled. Or maybe a Susvara Unveiled, if I find one for 30k rmb. Which would hopefully stop me from buying any more headphones lol

From everything I have owned and heard, I would elect three headphones as my overall best and favorites: the DCA E3, the ZMF Caldera Open, and the Audeze LCD-4z. The E3s excel with raw precision and separation, the Calderas with spatial flexibility, tonal transparency, and macro dynamism, and the 4zs with bringing a bit of every trait together into one package. All of these need EQ to sound their best, the E3s the least and the 4zs the most, but even a profile relatively close to neutral reveals each to be amazing in their own ways. For anything below $1000 used, my picks go to the 2021 LCD-2 (and X), Moondrop Cosmo, and Sennheiser HD 800 (also all with EQ).

Congrats, those Atriums are a real stunner! The headphones that ZMF use natural wood finishes for continue to be among my favorites that they make, despite how good a lot of their stabilized pairs look as well. You made a great choice with the Atriums. I remember loving what they did with vocals when demoed at Axpona 2024. I ordered the Tessideras on release and was able to pick them up at this year's Axpona (literally the only reason I wanted to go there). It was nice getting the chance to converse with Zach again. The stock canarywood looks so effortless, and I'm excited to enjoy music with them more. From my first session and especially compared to my long-running Caldera Opens, they do some really special things.

Do keep in mind I EQ all my headphones, but what I've heard seems to coincide with other folks who use the Tessideras stock. I've been using them with the thick pads and without the black mesh behind the pads/in front of the driver. The Tessidera's treble is wonderful, and it's one of those headphones that kind of goes against what you'd expect for the conventional hifi sound. The treble isn't in your face or loud and proud with sparkle/air, yet it still has great clarity and nuance. You don't lose out on tiny touches there. It reminds me a lot of Audeze treble, which follows largely the same trends. It seems like the new lattice structure is really doing its work, as I still perceive the Tess's treble as smoother than the Caldera Opens, even with both EQed.

To my complete surprise, I would say the Sennheiser HD 800 with EQ is quite a good vibing contender within my collection. Once you get rid of their treble-forward stock character (on my head) and fine-tune the bass/mids, they have pretty soft and rounded off transients that lend a slightly lush/full/relaxed quality to a lot of music. They don't sound especially "detailed," precise, or microscopic to me compared to most of my other headphones (even my EQed Aeon X Closed sounds a bit better in those areas), but the 800(S) still makes music very easy to enjoy when you want it to hang in the background. It helps that their comfort, especially with a Capra strap, is all-day levels of good.

I definitely heard the HD 800 as a bit lean/thin on my head stock, but it was more of a warm-bright character than anything. 6khz peaks on graphs always show up at 5khz for me, so instead of getting a stock sound that came off shrill, it was just accentuated. Alongside that, they also exhibit elevations in other parts of the treble that I also tend to EQ down with other headphones (mainly 8khz and 11-13khz). These seem to be related to features of my diffuse-field HRTF. These colorations gave off the impression of the HD 800 being cleaner and more incisive than it really was in a roughly HRTF-neutral state, and EQing it out led to that realization. Interestingly, the EQ profile for my Hedd D1s is quite similar from 5khz up, yet that headphone's sound remains clean and precise across music instead of becoming softer and more diffuse. In case it's a helpful visual, here are my profiles for the HD 800 and D1 respectively. https://preview.redd.it/d0i18dezfxqg1.png?width=1344&format=png&auto=webp&s=098d7fed7ed029283deabfcbda993e14819c3889 The HD 800's bass is still more rolled off than what I hear as neutral since the headphone doesn't get the best seal even without my thin-armed glasses on, but it's adequate enough to support that soft/relaxed character. Crossfeed is also being applied before these filters, both for preference and to assist with getting a sine sweep that sounds roughly flat in volume. When you turn off crossfeed, sine sweeps sound like what I imagine my diffuse-field HRTF is (a conclusion I was delighted to see confirmed by the Headphone Show crew). Besides the bass, there's still wiggle room for a bit of human error since I do everything above 1khz by ear and by referencing multiple squig measurements. Nonetheless, I think I've gotten precise enough over time to be really satisfied with my results across my collection.

I have a long string of thoughts in relation to yours, so here goes. No pressure to reply. I use a combination of Squig measurements, Owliophile/szynalski, and music to optimize each of my headphones. Crossfeed used is the Jan Meier option in Equalizer APO/Peace, and in RootlessJamesDSP, the BS2B Weak option seems to be the equivalent. I specifically aim for tilted diffuse-field neutral with all of them rather than explicitly aiming for different sounds. Nonetheless, they still all end up sounding different with their broad behaviors in areas like transient definition, separation/layering, and even core tonal characteristics. Those first two are quite important for my preferences and main genre of choice (high-energy EDM that tends to utilize the entire sonic spectrum and reveals a good bit about any one headphone's subjective capabilities). While some degree of human error is still in there, I've been a steadfast believer that headphone sound reproduction still has heavy reliance on a given headphone's design and what it's doing to get a given frequency response to your eardrums. On one side of the coin, while it's certainly cool to see that the Headphone Show folks got an HD 600 to sound near-identical to an 800S after on-head measurements and EQ, there's a big caveat I imagine is easy to ignore. There is a very real possibility that those results are a consequence of comparing two Sennheisers that probably borrow a lot of acoustic research and design cues. In the broad headphone world, this crew could have found an *exception* that happens to coincide with their long-standing assumption of the rule (that rule being "it's all FR at the eardrum and openness"). It's too limited and similar a comparison pool to confirm that kind of sweeping conclusion. Try one of those Sennheisers EQed to your diffuse-field HRTF against an Audeze, DCA, ZMF, Focal, or any other brand EQed the same way, and in my mind, the chances of subjective differences popping up that aren't exclusively FR-related would increase notably. They're inevitably going to sound quite close, but it's the subtleties where they begin to branch out. My experiences have told me that none of my headphones after fine-grain EQ sound 100% like one another 100% of the time, even after considering factors like session-to-session mood, pad compression and wear, or placement variation. Human error is one element, but said collection also encompasses a wide array of brands that almost never design their headphones exactly like one another. I'll go back to the D1s as an anchor. One thing that might make its sound consistently clean and separated/layered to my ears would have to do with [the extensive research Composite Sound (the company that helped Hedd with development) had to exercise](https://www.composite-sound.com/technology/#Second-Generation-TPCD) to optimize the behavior of that headphone's diaphragm (increased control over its stiffness and motion) compared to other dynamic-cone transducers. What's being done with that driver would not only assist with the final FR (the D1s show an especially linear and predictable treble slope outside of HRTF features), but would also fare positively for the above aspects because that diaphragm was engineered to behave in a highly controlled (and accurate) manner. Allow me to put things further into perspective and introduce a couple trends. My EQ experiences have also found on the planar side that planars designed with increased tension via tighter control over the diaphragm (primarily Audezes and ZMF planars) tend to sound consistently clearer/cleaner, more incisive/less soft, more dynamic, and less diffuse than planars with more loosely tensioned diaphragms (like Moondrops and HiFiMans). Back on the dynamic driver side, the D1s fall neatly into the former camp, and the HD 800 would fall neatly into the latter. My preferences index more heavily for the former, so there is even an element of strategy to finding headphones with those kinds of design philosophies, though it's not super clear-cut. These are trends (among other examples) that our audiophile and audio enthusiast bubble could very well be looking into for additional variables regarding why we perceive sound the way we do, yet they are simply not being investigated. We're conditioned to only care about the final frequency response because it's treated as this immutable variable that more or less dictates headphone sound. Effective EQ can optimize phase, but it can't fix non-pistonic diaphragm behavior, pad bounce, standing waves, or other design-related cancellations, nor can it change how a given design is directing sound to your ears (such as via pad shape and magnet structure in the case of planars). You can't EQ the design you're working with. Additionally, like you said, we don't have an easy way of seeing these potential behavior differences in real time, nor is ABX blind-testing different headphones feasible when the topic of interest is behavior for that headphone specifically. Transposing its frequency response into another headphone as a means of comparison misses the point entirely. At the very least, I hope this direction, one that integrates science from other fields to fill in our current gaps, is the direction our space heads towards.

Yea, minimum phase is still one of the big things keeping what I say a bit hazy and difficult to maneuver around. Even then, it's still good to recognize examples of headphones that actually are out of phase in at least one area of their FRs for one reason or another. There are three examples that come to mind for me, two in the bass and one in the upper treble. 1. [The excess group delay for the Fosi i5, as measured by unheardlab](https://unheardlab.com/wp-content/uploads/2025/08/fosi-audio-i5-excess-group-delay.png?w=1500&h=), shows very unusual behavior in the bass below 100hz. Minimum phase headphones ordinarily show [an exponential rise in their curves as they go towards 20hz](https://www.audiosciencereview.com/forum/index.php?attachments/dan-clark-e3-closed-back-headphone-group-delay-response-measurement-png.330972/), but the i5 appears to exhibit the exact opposite behavior. Its curve is plummeting instead. I'm not sure what sound consequences this would have, but it's certainly an anomaly I haven't seen anywhere else. It sounds like it can happen with subwoofer systems. 2. This second one isn't plotted as excess group delay, but it was replicated with RTings' measurements of the same headphone (just a shame they now prevent you from viewing said measurements by default). I recall them saying the 2021 version of the Audeze LCD-X was out of phase by one wavelength in the subbass, and this also showed up with [Amir's normal group delay measurement](https://www.audiosciencereview.com/forum/index.php?attachments/audeze-lcd-x-measurements-group-delay-vs-frequency-response-2021-png.143665/). This is another case where audible effects are unclear, [but if the LCD-2s in my stable are anything to go by](https://diyaudioheaven.wordpress.com/wp-content/uploads/2021/06/gd-lcd2f.png), there's a chance this delay in subbass phase leads to an elevated sensation of density and meatiness in bass transients. Just a guess though, and if this is true, it would tag alongside the plunger effect from the completely closed front volume. 3. This last one is for a headphone I'm more intimately familiar with than anything I've ever owned: the ZMF Caldera Opens. They exhibit standing waves in the upper treble frequencies. This manifests as a series of extremely high-Q peaks and nulls through the treble ([see here and how it compares to the upcoming Tessidera](https://www.head-fi.org/threads/tessidera-the-new-euphonic-planar-from-zmf.979639/page-4#post-19038220), which effectively eliminates those waves through an acoustic lattice/matrix that helps diffuse backwaves out the wood cups in the back). The Atrium Damping System (ADS) already tried to minimize this, so it was clear some extra tech needed to be integrated for full effect. I could actually hear nulls shifting around on my head in sine sweeps every once in a while, and other times they weren't there at all. This behavior is further confirmed by [highly unusual group delay in the same band](https://www.audiosciencereview.com/forum/index.php?attachments/zmf-caldera-planar-magnetic-headphone-group-delay-response-measurements-png.330537/) (with everything else below being minimum phase), [alongside resonances in the CSD that clearly contradict the clean decay with a measured peak before that region](https://superbestaudiofriends.org/index.php?attachments/upload_2022-11-28_12-18-20-png.34057/). In actual listening and after EQ, the effects of these standing wave cancellations seem surprisingly subtle, yet I'm certain they have still permeated the Caldera Open's behavior in both highly positive and slightly negative ways. My previous comment on diaphragm-related trends still apply here, yet the COs still have a slight tinge of diffuseness, a slight softness and lushness, and a slight reduction in overall dynamism (that last one in comparison to something like the Audeze LCD-4zs). I always thought the COs were unusually unforgiving of muddy recordings as well, so these cancellations might have exacerbated those flaws. Despite the alleged effects of this narrow range, the Calderas have remained my favorite headphone for a reason. It's an objective flaw that has probably added to the music more than it has harmed it. Regarding your thoughts on hearing ability, I have a hunch that every one of us in this space is capable of "hearing through the FR" to try and get a taste for what a headphone is trying to do on the design level. Brain burn-in seems to serve as a notable effort to do this exact thing, and the closer you get to HRTF-neutral via EQ, the quicker/easier it is to perceptually tune out human-error-related colorations and hear how a given headphone is really behaving on a fundamental level. That's at least how I think about this, as my previous comment also explored. I also believe that you and other people are probably hearing broad differences between headphones that aren't exclusively tied to the FR, but it's difficult to *perceive* and *acknowledge* those differences as long as notable FR colorations continue to cloud assessment. It's just about impossible for me to agree with the idea that EQing so many different headphones to your diffuse-field HRTF makes them so close to identical that consumer choice comes down to aspects like price, build, and comfort. That probably can happen with edge cases like the HD 600 and 800 series, maybe even if you go the binaural head tracking route, but the former might still end up a rarity. I guess those kinds of conclusions are what happens when my preferences have become agonizingly specific, while most people like you will be perfectly satisfied with something that just sounds pleasing. Keep up that enjoyment if you can, as it's important to realize how few people my experiences will actually apply to. I'll leave it there (it's too late for me too), but it was nice just synthesizing my thoughts with you. 🤝

I've held off on a post talking about my experience with the Calderas (the opens) for too long now. I have a lot to say for folks to fully understand why they're my favorite headphone, not just in the summit space. They're irreplaceable.

The best I’ve ever heard are ZMF Caldera Open. What’s yours budget?

Apologies in advance for the extremely long read. I couldn’t quite think of a way to split these further without losing comparisons and context that is needed. Please feel free to search and skip to sets that you are interested in or jump to the summary at the end. I wish I had taken better photos but, in the bustle and excitement of the event, I often forgot. I have previously published my impressions of more affordable headphones and you can read those by clicking this [link](https://www.reddit.com/r/headphones/comments/1t7igir/budget_cans_impressions_headphonezone_connect/). I also intend to publish my impressions of the electrostatic headphones and the IEMs that I tried soon! I am condensing my impressions of more expensive headphones (> 50K INR / 500 USD) that I tried at HeadphoneZone Connect. I heard these sets at the event in Chennai (Jan 31^(st) and Feb 1^(st)) and Bangalore (April 19^(th)). Last year, I simply struggled to tell a difference between most of the flagships. They were all impressive but I couldn’t for the life of me tell apart two ZMFs or a ZMF from a STAX. This time, I could much more easily, quickly and confidently hear the differences between sets. Since my re-entry audiophilia last year, I have acquired and used the Sennheiser HD600 extensively. With that as my benchmark, I tried to evaluate most headphones with a diverse playlist that I know like the back of my hand. The wonderful rich mids and timbre on the 600 have set an almost impossible benchmark for me. The DCA E3, Mezes and HD600 on tubes were tested later at the Bangalore event but I did try the HD800S at both events. I have mentioned the source and connector used for each can and if it is my first time hearing them. Unfortunately, I didn’t note down the pads used or mesh for sets that come with multiple options. Kindly excuse the half-assed photos, I forgot to take better pictures People blasting open backs like loudspeakers, the limited time (\~15 minutes) with each set, and my complete lack of prior experience reviewing cans are three big reasons to take everything with a big spoonful of salt. I must thank my friend u/mournfulmonk for pushing me to go in with an analytical mindset to train my ears and for the extensive guidance in penning down my thoughts. **Testing Tracks** – [YouTube Music](https://music.youtube.com/playlist?list=PL2bpvNPkNdZxmI2Q5ZyxTpTb8ruzKkeoA&si=ak2tzbUMQFbcaa5f) | [Apple Music](https://music.apple.com/in/playlist/test-tracks/pl.u-DdAN8lPI0jyZd4M)   ## Sennheiser HD800S (Cayin HA-2A + Gustard R26, 6.35mm) Last time round, I only got to try Bohemian Rhapsody on the 800S as the event was winding down. Those few minutes were enough to impress me. Enthralled by the balance of tonality and technicality of the HD800S and Cayin’s mesmerising analogue dials, I could’ve ignored the other sets. Alas, the demand for this set was high so I did have to move on. This set is less like a headphone and more like a pair of ear speakers. The cups are deep and massive enough to fit any ear. The clever use of materials to produce a premium yet lightweight build that delivers supreme comfort is much appreciated. The HD800S has a well-balanced tonality with slightly warm mids and smooth treble. The lower treble is relaxed and the rest of the treble is about as bright as the HD600 to my ears. These are arguably the first set that is not a downgrade in timbre of the mids from the HD600. The bass extends deeper but it doesn’t have the same rumble of the planars. The midbass is simply delectable with a good balance of texture and quantity. Well mastered tracks are presented naturally with excellent separation and layering. While a few other cans had comparable or even better imaging and resolution, the soundstage is truly holographic and astounding. Even on poorly mastered tracks, the tonal balance on a capable tube amp like the HA-2A makes this set a rhapsodious delight. It is the benchmark against which boutique flagship offerings from the likes of Meze, ZMF, Focal and Audeze seem extremely overpriced. It matches their technical prowess and offers an unmatched spaciousness with a mature and refined tonality. I completely understand why this is often the first expensive headphone to enter the collection and also the last to leave.   # Meze ## Meze Strada (TRN Black Pearl, 4.4mm) The Strada is the new mid-tier closed back from Meze. It is built well but it is proof that even Meze can miss the mark sometimes. The military green just doesn’t mesh with the beautiful wood and copper yokes. It is as though someone wrapped an elegant Rolls Royce Phantom’s hood with carbon fibre vinyl. Comfort is excellent but still a step behind DCA’s self-adjusting suspension strap for my head and ear anatomy. The Strada has a smooth treble and it brings this to my attention first. Although there is no bloom or bloat like other Meze closed backs, the quality of the bass is a sacrificed for more quantity. There is a steep drop off at 150hz which should lend it a clean timbre. However, the lower mids are boosted while the upper mids are still recessed in classic Meze fashion. It fares much better than prior Meze sets and this downward tilt imparts a warm timbre to the mids tastefully. Vocal and strings have better energy than the other planar Mezes and those who preferred a relaxed upper mids and lower treble may enjoy this. Coming from the HD600 however, overall tonality sounds off and detail is lacking. Backing vocals in certain tracks are buried. The boosted air region lends some energy to cymbal attacks but the initial bite of drums is missing in the lower treble for my preferences. Stage is great for a closed back but imaging, layering and presentation are average. The Strada may graph quite close to neutral targets but the DCA Noire X hits the mark more accurately. However, I can see those with a preference for more subbass, warmth and relaxed upper mids choosing this Meze.   ## Meze Liric II (TRN Black Pearl, 4.4mm) This is Meze’s flagship closed back planar magnetic and the design and build is par with Meze’s elegant and elevated standards. For some reason that I can’t quite pinpoint, the headband comfort is worse than other Mezes I’ve tried. It does look classier than its younger sibling, the Strada. Bass punch and impact is great with good texture but it is less controlled than other planars. The transition from mid bass to lower mids is done well and retains warmth without too much bloat. The timbre is certainly not natural but the warmth is brilliant for male vocals. I thoroughly enjoyed my recently discovered Coke Studio tracks. Female vocals and strings sound harsh with excessive mid treble energy while sounding recessed in the upper mids. Pianos sound thick and heavy while lacking bite. The mid treble is pulled back above 6khz and air is boosted lending a peaky and unnatural timbre profile. Yet again, this affects cymbals and drums. The Liric II is the larger sibling in height and width of stage and it packs a greater punch in the bass to boot. Despite its appearance, it has the reserved and warmer personality. However, it is still the traumatised child that is rough around the edges and lacks emotional balance in the treble. Most people would prefer the smaller and uglier, yet pampered and refined (and cheaper) little sibling that is the Strada. Unfortunately, the criticism doesn’t end there. As is the nature of Indian families, these Mezes will be compared by the parents (I have become what I swore not to be) to the overachieving distant cousins and family friends. The DCA Noire X and E3 are the perfect siblings that excel at every metric – academics, sports, extracurriculars. Their only fault – they can be too vanilla and high strung for some. To add salt to the open wounds, the Mezes are not even the coolest kids in the apartment. The rich and spoilt brat, that is the ZMF Boked Closed, parties harder and its wonky tuning is embraced with zero conflicts.   ## Meze Poet (D&A Alpha Pro, 6.35mm) Meze’s latest open back is an absolute delight to hold in the hands at look at. It is exquisite and classy in design while being comfortable. I still marginally prefer the DCAs and 800S for comfort but this is a toss-up based on your head and ear anatomy. The D&A Alpha Pro is the most unique and modern looking source I’ve seen. The design, build and user interface all form a cohesive, premium and smooth experience. I am looking forward to more (hopefully affordable) releases from this brand. Immediately, I notice the recessed vocals and that it sounds like yet another V-shaped Meze. Once I focus on the bass though, I realise it is lacking the quantity that usually accompanies Meze Closed backs. As expected of an open back, the rumble is subdued, but the mid bass bloom remains lending the mids a warm tonality. Naturally, timbre and detail of the mids take a hit and this flaw alone would be salvageable. Unfortunately, Meze has also pulled back the upper mids as is characteristic of their planars. This is what ruins the energy, detail and presentation of the vocals. Strings and violins, in particular, lacked energy. I understand this choice was made to improve stage but even HiFiMAN manages to balance this trade off better. Upper treble and air is boosted lending transients of cymbals a tad too much energy. The balance of upper mids and lower treble with the higher frequencies affects the resolution of the set quite a bit. Stage is quite good but imaging and separation are average. The Dan Clark Audio E3 may be bright-leaning in comparison but it nails the fundamentals. For this reason, I find it difficult to recommend the Poet if what you want is natural timbre and neutral tonality. If you want fun, Meze’s own lineup has bassier options.   # Dan Clark Audio ## Dan Clark Audio Noire X (4.4mm) vs Dan Clark Audio Noire XO (XLR) Before you dismiss me as a madman for comparing an open and closed back, let me just say that DCA is brilliant at resolving the issues that have traditionally plagued closed backs and bringing them on par with open backs. Both these sets have a sleek and sturdy industrial design with substantial heft but excellent comfort. I thoroughly appreciate that most of their sets fold up to be genuinely portable. Both sets were powered by the SMSL VMV P2 amplifier and the SMSL VMV D2R DAC. I watched a few reviews prior to the event last year and the Noire X was rated quite highly. The first set I tried was the Noire X and every aspect of the set absolutely stunned me last time. To say I had high expectations from these sets would be an understatement (particularly as the E3 was not available at the Chennai event). The differences between both sets tonally is quite minor but certainly noticeable when heard back-to-back. The XO sacrifices rumble and midbass impact for a wider stage that offers a bit more separation. The XO is also smoother overall in the treble but I preferred the Noire X’s presentation and tonal balance a bit more. It could’ve also been the better isolation offered by the X that made the difference ultimately. If you took the HD600 and added sub bass extension these are very close to what you would get. They lack a little warmth in the lower mids and the upper mids to lower treble region is elevated. The rest of the treble was not as smooth and refined as I would’ve liked. I am particularly sensitive to this 2kHz elevation that can make the set a bit shouty. Mid treble is a bit more emphasised than the 600 but this is tastefully done. These sets are just second to the Sony MV1 in comfort and the DCA’s self-adjusting suspension strap is a brilliant design. Technical performance is excellent and they handily outperform the Mezes and Bokeh Closed. The ZMF however offers punch and warmth and joy that is unparalleled. If you want brilliant neutral tonality and natural timbre with emphasised upper mids, these sets can be endgame for most. It is genuinely the first closed back that is worth stepping up to from the FT1. I am eager to try out the 620S and hot out of the oven 480 Pro and change my recommendations at the 300 to 500 USD price range.   ## DCA E3 (Denafrips Ares 15th + Burson Audio Conductor GT4, 6.35mm) Prior to attending last year’s Connect, I watched a few reviews and a tier-lists that unanimously proclaimed the DCA E3 to be the best closed back set. Lo and behold, one of the few empty chairs when I arrived at the venue the next day was at the DCA booth. After convincing myself that it would be wise to try the cheaper Noire X first, I was thoroughly impressed. I stared at the beautiful black metal yokes and glass cups of the E3 wondering how anything could sound better. The fit and comfort is like a custom-tailored suit; I didn’t have to fiddle with unwieldy adjustment mechanisms or adjust the set once it was on my head. I will never forget how incredibly tight and fast the snare and kick bass hits on Caravan were; I felt like I was the drummer sat in the middle of the kit. Mountains by Hans Zimmer builds up with incredible dynamics and contrast between silence and music. The E3 engulfed me in a massive tsunami and its backwash dragged me headfirst into the sea of audiophilia. I walked into the room with much uncertainty as to the value of expensive gear and left wondering if I could save up for an E3. Unfortunately, the E3 was not available this year at Chennai and my disappointment was immeasurable. However, I had a chance to attend the Bangalore Connect and the instant I spotted the E3, I had to abandon all other plans. I have already praised the neutrality of this set and compared it with everything else so let me stick to impressions from songs. In Adele’s Easy on Me (NRJ Awards Live Version), her vocals resonate with energy and the timbre is absolutely dead on. The speed and texture of the bass guitar is balanced perfectly with the volume of the impact. The piano can often sound either too bright with no body or too warm with no bite but again it is tonally perfect. This track is incredibly simple with just three elements and no complex effects but it requires solid tonality. In Limelight by Rush, Alex Lifeson’s guitars have the crunch and bite that is expected. The expansive stage width and depth is revealed immediately by the intro fill. As the verse kicks into gear, the excellent imaging and separation articulate every note of Geddy Lee’s vocals and each hit of Neil Peart’s sticks. In Manavyalakinchara by Agam, Harish Sivaramakrishnan’s vocals sound absolutely heavenly and is presented beautifully. The choir with its wonderful harmonies is often lost in the mix but this is not the case here. The layering of this wonderfully mixed but busy track really showcases the strengths of a neutral tuning. The detail in the treble is astounding all while maintaining a fine balance between energy and sibilance. In All by Myself, Celine Dion’s vocals are another example of the deft treble that delivers the energy and detail required without a pinch more than demanded. Listening to Pneuma by Tool on the E3 has undoubtedly redefined my expectations from any headphone that I will try in the future. I typically need to watch the live video to completely grasp Danny Carey’s brilliance. With the E3 however, I can clearly image every piece of his kit and hear subtle nuances and dynamics that I had never picked up before. The attack, decay and release of each strike is so nimbly presented. Any effects added to the track such as echo or decay are crystal clear. The double kick bass is absolutely precise. For my next song, Giriraja Sudha by Shakti, the only two words I have written down are – just brilliant. I considered spitting this long writeup into closed and open back parts but the E3 has taken on the challenges posed by a closed earcup and resoundingly crushed them. You only notice that it is a closed back due to the isolation that lends it a pitch-black canvas upon which it masterfully recreates anything you feed it with insignificant deviation. I may tone down the lower treble by a dB or two and add a smidge for sub bass for prolonged listening sessions. I may have to plan a ride to the Kochi Connect just to get some more time with this masterstroke from DCA.   # ZMF ## ZMF Boked Closed (TRN Black Pearl, 4.4mm) The ZMFs are all absolutely stunning and built like tanks. The Bokeh is heavy and large but the cups are massive and very comfortable once you adjust it properly. The bass, particularly the kick drum, is so tight and punchy. The double kicks from the ending of Caravan from the Whiplash soundtrack are simply delectable. Despite the copious amounts of bass on offer, the mids do not sound muddy. Rather, male vocals and electric guitars sound rich and lush. Cymbals are great and snare hits in particular are brilliantly executed. Celine’s vocals on All by Myself are quite good without sounding sharp. Strings are among the few places where the Bokeh falters on the timbre front. Imaging, layering and resolution are all decent, but the stage is simply excellent for a closed back. I don’t quite remember which pads were attached and which mesh was attached. The customisability offered with different pad and mesh combos is great for personalisation of comfort and tonality. This set gets you to head bang along with your music and abandon all intentions to analyse music critically. Hearing this set brought back my impressions from last year, Unfortunately, it is not a set that I reminisced days or weeks after the event either year. That yearning is held in reserve for the Dan Clark Audio sets. If not for the E3, this set would be the finest closed back available.   ## ZMF Caldera 2024 (6.35mm) vs ZMF Atrium (XLR) Since I heard both sets back-to-back and contrasted them in my notes, I am presenting them as a comparison. Both were powered by Burson Audio Conductor Voyager and some version of perforated lambskin pads were attached. The Caldera and Atrium are both incredibly expensive sets that do not disappoint on the build and comfort as is expected from ZMF. The customisability in terms of pads and meshes is against commendable. They both leak quite a bit of sound to the surroundings and aren’t the most isolating open backs. Last year, I tried all the ZMFs and left entirely confused whether there was any audible difference at all. This year, armed with a notebook and a gear testing playlist, I was determined to see if what I heard lined up with graphs and reviews. Both are quite punchy and have a lot of impact for open backs, however they do not match the rumble of the Bokeh Closed. I find the Atrium to be the punchier sibling and personally, it is a bit too much midbass. The bass texture and timbre as a result take a hit and the Caldera is brilliant here. The Caldera’s airy upper treble gives crashes and hits on the kit a wet shimmer that the Atrium lacks. Note weight on both sets is thick and syrupy but the bloom meant male vocals and guitars suffered to an extent. Female vocals and horns are energetic and a smidge better on the Caldera while stringed instruments sound more natural on the Atrium. The Atrium takes the edge on transients, particularly those of vocals. Both sets stage incredibly well but the Atrium is a pinch wider while the Caldera effortlessly demonstrates better imaging and resolution. The layering and separation are not consistently good but rather very track dependent. Those looking for a fun, engaging set should consider a ZMF and both these sets will certainly deliver. Despite the massive price range, I think a quick demo with your favourite tracks will point you towards the right ZMF for you. I thoroughly enjoyed the fun, coloured tonality of the Bokeh Closed.   # HiFiMAN ## HiFiMAN HE1000SE (FiiO K19, 4.4mm) vs HiFiMAN HE1000 Unveiled (Topping DX9 Discrete, XLR) Let me start by saying I was incredibly hard pressed to hear a significant difference between both these sets. The Unveiled is warmer and had marginally smoother treble. This difference could even be down to the sources. For this reason, it would be incredibly stupid to pay 1000 USD extra for the Unveiled. I would rather spend the money on the beauty that is the DX9 Discrete. The intricate circuitry lit by the orange lights through the massive transparent top is captivating to admire while the HE1000SE engulfs you in your music. The suspension strap design makes these quite a bit more comfortable than the XS. The cups are yet again large enough to avoid any contact with your ear. It is difficult to describe how this set sounds to someone who hasn’t heard it before. Imagine the difference between watching a Christoper Nolan film on your laptop and in a theatre. The laptop is the average non-audiophile headphone. The Edition XS is your local multiplex with a decent laser projector. The HE1000SE is a bright, crisp and massive IMAX screen. I genuinely think I could pick out different cymbal sizes and brands with a bit of practise. The speed of the bass makes it tight and controlled though I would definitely EQ in a bit more quantity. The attack, decay and release of notes is much better balanced than the XS. Strings are particularly brilliant with unparalleled texture and resolution in Yo-Yo Ma’s prodigious Bach Cello Suites and Hilary Hahn’s masterful Mozart Sonatas. It brings into plain view the entirety of every note you’ve heard with nuance you’ve never heard before. This is executed superbly for every element in every track I threw at it. Not only does it offer tremendous detail, it presents them on a stage that is wide in all directions with pinpoint imaging and standout layering. The HE1000SE shines brighter if you feed it the fuel of busier tracks like those of the remarkable Hans Zimmer. Just as your eyes adjust to the bright screen in the theatre, your ears will likely adjust to the energy of the HE1000SE given some time. Though you will be immersed and impressed analysing your music, this is not a fun set. This is a screen showing a neutral picture without any undue contrast, saturation or vibrance. If you wish to gaze at a vivid picture as one often does, you should look elsewhere. However, this set is easily the resolution benchmark that will mock more expensive headphones.   ## HiFiMAN Arya Organic (FiiO K19, XLR) Overall tonal balance is very similar to the HE1000SE. It is a tad bit harsher and brighter in the treble. The bass is not as controlled and textured in its impact. The perceived technicalities are a step down particularly stage width and imaging performance. Whether the marginal improvement the 1000SE offers is worth double the asking price is a question your wallet must answer. I am very eager to try out the more affordable and supposedly smoother Arya Stealth when I get a chance.   ## Audeze LCD-5 (Burson Audio Conductor GT4, 6.35mm) The entire LCD series requires some serious neck strength to hold up the heft. I found the LCD-5 to not have deep enough cups for my ears. This issue with fit may have affected the seal so take my impressions lightly. The vocals, male or female, are wonderfully rich and lush. The timbre and texture in mids are excellent and reminded me of my HD600. The bass is tight and punchy with absolutely no bloom or bloat. The perceived technicalities do not compete with some sets half the price. The asking price and the comfort is the reason I would pick so many of the competitors over the LCD-5. Unfortunately, the entry level Audezes were out of order at this Connect. I am eager to try them after my struggle to notice any differences within the lineup last year.   ## Focal Utopia 2022 (Chord Dave, 6.35mm to XLR) Last year, I spent most of time trying the new DCA E3 and a plethora of top-of-the-line ZMF, Meze, Audeze and STAX sets. I never got around to trying any HiFiMAN or Focal sets. Unfortunately, unlike the sprawling lineup of HiFiMANs this time, Focal only had the Utopia 2022 for demo. I grabbed the empty seat and told myself to move on in 10 minutes to the ignored IEM section. The comfort is good although I found the clamp a tad loose. The build is beautiful but it did not feel as solid in the hand as the competitors; the notorious Focal headbands made me quite nervous. The Chord Dave is a robust, large and eccentric looking DAC. Despite the frustratingly complex controls, I must admit adjusting the volume with the metal ball is incredibly satisfying. Certainly not justified at 13 lakhs for I could buy a super sport instead. The first characteristic of the Utopia that struck me is its wonderful warmth and thick note weight. The bass is balanced with just the right amount of impact and texture. It threads the line between bloomy and controlled perfectly, but I would prefer an extra sprinkle of subbass. The vocals are placed forward with lush timbre. I found female vocals to be a bit more energetic but certainly not sibilant. The rich tone of violins, cellos and most other stringed instruments transforms my diverse playlist into velvety goodness. Percussion instruments, particularly tablas, are just simply brilliant. Cymbal and other brass kit decays are a bit lacklustre. Stage is good and layering and overall presentation is among the best I’ve heard. Imaging, detail and fine textures are not great especially considering the steep asking price. By the time I was testing the Utopia, Giriraj Sudha by Shakti had become my defacto track to test timbre, tonality, resolution and layering with the beautifully recorded and mastered ensemble of vocals, guitar, violin, tabla and ghatam. The HE1000SE unearthed incredible detail and realistic texture while imaging and staging the instruments so fabulously that it transported me to the middle of the concert stage, right at the epicentre of these maestros. On the other hand, the Focal wholly lacks this technical prowess. It is like a cup of decadent hot chocolate while curled up in a cozy blanket after a long day. It is like the sunrise the next morning, vivid and joyful without any undue harshness. Thirty minutes later, I realized this set teleported me away from the harsh, monotonous and real chair of analysis into a smooth, enthralling and surreal place. A place where the mellifluous music meanders like a clear river flowing down from glacial, snow-capped peaks. Simply put, a utopia.   # Conclusions With the diverse and capable options available under 300 USD, it is truer now than ever before – you do not need to break the bank to get good sound. However, if you are willing and able to spend more you will find gems that push the boundaries of what is possible with just a pair of drivers and earcups. You will find better technical prowess, exquisite designs and more robust build quality in general as you pay more. What you will not necessarily find as you up the budget is a more natural or neutral tuning and this is entirely fine. I can appreciate the exciting and coloured experience offered by Audeze, ZMF and maybe even Meze if I am in a weird mood. However, the headphones that not just played but resonated my music to life will linger in my memory as mighty, almost unfair, benchmarks for every other set to come. These sets that I yearn for and hope to eventually add to my collection are – the E3 for balance and precision befitting a prodigious ballerina; HD800S for the separation, layers and presentation of a freshly baked croissant from a Michelin-starred kitchen; the HE100SE for resolution and detail surpassing an IMAX screen; and finally, the Utopia for effortlessly enabling music to do what it does best – teleport one through time and space.

Thanks for the kind words! I will try my best but I believe I tried these sets on two different days! The HE1000SE and most of the HiFiMAN Planars have a flat bass extension. There is no extra bass emphasis or preference for mid or sub bass. The Utopia 2022 has less sub bass in comparison to it's mid bass but unlike most other sets the speed and quality of the bass notes made it enjoyable and fun rather than boomy. Although both sets may graph quite similarly, the Utopia has less energy in the treble versus the 1000SE and will therefore sound like the bassier and warmer set of the two. I think if you were to add a bass shelf according to your tastes to the 1000SE you could come quite close or even beat the Utopia here. It's the rest of the response that should dictate which you prefer in my opinion.

I appreciate that you are skeptical and wary of taking things you read on an anonymous platform at face value. There's a simple reason for the gap in post history. This is an alt account I had purely for social subs so I could remain private on my main account. I had lost access to that account and life got busy so I was dormant on reddit for a while. Some time ago, when I found the time and good communities for my hobbies like cycling, biking, photography and audiophilia, I started using this alt account instead. I don't bother spending time in the subs I used to back when I was younger, because most of it is ironically, AI content and reposts for karma farming. I don't find those subs meaningful to engage with or consume anymore, hence the many diverse hobbies. I think this is perfectly natural for someone to engage with a few communities mostly through comments that showcase no intent to farm engagement through AI content. While I am fortunate to have had a good exposure to the English language from a young age, it is certainly not my native language. I have worked hard on my writing skills the past few years and I hope that shows. Naturally, my sentence structure, length and choice of vocabulary in a casual response to a silly post will be much different from me writing about an experience that is deeply meaningful and exciting for me. It would be unnatural for someone to speak or type in the same manner over years and in different contexts. I have painstakingly taken thorough notes while trying these sets out and written out this long piece over a few weekends. I have not used AI even for a spell or grammar check or to structure this piece. I have instead edited this article with 3 passes to ensure that it seems cohesive and coherent.

HD600 still remains my daily driver. I don't quite have the disposable income to afford any of these sets now but possibly in a few years! Is there a budget restriction for the single closed and open back? If money was not a concern, I would take the DCA E3 and the Sennheiser HD800S with a tube amp. The 1KSE may edge out the 800S if I get a chance to test them back to back. Under 1000$, DCA Noire X and Arya Stealth (based on comparisons with the Organic I tried) would be my picks. Under 500$, the Sennheiser HD600 on discount with a budget tube amp (for warmth when desired) and the FiiO FT1 (the new 480 Pro is very intriguing) still remain my choices for now!

I have watched those videos! The level of detail and effort they put into educating their audience is one reason I love Headphones Show. I have been attempting for a while to EQ my gear. I have had better success with fixing major issues in bass and mids (particularly with my IEMs) but treble will still require more practise from my end. I have a fair idea of what treble profiles and peaks I can and can not handle with in ears. Yet to create a solid EQ that improves my HD600 however.

Thank you for the detailed reply! I did try STAX SR009S and I somehow prefered the Audeze CRBN2. The X9000 is a different ball game though. Unfortunately on the LCD sets I am just not able to maintain a good seal and I am pretty sure that is affecting the response. They sound very wonky to me although a friend whose preferences match with mine loves it. The Burson powering the Expanse, Stealth and the Susvara were burning up and I could not try any of them. Most people that did try them did prefer the E3 and 1000SE respectively. Austrian Audio and Raal are difficult to come across in India but they are certainly on my list to try! I did manage to try the HE-1 albeit for just sections of 4 tracks. The best way I can describe it a fusion of the best characteristics from Sennheiser's other sets. It takes the 800S's spatial characteristics and adds the 600's tonality with some tasteful colorations. It is not impressive if you don't feed it well mastered tracks. Easily the best set I've heard but I could own all the sets I've discussed above for the price.

Thank you for reading! The Atrium is a more coloured sound for sure but it manages to retain a mostly natural timbre unlike other fun sets. The extra midbass punch however affects the timbre of lower mids and I would prefer the HD600 over it for this reason. The 1000 Unveiled has great balance overall in the timbre just like the 600s. The typical HiFiMAN soundstage dip in the upper mids does affect vocals a bit but this is more than compensated for by the controlled and precise initial envelope of each note. This is why I described it as unbelievably realistic and natural though it may err on the side of brightness. It should have a smoother treble and better balance overall than your Arya Organic. At nearly 10x the price, the HD600 still manages to hold up if a step behind. I'm curious to know how my impressions of the Bokeh, Utopia and Organic compared with your own. How does the Diana MR compare?

Would love to hear your thoughts on those two sets when you try them. Unfortunately, the opportunities to try Abyss sets in India are pretty limited but they are certainly on my list to try. I haven't tried many sources and I have tried only 1 tube source - the Feliks Audio Echo Vibe at the same event. The added warmth to the bass is so tasteful with any detrimental effect to the timbre. The treble is absolutely smooth and heavenly on tubes and I did not want to stop listening to be very honest. I debated including the combo here and proclaiming it as the best under 2000$ but alas I am saving that for my HD600 review. What has your experience been with tube sources and the HD600? Anything on a tight budget you would recommend? For now, I am sticking with my Black Pearl and I hope that procuring a balanced cable will let me utilise the full power of the dongle, particularly for a bass shelf EQ. I found the iFi Zen Dac to be a negligible improvement, but the XBass switch was quite enjoyable. The K11 R2R did seem to open it up a tad and present better bass impact but I didn't think the difference was worth 100$ and the desk space for me.

Thank you for reading! It's unfortunate that they don't have the E3 for demo. The E3 doesn't have as much shout as the Noire X. That shout really stands out because it is so competent everywhere else. The E3 sounds bright overall but no particular region in the treble seems peaky to my ears. The E3 also has the better bass but it may be a bit lacking in midbass compared to the Noire X. One thing to keep in mind with the E3 is that the AMTS can be a miss for some and adjusting the position of the ear cups can affects the treble smoothness a lot if the AMTS isn't doing its job. I am curious to try the 800S on a solid state to see if the difference really is as big as others have noted.

I have published my impressions on the MV1 and other budget sets in my previous post (https://www.reddit.com/r/headphones/s/Pmwx9LbgCM) TL;DR It has insane bass quantity for an open back and may even be a tad much in the mid bass. Cups are not the largest but it is easily the most comfortable set I've tried. Stage and imaging are excellent. Where it really falters for me is the treble. Excellent platform for EQ imo.

There are a select few people who agree with me on my Meze take. I wanted to try their whole lineup but didn't have the time to reevaluate the Empyrean II or 109 Pro which are arguably their better tuned sets. Getting my hands on Focal sets in my country right now is a little difficult due to a change with the official distributor but I hope to try all the other Focal sets soon! It's unfortunate that Focal and HiFiMAN have such poor build and QC, atleast they do seem to be honouring their warranties decently. How are you liking your JDS Atom?

How long did you have the HD6XX for? The reason I ask is that the clamp forces often unforgiving at the start but improves massively if you stretch the band out and over time. If you want something more bassy and fun you can look at the Sony MV1 on a budget for an open back and possibly the FiiO FT1 as a closed back. If you have a greater budget I would really want you to try out a few different sets before you spend big money.

I do understand and partially agree with your take. Switching back after a few days does instantly reveal differences, particularly a shift in overall tonal balance. Brain burn in is very helpful for when you want an unbiased and thorough standalone review. However, I would disagree that quick A/B is entirely useless. The 1KSE and Unveiled are so incredibly similar sounding that had I used one for a few days, then swapped with no chance to return to the first set, I don't think I would've been able to tell any difference. Despite the larger difference between the Atrium and Caldera, comparing them quickly on the same sections of track was incredibly helpful in forming my opinions on the treble. Possibly, a more experienced reviewer and listener would not find it as helpful. Ultimately, this is why I have titled these impressions and try to add that disclaimer whenever I discuss anything based on them.

Not everyone lives with the same privileges that you do. I am certainly jealous of EU's strong consumer rights protection but there is absolutely no similar protection across a vast majority of the world. The stores in my country offer no return policies at all save for any manufacturing defects and on select items. I entirely understand why they need to keep it that way to maintain margins in my country. Even if they did offer returns I wouldn't hack the system to get a few more days with a set. The stores in most countries are not large corporate entities but small businesses run by passionate people who want to support our community.

Apologies in advance for the extremely long read. I couldn’t quite think of a way to split these further without losing comparisons and context that is needed. Please feel free to search and skip to sets that you are interested in or jump to the summary at the end. I wish I had taken better photos but, in the bustle and excitement of the event, I often forgot. I have previously published my impressions of more affordable headphones and you can read those by clicking this [link](https://www.reddit.com/r/inearfidelity/comments/1t7iuk5/budget_can_roundup_impressions_from_headphonezone/). I also intend to publish my impressions of the electrostatic headphones and the IEMs that I tried soon! I am condensing my impressions of more expensive headphones (> 50K INR / 500 USD) that I tried at HeadphoneZone Connect. I heard these sets at the event in Chennai (Jan 31^(st) and Feb 1^(st)) and Bangalore (April 19^(th)). Last year, I simply struggled to tell a difference between most of the flagships. They were all impressive but I couldn’t for the life of me tell apart two ZMFs or a ZMF from a STAX. This time, I could much more easily, quickly and confidently hear the differences between sets. Since my re-entry audiophilia last year, I have acquired and used the Sennheiser HD600 extensively. With that as my benchmark, I tried to evaluate most headphones with a diverse playlist that I know like the back of my hand. The wonderful rich mids and timbre on the 600 have set an almost impossible benchmark for me. The DCA E3, Mezes and HD600 on tubes were tested later at the Bangalore event but I did try the HD800S at both events. I have mentioned the source and connector used for each can and if it is my first time hearing them. Unfortunately, I didn’t note down the pads used or mesh for sets that come with multiple options. Kindly excuse the half-assed photos, I forgot to take better pictures People blasting open backs like loudspeakers, the limited time (\~15 minutes) with each set, and my complete lack of prior experience reviewing cans are three big reasons to take everything with a big spoonful of salt. I must thank my friend u/mournfulmonk for pushing me to go in with an analytical mindset to train my ears and for the extensive guidance in penning down my thoughts. **Testing Tracks** – [YouTube Music](https://music.youtube.com/playlist?list=PL2bpvNPkNdZxmI2Q5ZyxTpTb8ruzKkeoA&si=ak2tzbUMQFbcaa5f) | [Apple Music](https://music.apple.com/in/playlist/test-tracks/pl.u-DdAN8lPI0jyZd4M)   ## Sennheiser HD800S (Cayin HA-2A + Gustard R26, 6.35mm) Last time round, I only got to try Bohemian Rhapsody on the 800S as the event was winding down. Those few minutes were enough to impress me. Enthralled by the balance of tonality and technicality of the HD800S and Cayin’s mesmerising analogue dials, I could’ve ignored the other sets. Alas, the demand for this set was high so I did have to move on. This set is less like a headphone and more like a pair of ear speakers. The cups are deep and massive enough to fit any ear. The clever use of materials to produce a premium yet lightweight build that delivers supreme comfort is much appreciated. The HD800S has a well-balanced tonality with slightly warm mids and smooth treble. The lower treble is relaxed and the rest of the treble is about as bright as the HD600 to my ears. These are arguably the first set that is not a downgrade in timbre of the mids from the HD600. The bass extends deeper but it doesn’t have the same rumble of the planars. The midbass is simply delectable with a good balance of texture and quantity. Well mastered tracks are presented naturally with excellent separation and layering. While a few other cans had comparable or even better imaging and resolution, the soundstage is truly holographic and astounding. Even on poorly mastered tracks, the tonal balance on a capable tube amp like the HA-2A makes this set a rhapsodious delight. It is the benchmark against which boutique flagship offerings from the likes of Meze, ZMF, Focal and Audeze seem extremely overpriced. It matches their technical prowess and offers an unmatched spaciousness with a mature and refined tonality. I completely understand why this is often the first expensive headphone to enter the collection and also the last to leave.   # Meze ## Meze Strada (TRN Black Pearl, 4.4mm) The Strada is the new mid-tier closed back from Meze. It is built well but it is proof that even Meze can miss the mark sometimes. The military green just doesn’t mesh with the beautiful wood and copper yokes. It is as though someone wrapped an elegant Rolls Royce Phantom’s hood with carbon fibre vinyl. Comfort is excellent but still a step behind DCA’s self-adjusting suspension strap for my head and ear anatomy. The Strada has a smooth treble and it brings this to my attention first. Although there is no bloom or bloat like other Meze closed backs, the quality of the bass is a sacrificed for more quantity. There is a steep drop off at 150hz which should lend it a clean timbre. However, the lower mids are boosted while the upper mids are still recessed in classic Meze fashion. It fares much better than prior Meze sets and this downward tilt imparts a warm timbre to the mids tastefully. Vocal and strings have better energy than the other planar Mezes and those who preferred a relaxed upper mids and lower treble may enjoy this. Coming from the HD600 however, overall tonality sounds off and detail is lacking. Backing vocals in certain tracks are buried. The boosted air region lends some energy to cymbal attacks but the initial bite of drums is missing in the lower treble for my preferences. Stage is great for a closed back but imaging, layering and presentation are average. The Strada may graph quite close to neutral targets but the DCA Noire X hits the mark more accurately. However, I can see those with a preference for more subbass, warmth and relaxed upper mids choosing this Meze.   ## Meze Liric II (TRN Black Pearl, 4.4mm) This is Meze’s flagship closed back planar magnetic and the design and build is par with Meze’s elegant and elevated standards. For some reason that I can’t quite pinpoint, the headband comfort is worse than other Mezes I’ve tried. It does look classier than its younger sibling, the Strada. Bass punch and impact is great with good texture but it is less controlled than other planars. The transition from mid bass to lower mids is done well and retains warmth without too much bloat. The timbre is certainly not natural but the warmth is brilliant for male vocals. I thoroughly enjoyed my recently discovered Coke Studio tracks. Female vocals and strings sound harsh with excessive mid treble energy while sounding recessed in the upper mids. Pianos sound thick and heavy while lacking bite. The mid treble is pulled back above 6khz and air is boosted lending a peaky and unnatural timbre profile. Yet again, this affects cymbals and drums. The Liric II is the larger sibling in height and width of stage and it packs a greater punch in the bass to boot. Despite its appearance, it has the reserved and warmer personality. However, it is still the traumatised child that is rough around the edges and lacks emotional balance in the treble. Most people would prefer the smaller and uglier, yet pampered and refined (and cheaper) little sibling that is the Strada. Unfortunately, the criticism doesn’t end there. As is the nature of Indian families, these Mezes will be compared by the parents (I have become what I swore not to be) to the overachieving distant cousins and family friends. The DCA Noire X and E3 are the perfect siblings that excel at every metric – academics, sports, extracurriculars. Their only fault – they can be too vanilla and high strung for some. To add salt to the open wounds, the Mezes are not even the coolest kids in the apartment. The rich and spoilt brat, that is the ZMF Boked Closed, parties harder and its wonky tuning is embraced with zero conflicts.   ## Meze Poet (D&A Alpha Pro, 6.35mm) Meze’s latest open back is an absolute delight to hold in the hands at look at. It is exquisite and classy in design while being comfortable. I still marginally prefer the DCAs and 800S for comfort but this is a toss-up based on your head and ear anatomy. The D&A Alpha Pro is the most unique and modern looking source I’ve seen. The design, build and user interface all form a cohesive, premium and smooth experience. I am looking forward to more (hopefully affordable) releases from this brand. Immediately, I notice the recessed vocals and that it sounds like yet another V-shaped Meze. Once I focus on the bass though, I realise it is lacking the quantity that usually accompanies Meze Closed backs. As expected of an open back, the rumble is subdued, but the mid bass bloom remains lending the mids a warm tonality. Naturally, timbre and detail of the mids take a hit and this flaw alone would be salvageable. Unfortunately, Meze has also pulled back the upper mids as is characteristic of their planars. This is what ruins the energy, detail and presentation of the vocals. Strings and violins, in particular, lacked energy. I understand this choice was made to improve stage but even HiFiMAN manages to balance this trade off better. Upper treble and air is boosted lending transients of cymbals a tad too much energy. The balance of upper mids and lower treble with the higher frequencies affects the resolution of the set quite a bit. Stage is quite good but imaging and separation are average. The Dan Clark Audio E3 may be bright-leaning in comparison but it nails the fundamentals. For this reason, I find it difficult to recommend the Poet if what you want is natural timbre and neutral tonality. If you want fun, Meze’s own lineup has bassier options.   # Dan Clark Audio ## Dan Clark Audio Noire X (4.4mm) vs Dan Clark Audio Noire XO (XLR) Before you dismiss me as a madman for comparing an open and closed back, let me just say that DCA is brilliant at resolving the issues that have traditionally plagued closed backs and bringing them on par with open backs. Both these sets have a sleek and sturdy industrial design with substantial heft but excellent comfort. I thoroughly appreciate that most of their sets fold up to be genuinely portable. Both sets were powered by the SMSL VMV P2 amplifier and the SMSL VMV D2R DAC. I watched a few reviews prior to the event last year and the Noire X was rated quite highly. The first set I tried was the Noire X and every aspect of the set absolutely stunned me last time. To say I had high expectations from these sets would be an understatement (particularly as the E3 was not available at the Chennai event). The differences between both sets tonally is quite minor but certainly noticeable when heard back-to-back. The XO sacrifices rumble and midbass impact for a wider stage that offers a bit more separation. The XO is also smoother overall in the treble but I preferred the Noire X’s presentation and tonal balance a bit more. It could’ve also been the better isolation offered by the X that made the difference ultimately. If you took the HD600 and added sub bass extension these are very close to what you would get. They lack a little warmth in the lower mids and the upper mids to lower treble region is elevated. The rest of the treble was not as smooth and refined as I would’ve liked. I am particularly sensitive to this 2kHz elevation that can make the set a bit shouty. Mid treble is a bit more emphasised than the 600 but this is tastefully done. These sets are just second to the Sony MV1 in comfort and the DCA’s self-adjusting suspension strap is a brilliant design. Technical performance is excellent and they handily outperform the Mezes and Bokeh Closed. The ZMF however offers punch and warmth and joy that is unparalleled. If you want brilliant neutral tonality and natural timbre with emphasised upper mids, these sets can be endgame for most. It is genuinely the first closed back that is worth stepping up to from the FT1. I am eager to try out the 620S and hot out of the oven 480 Pro and change my recommendations at the 300 to 500 USD price range.   ## DCA E3 (Denafrips Ares 15th + Burson Audio Conductor GT4, 6.35mm) Prior to attending last year’s Connect, I watched a few reviews and a tier-lists that unanimously proclaimed the DCA E3 to be the best closed back set. Lo and behold, one of the few empty chairs when I arrived at the venue the next day was at the DCA booth. After convincing myself that it would be wise to try the cheaper Noire X first, I was thoroughly impressed. I stared at the beautiful black metal yokes and glass cups of the E3 wondering how anything could sound better. The fit and comfort is like a custom-tailored suit; I didn’t have to fiddle with unwieldy adjustment mechanisms or adjust the set once it was on my head. I will never forget how incredibly tight and fast the snare and kick bass hits on Caravan were; I felt like I was the drummer sat in the middle of the kit. Mountains by Hans Zimmer builds up with incredible dynamics and contrast between silence and music. The E3 engulfed me in a massive tsunami and its backwash dragged me headfirst into the sea of audiophilia. I walked into the room with much uncertainty as to the value of expensive gear and left wondering if I could save up for an E3. Unfortunately, the E3 was not available this year at Chennai and my disappointment was immeasurable. However, I had a chance to attend the Bangalore Connect and the instant I spotted the E3, I had to abandon all other plans. I have already praised the neutrality of this set and compared it with everything else so let me stick to impressions from songs. In Adele’s Easy on Me (NRJ Awards Live Version), her vocals resonate with energy and the timbre is absolutely dead on. The speed and texture of the bass guitar is balanced perfectly with the volume of the impact. The piano can often sound either too bright with no body or too warm with no bite but again it is tonally perfect. This track is incredibly simple with just three elements and no complex effects but it requires solid tonality. In Limelight by Rush, Alex Lifeson’s guitars have the crunch and bite that is expected. The expansive stage width and depth is revealed immediately by the intro fill. As the verse kicks into gear, the excellent imaging and separation articulate every note of Geddy Lee’s vocals and each hit of Neil Peart’s sticks. In Manavyalakinchara by Agam, Harish Sivaramakrishnan’s vocals sound absolutely heavenly and is presented beautifully. The choir with its wonderful harmonies is often lost in the mix but this is not the case here. The layering of this wonderfully mixed but busy track really showcases the strengths of a neutral tuning. The detail in the treble is astounding all while maintaining a fine balance between energy and sibilance. In All by Myself, Celine Dion’s vocals are another example of the deft treble that delivers the energy and detail required without a pinch more than demanded. Listening to Pneuma by Tool on the E3 has undoubtedly redefined my expectations from any headphone that I will try in the future. I typically need to watch the live video to completely grasp Danny Carey’s brilliance. With the E3 however, I can clearly image every piece of his kit and hear subtle nuances and dynamics that I had never picked up before. The attack, decay and release of each strike is so nimbly presented. Any effects added to the track such as echo or decay are crystal clear. The double kick bass is absolutely precise. For my next song, Giriraja Sudha by Shakti, the only two words I have written down are – just brilliant. I considered spitting this long writeup into closed and open back parts but the E3 has taken on the challenges posed by a closed earcup and resoundingly crushed them. You only notice that it is a closed back due to the isolation that lends it a pitch-black canvas upon which it masterfully recreates anything you feed it with insignificant deviation. I may tone down the lower treble by a dB or two and add a smidge for sub bass for prolonged listening sessions. I may have to plan a ride to the Kochi Connect just to get some more time with this masterstroke from DCA.   # ZMF ## ZMF Boked Closed (TRN Black Pearl, 4.4mm) The ZMFs are all absolutely stunning and built like tanks. The Bokeh is heavy and large but the cups are massive and very comfortable once you adjust it properly. The bass, particularly the kick drum, is so tight and punchy. The double kicks from the ending of Caravan from the Whiplash soundtrack are simply delectable. Despite the copious amounts of bass on offer, the mids do not sound muddy. Rather, male vocals and electric guitars sound rich and lush. Cymbals are great and snare hits in particular are brilliantly executed. Celine’s vocals on All by Myself are quite good without sounding sharp. Strings are among the few places where the Bokeh falters on the timbre front. Imaging, layering and resolution are all decent, but the stage is simply excellent for a closed back. I don’t quite remember which pads were attached and which mesh was attached. The customisability offered with different pad and mesh combos is great for personalisation of comfort and tonality. This set gets you to head bang along with your music and abandon all intentions to analyse music critically. Hearing this set brought back my impressions from last year, Unfortunately, it is not a set that I reminisced days or weeks after the event either year. That yearning is held in reserve for the Dan Clark Audio sets. If not for the E3, this set would be the finest closed back available.   ## ZMF Caldera 2024 (6.35mm) vs ZMF Atrium (XLR) Since I heard both sets back-to-back and contrasted them in my notes, I am presenting them as a comparison. Both were powered by Burson Audio Conductor Voyager and some version of perforated lambskin pads were attached. The Caldera and Atrium are both incredibly expensive sets that do not disappoint on the build and comfort as is expected from ZMF. The customisability in terms of pads and meshes is against commendable. They both leak quite a bit of sound to the surroundings and aren’t the most isolating open backs. Last year, I tried all the ZMFs and left entirely confused whether there was any audible difference at all. This year, armed with a notebook and a gear testing playlist, I was determined to see if what I heard lined up with graphs and reviews. Both are quite punchy and have a lot of impact for open backs, however they do not match the rumble of the Bokeh Closed. I find the Atrium to be the punchier sibling and personally, it is a bit too much midbass. The bass texture and timbre as a result take a hit and the Caldera is brilliant here. The Caldera’s airy upper treble gives crashes and hits on the kit a wet shimmer that the Atrium lacks. Note weight on both sets is thick and syrupy but the bloom meant male vocals and guitars suffered to an extent. Female vocals and horns are energetic and a smidge better on the Caldera while stringed instruments sound more natural on the Atrium. The Atrium takes the edge on transients, particularly those of vocals. Both sets stage incredibly well but the Atrium is a pinch wider while the Caldera effortlessly demonstrates better imaging and resolution. The layering and separation are not consistently good but rather very track dependent. Those looking for a fun, engaging set should consider a ZMF and both these sets will certainly deliver. Despite the massive price range, I think a quick demo with your favourite tracks will point you towards the right ZMF for you. I thoroughly enjoyed the fun, coloured tonality of the Bokeh Closed.   # HiFiMAN ## HiFiMAN HE1000SE (FiiO K19, 4.4mm) vs HiFiMAN HE1000 Unveiled (Topping DX9 Discrete, XLR) Let me start by saying I was incredibly hard pressed to hear a significant difference between both these sets. The Unveiled is warmer and had marginally smoother treble. This difference could even be down to the sources. For this reason, it would be incredibly stupid to pay 1000 USD extra for the Unveiled. I would rather spend the money on the beauty that is the DX9 Discrete. The intricate circuitry lit by the orange lights through the massive transparent top is captivating to admire while the HE1000SE engulfs you in your music. The suspension strap design makes these quite a bit more comfortable than the XS. The cups are yet again large enough to avoid any contact with your ear. It is difficult to describe how this set sounds to someone who hasn’t heard it before. Imagine the difference between watching a Christoper Nolan film on your laptop and in a theatre. The laptop is the average non-audiophile headphone. The Edition XS is your local multiplex with a decent laser projector. The HE1000SE is a bright, crisp and massive IMAX screen. I genuinely think I could pick out different cymbal sizes and brands with a bit of practise. The speed of the bass makes it tight and controlled though I would definitely EQ in a bit more quantity. The attack, decay and release of notes is much better balanced than the XS. Strings are particularly brilliant with unparalleled texture and resolution in Yo-Yo Ma’s prodigious Bach Cello Suites and Hilary Hahn’s masterful Mozart Sonatas. It brings into plain view the entirety of every note you’ve heard with nuance you’ve never heard before. This is executed superbly for every element in every track I threw at it. Not only does it offer tremendous detail, it presents them on a stage that is wide in all directions with pinpoint imaging and standout layering. The HE1000SE shines brighter if you feed it the fuel of busier tracks like those of the remarkable Hans Zimmer. Just as your eyes adjust to the bright screen in the theatre, your ears will likely adjust to the energy of the HE1000SE given some time. Though you will be immersed and impressed analysing your music, this is not a fun set. This is a screen showing a neutral picture without any undue contrast, saturation or vibrance. If you wish to gaze at a vivid picture as one often does, you should look elsewhere. However, this set is easily the resolution benchmark that will mock more expensive headphones.   ## HiFiMAN Arya Organic (FiiO K19, XLR) Overall tonal balance is very similar to the HE1000SE. It is a tad bit harsher and brighter in the treble. The bass is not as controlled and textured in its impact. The perceived technicalities are a step down particularly stage width and imaging performance. Whether the marginal improvement the 1000SE offers is worth double the asking price is a question your wallet must answer. I am very eager to try out the more affordable and supposedly smoother Arya Stealth when I get a chance.   ## Audeze LCD-5 (Burson Audio Conductor GT4, 6.35mm) The entire LCD series requires some serious neck strength to hold up the heft. I found the LCD-5 to not have deep enough cups for my ears. This issue with fit may have affected the seal so take my impressions lightly. The vocals, male or female, are wonderfully rich and lush. The timbre and texture in mids are excellent and reminded me of my HD600. The bass is tight and punchy with absolutely no bloom or bloat. The perceived technicalities do not compete with some sets half the price. The asking price and the comfort is the reason I would pick so many of the competitors over the LCD-5. Unfortunately, the entry level Audezes were out of order at this Connect. I am eager to try them after my struggle to notice any differences within the lineup last year.   ## Focal Utopia 2022 (Chord Dave, 6.35mm to XLR) Last year, I spent most of time trying the new DCA E3 and a plethora of top-of-the-line ZMF, Meze, Audeze and STAX sets. I never got around to trying any HiFiMAN or Focal sets. Unfortunately, unlike the sprawling lineup of HiFiMANs this time, Focal only had the Utopia 2022 for demo. I grabbed the empty seat and told myself to move on in 10 minutes to the ignored IEM section. The comfort is good although I found the clamp a tad loose. The build is beautiful but it did not feel as solid in the hand as the competitors; the notorious Focal headbands made me quite nervous. The Chord Dave is a robust, large and eccentric looking DAC. Despite the frustratingly complex controls, I must admit adjusting the volume with the metal ball is incredibly satisfying. Certainly not justified at 13 lakhs for I could buy a super sport instead. The first characteristic of the Utopia that struck me is its wonderful warmth and thick note weight. The bass is balanced with just the right amount of impact and texture. It threads the line between bloomy and controlled perfectly, but I would prefer an extra sprinkle of subbass. The vocals are placed forward with lush timbre. I found female vocals to be a bit more energetic but certainly not sibilant. The rich tone of violins, cellos and most other stringed instruments transforms my diverse playlist into velvety goodness. Percussion instruments, particularly tablas, are just simply brilliant. Cymbal and other brass kit decays are a bit lacklustre. Stage is good and layering and overall presentation is among the best I’ve heard. Imaging, detail and fine textures are not great especially considering the steep asking price. By the time I was testing the Utopia, Giriraj Sudha by Shakti had become my defacto track to test timbre, tonality, resolution and layering with the beautifully recorded and mastered ensemble of vocals, guitar, violin, tabla and ghatam. The HE1000SE unearthed incredible detail and realistic texture while imaging and staging the instruments so fabulously that it transported me to the middle of the concert stage, right at the epicentre of these maestros. On the other hand, the Focal wholly lacks this technical prowess. It is like a cup of decadent hot chocolate while curled up in a cozy blanket after a long day. It is like the sunrise the next morning, vivid and joyful without any undue harshness. Thirty minutes later, I realized this set teleported me away from the harsh, monotonous and real chair of analysis into a smooth, enthralling and surreal place. A place where the mellifluous music meanders like a clear river flowing down from glacial, snow-capped peaks. Simply put, a utopia.   # Conclusions With the diverse and capable options available under 300 USD, it is truer now than ever before – you do not need to break the bank to get good sound. However, if you are willing and able to spend more you will find gems that push the boundaries of what is possible with just a pair of drivers and earcups. You will find better technical prowess, exquisite designs and more robust build quality in general as you pay more. What you will not necessarily find as you up the budget is a more natural or neutral tuning and this is entirely fine. I can appreciate the exciting and coloured experience offered by Audeze, ZMF and maybe even Meze if I am in a weird mood. However, the headphones that not just played but resonated my music to life will linger in my memory as mighty, almost unfair, benchmarks for every other set to come. These sets that I yearn for and hope to eventually add to my collection are – the E3 for balance and precision befitting a prodigious ballerina; HD800S for the separation, layers and presentation of a freshly baked croissant from a Michelin-starred kitchen; the HE100SE for resolution and detail surpassing an IMAX screen; and finally, the Utopia for effortlessly enabling music to do what it does best – teleport one through time and space.

Apologies in advance for the extremely long read. I couldn’t quite think of a way to split these further without losing comparisons and context that is needed. Please feel free to search and skip to sets that you are interested in or jump to the summary at the end. I wish I had taken better photos but, in the bustle and excitement of the event, I often forgot. I have previously published my impressions of more affordable headphones and you can read those by clicking this [link](https://www.reddit.com/r/headphonesindia/comments/1t7iqsb/roundup_of_budget_headphones_impressions_from/). I also intend to publish my impressions of the electrostatic headphones and the IEMs that I tried soon! I am condensing my impressions of more expensive headphones (> 50K INR / 500 USD) that I tried at HeadphoneZone Connect. I heard these sets at the event in Chennai (Jan 31^(st) and Feb 1^(st)) and Bangalore (April 19^(th)). Last year, I simply struggled to tell a difference between most of the flagships. They were all impressive but I couldn’t for the life of me tell apart two ZMFs or a ZMF from a STAX. This time, I could much more easily, quickly and confidently hear the differences between sets. Since my re-entry audiophilia last year, I have acquired and used the Sennheiser HD600 extensively. With that as my benchmark, I tried to evaluate most headphones with a diverse playlist that I know like the back of my hand. The wonderful rich mids and timbre on the 600 have set an almost impossible benchmark for me. The DCA E3, Mezes and HD600 on tubes were tested later at the Bangalore event but I did try the HD800S at both events. I have mentioned the source and connector used for each can and if it is my first time hearing them. Unfortunately, I didn’t note down the pads used or mesh for sets that come with multiple options. Kindly excuse the half-assed photos, I forgot to take better pictures People blasting open backs like loudspeakers, the limited time (\~15 minutes) with each set, and my complete lack of prior experience reviewing cans are three big reasons to take everything with a big spoonful of salt. I must thank my friend u/mournfulmonk for pushing me to go in with an analytical mindset to train my ears and for the extensive guidance in penning down my thoughts. **Testing Tracks** – [YouTube Music](https://music.youtube.com/playlist?list=PL2bpvNPkNdZxmI2Q5ZyxTpTb8ruzKkeoA&si=ak2tzbUMQFbcaa5f) | [Apple Music](https://music.apple.com/in/playlist/test-tracks/pl.u-DdAN8lPI0jyZd4M)   ## Sennheiser HD800S (Cayin HA-2A + Gustard R26, 6.35mm) Last time round, I only got to try Bohemian Rhapsody on the 800S as the event was winding down. Those few minutes were enough to impress me. Enthralled by the balance of tonality and technicality of the HD800S and Cayin’s mesmerising analogue dials, I could’ve ignored the other sets. Alas, the demand for this set was high so I did have to move on. This set is less like a headphone and more like a pair of ear speakers. The cups are deep and massive enough to fit any ear. The clever use of materials to produce a premium yet lightweight build that delivers supreme comfort is much appreciated. The HD800S has a well-balanced tonality with slightly warm mids and smooth treble. The lower treble is relaxed and the rest of the treble is about as bright as the HD600 to my ears. These are arguably the first set that is not a downgrade in timbre of the mids from the HD600. The bass extends deeper but it doesn’t have the same rumble of the planars. The midbass is simply delectable with a good balance of texture and quantity. Well mastered tracks are presented naturally with excellent separation and layering. While a few other cans had comparable or even better imaging and resolution, the soundstage is truly holographic and astounding. Even on poorly mastered tracks, the tonal balance on a capable tube amp like the HA-2A makes this set a rhapsodious delight. It is the benchmark against which boutique flagship offerings from the likes of Meze, ZMF, Focal and Audeze seem extremely overpriced. It matches their technical prowess and offers an unmatched spaciousness with a mature and refined tonality. I completely understand why this is often the first expensive headphone to enter the collection and also the last to leave.   # Meze ## Meze Strada (TRN Black Pearl, 4.4mm) The Strada is the new mid-tier closed back from Meze. It is built well but it is proof that even Meze can miss the mark sometimes. The military green just doesn’t mesh with the beautiful wood and copper yokes. It is as though someone wrapped an elegant Rolls Royce Phantom’s hood with carbon fibre vinyl. Comfort is excellent but still a step behind DCA’s self-adjusting suspension strap for my head and ear anatomy. The Strada has a smooth treble and it brings this to my attention first. Although there is no bloom or bloat like other Meze closed backs, the quality of the bass is a sacrificed for more quantity. There is a steep drop off at 150hz which should lend it a clean timbre. However, the lower mids are boosted while the upper mids are still recessed in classic Meze fashion. It fares much better than prior Meze sets and this downward tilt imparts a warm timbre to the mids tastefully. Vocal and strings have better energy than the other planar Mezes and those who preferred a relaxed upper mids and lower treble may enjoy this. Coming from the HD600 however, overall tonality sounds off and detail is lacking. Backing vocals in certain tracks are buried. The boosted air region lends some energy to cymbal attacks but the initial bite of drums is missing in the lower treble for my preferences. Stage is great for a closed back but imaging, layering and presentation are average. The Strada may graph quite close to neutral targets but the DCA Noire X hits the mark more accurately. However, I can see those with a preference for more subbass, warmth and relaxed upper mids choosing this Meze.   ## Meze Liric II (TRN Black Pearl, 4.4mm) This is Meze’s flagship closed back planar magnetic and the design and build is par with Meze’s elegant and elevated standards. For some reason that I can’t quite pinpoint, the headband comfort is worse than other Mezes I’ve tried. It does look classier than its younger sibling, the Strada. Bass punch and impact is great with good texture but it is less controlled than other planars. The transition from mid bass to lower mids is done well and retains warmth without too much bloat. The timbre is certainly not natural but the warmth is brilliant for male vocals. I thoroughly enjoyed my recently discovered Coke Studio tracks. Female vocals and strings sound harsh with excessive mid treble energy while sounding recessed in the upper mids. Pianos sound thick and heavy while lacking bite. The mid treble is pulled back above 6khz and air is boosted lending a peaky and unnatural timbre profile. Yet again, this affects cymbals and drums. The Liric II is the larger sibling in height and width of stage and it packs a greater punch in the bass to boot. Despite its appearance, it has the reserved and warmer personality. However, it is still the traumatised child that is rough around the edges and lacks emotional balance in the treble. Most people would prefer the smaller and uglier, yet pampered and refined (and cheaper) little sibling that is the Strada. Unfortunately, the criticism doesn’t end there. As is the nature of Indian families, these Mezes will be compared by the parents (I have become what I swore not to be) to the overachieving distant cousins and family friends. The DCA Noire X and E3 are the perfect siblings that excel at every metric – academics, sports, extracurriculars. Their only fault – they can be too vanilla and high strung for some. To add salt to the open wounds, the Mezes are not even the coolest kids in the apartment. The rich and spoilt brat, that is the ZMF Boked Closed, parties harder and its wonky tuning is embraced with zero conflicts.   ## Meze Poet (D&A Alpha Pro, 6.35mm) Meze’s latest open back is an absolute delight to hold in the hands at look at. It is exquisite and classy in design while being comfortable. I still marginally prefer the DCAs and 800S for comfort but this is a toss-up based on your head and ear anatomy. The D&A Alpha Pro is the most unique and modern looking source I’ve seen. The design, build and user interface all form a cohesive, premium and smooth experience. I am looking forward to more (hopefully affordable) releases from this brand. Immediately, I notice the recessed vocals and that it sounds like yet another V-shaped Meze. Once I focus on the bass though, I realise it is lacking the quantity that usually accompanies Meze Closed backs. As expected of an open back, the rumble is subdued, but the mid bass bloom remains lending the mids a warm tonality. Naturally, timbre and detail of the mids take a hit and this flaw alone would be salvageable. Unfortunately, Meze has also pulled back the upper mids as is characteristic of their planars. This is what ruins the energy, detail and presentation of the vocals. Strings and violins, in particular, lacked energy. I understand this choice was made to improve stage but even HiFiMAN manages to balance this trade off better. Upper treble and air is boosted lending transients of cymbals a tad too much energy. The balance of upper mids and lower treble with the higher frequencies affects the resolution of the set quite a bit. Stage is quite good but imaging and separation are average. The Dan Clark Audio E3 may be bright-leaning in comparison but it nails the fundamentals. For this reason, I find it difficult to recommend the Poet if what you want is natural timbre and neutral tonality. If you want fun, Meze’s own lineup has bassier options.   # Dan Clark Audio ## Dan Clark Audio Noire X (4.4mm) vs Dan Clark Audio Noire XO (XLR) Before you dismiss me as a madman for comparing an open and closed back, let me just say that DCA is brilliant at resolving the issues that have traditionally plagued closed backs and bringing them on par with open backs. Both these sets have a sleek and sturdy industrial design with substantial heft but excellent comfort. I thoroughly appreciate that most of their sets fold up to be genuinely portable. Both sets were powered by the SMSL VMV P2 amplifier and the SMSL VMV D2R DAC. I watched a few reviews prior to the event last year and the Noire X was rated quite highly. The first set I tried was the Noire X and every aspect of the set absolutely stunned me last time. To say I had high expectations from these sets would be an understatement (particularly as the E3 was not available at the Chennai event). The differences between both sets tonally is quite minor but certainly noticeable when heard back-to-back. The XO sacrifices rumble and midbass impact for a wider stage that offers a bit more separation. The XO is also smoother overall in the treble but I preferred the Noire X’s presentation and tonal balance a bit more. It could’ve also been the better isolation offered by the X that made the difference ultimately. If you took the HD600 and added sub bass extension these are very close to what you would get. They lack a little warmth in the lower mids and the upper mids to lower treble region is elevated. The rest of the treble was not as smooth and refined as I would’ve liked. I am particularly sensitive to this 2kHz elevation that can make the set a bit shouty. Mid treble is a bit more emphasised than the 600 but this is tastefully done. These sets are just second to the Sony MV1 in comfort and the DCA’s self-adjusting suspension strap is a brilliant design. Technical performance is excellent and they handily outperform the Mezes and Bokeh Closed. The ZMF however offers punch and warmth and joy that is unparalleled. If you want brilliant neutral tonality and natural timbre with emphasised upper mids, these sets can be endgame for most. It is genuinely the first closed back that is worth stepping up to from the FT1. I am eager to try out the 620S and hot out of the oven 480 Pro and change my recommendations at the 300 to 500 USD price range.   ## DCA E3 (Denafrips Ares 15th + Burson Audio Conductor GT4, 6.35mm) Prior to attending last year’s Connect, I watched a few reviews and a tier-lists that unanimously proclaimed the DCA E3 to be the best closed back set. Lo and behold, one of the few empty chairs when I arrived at the venue the next day was at the DCA booth. After convincing myself that it would be wise to try the cheaper Noire X first, I was thoroughly impressed. I stared at the beautiful black metal yokes and glass cups of the E3 wondering how anything could sound better. The fit and comfort is like a custom-tailored suit; I didn’t have to fiddle with unwieldy adjustment mechanisms or adjust the set once it was on my head. I will never forget how incredibly tight and fast the snare and kick bass hits on Caravan were; I felt like I was the drummer sat in the middle of the kit. Mountains by Hans Zimmer builds up with incredible dynamics and contrast between silence and music. The E3 engulfed me in a massive tsunami and its backwash dragged me headfirst into the sea of audiophilia. I walked into the room with much uncertainty as to the value of expensive gear and left wondering if I could save up for an E3. Unfortunately, the E3 was not available this year at Chennai and my disappointment was immeasurable. However, I had a chance to attend the Bangalore Connect and the instant I spotted the E3, I had to abandon all other plans. I have already praised the neutrality of this set and compared it with everything else so let me stick to impressions from songs. In Adele’s Easy on Me (NRJ Awards Live Version), her vocals resonate with energy and the timbre is absolutely dead on. The speed and texture of the bass guitar is balanced perfectly with the volume of the impact. The piano can often sound either too bright with no body or too warm with no bite but again it is tonally perfect. This track is incredibly simple with just three elements and no complex effects but it requires solid tonality. In Limelight by Rush, Alex Lifeson’s guitars have the crunch and bite that is expected. The expansive stage width and depth is revealed immediately by the intro fill. As the verse kicks into gear, the excellent imaging and separation articulate every note of Geddy Lee’s vocals and each hit of Neil Peart’s sticks. In Manavyalakinchara by Agam, Harish Sivaramakrishnan’s vocals sound absolutely heavenly and is presented beautifully. The choir with its wonderful harmonies is often lost in the mix but this is not the case here. The layering of this wonderfully mixed but busy track really showcases the strengths of a neutral tuning. The detail in the treble is astounding all while maintaining a fine balance between energy and sibilance. In All by Myself, Celine Dion’s vocals are another example of the deft treble that delivers the energy and detail required without a pinch more than demanded. Listening to Pneuma by Tool on the E3 has undoubtedly redefined my expectations from any headphone that I will try in the future. I typically need to watch the live video to completely grasp Danny Carey’s brilliance. With the E3 however, I can clearly image every piece of his kit and hear subtle nuances and dynamics that I had never picked up before. The attack, decay and release of each strike is so nimbly presented. Any effects added to the track such as echo or decay are crystal clear. The double kick bass is absolutely precise. For my next song, Giriraja Sudha by Shakti, the only two words I have written down are – just brilliant. I considered spitting this long writeup into closed and open back parts but the E3 has taken on the challenges posed by a closed earcup and resoundingly crushed them. You only notice that it is a closed back due to the isolation that lends it a pitch-black canvas upon which it masterfully recreates anything you feed it with insignificant deviation. I may tone down the lower treble by a dB or two and add a smidge for sub bass for prolonged listening sessions. I may have to plan a ride to the Kochi Connect just to get some more time with this masterstroke from DCA.   # ZMF ## ZMF Boked Closed (TRN Black Pearl, 4.4mm) The ZMFs are all absolutely stunning and built like tanks. The Bokeh is heavy and large but the cups are massive and very comfortable once you adjust it properly. The bass, particularly the kick drum, is so tight and punchy. The double kicks from the ending of Caravan from the Whiplash soundtrack are simply delectable. Despite the copious amounts of bass on offer, the mids do not sound muddy. Rather, male vocals and electric guitars sound rich and lush. Cymbals are great and snare hits in particular are brilliantly executed. Celine’s vocals on All by Myself are quite good without sounding sharp. Strings are among the few places where the Bokeh falters on the timbre front. Imaging, layering and resolution are all decent, but the stage is simply excellent for a closed back. I don’t quite remember which pads were attached and which mesh was attached. The customisability offered with different pad and mesh combos is great for personalisation of comfort and tonality. This set gets you to head bang along with your music and abandon all intentions to analyse music critically. Hearing this set brought back my impressions from last year, Unfortunately, it is not a set that I reminisced days or weeks after the event either year. That yearning is held in reserve for the Dan Clark Audio sets. If not for the E3, this set would be the finest closed back available.   ## ZMF Caldera 2024 (6.35mm) vs ZMF Atrium (XLR) Since I heard both sets back-to-back and contrasted them in my notes, I am presenting them as a comparison. Both were powered by Burson Audio Conductor Voyager and some version of perforated lambskin pads were attached. The Caldera and Atrium are both incredibly expensive sets that do not disappoint on the build and comfort as is expected from ZMF. The customisability in terms of pads and meshes is against commendable. They both leak quite a bit of sound to the surroundings and aren’t the most isolating open backs. Last year, I tried all the ZMFs and left entirely confused whether there was any audible difference at all. This year, armed with a notebook and a gear testing playlist, I was determined to see if what I heard lined up with graphs and reviews. Both are quite punchy and have a lot of impact for open backs, however they do not match the rumble of the Bokeh Closed. I find the Atrium to be the punchier sibling and personally, it is a bit too much midbass. The bass texture and timbre as a result take a hit and the Caldera is brilliant here. The Caldera’s airy upper treble gives crashes and hits on the kit a wet shimmer that the Atrium lacks. Note weight on both sets is thick and syrupy but the bloom meant male vocals and guitars suffered to an extent. Female vocals and horns are energetic and a smidge better on the Caldera while stringed instruments sound more natural on the Atrium. The Atrium takes the edge on transients, particularly those of vocals. Both sets stage incredibly well but the Atrium is a pinch wider while the Caldera effortlessly demonstrates better imaging and resolution. The layering and separation are not consistently good but rather very track dependent. Those looking for a fun, engaging set should consider a ZMF and both these sets will certainly deliver. Despite the massive price range, I think a quick demo with your favourite tracks will point you towards the right ZMF for you. I thoroughly enjoyed the fun, coloured tonality of the Bokeh Closed.   # HiFiMAN ## HiFiMAN HE1000SE (FiiO K19, 4.4mm) vs HiFiMAN HE1000 Unveiled (Topping DX9 Discrete, XLR) Let me start by saying I was incredibly hard pressed to hear a significant difference between both these sets. The Unveiled is warmer and had marginally smoother treble. This difference could even be down to the sources. For this reason, it would be incredibly stupid to pay 1000 USD extra for the Unveiled. I would rather spend the money on the beauty that is the DX9 Discrete. The intricate circuitry lit by the orange lights through the massive transparent top is captivating to admire while the HE1000SE engulfs you in your music. The suspension strap design makes these quite a bit more comfortable than the XS. The cups are yet again large enough to avoid any contact with your ear. It is difficult to describe how this set sounds to someone who hasn’t heard it before. Imagine the difference between watching a Christoper Nolan film on your laptop and in a theatre. The laptop is the average non-audiophile headphone. The Edition XS is your local multiplex with a decent laser projector. The HE1000SE is a bright, crisp and massive IMAX screen. I genuinely think I could pick out different cymbal sizes and brands with a bit of practise. The speed of the bass makes it tight and controlled though I would definitely EQ in a bit more quantity. The attack, decay and release of notes is much better balanced than the XS. Strings are particularly brilliant with unparalleled texture and resolution in Yo-Yo Ma’s prodigious Bach Cello Suites and Hilary Hahn’s masterful Mozart Sonatas. It brings into plain view the entirety of every note you’ve heard with nuance you’ve never heard before. This is executed superbly for every element in every track I threw at it. Not only does it offer tremendous detail, it presents them on a stage that is wide in all directions with pinpoint imaging and standout layering. The HE1000SE shines brighter if you feed it the fuel of busier tracks like those of the remarkable Hans Zimmer. Just as your eyes adjust to the bright screen in the theatre, your ears will likely adjust to the energy of the HE1000SE given some time. Though you will be immersed and impressed analysing your music, this is not a fun set. This is a screen showing a neutral picture without any undue contrast, saturation or vibrance. If you wish to gaze at a vivid picture as one often does, you should look elsewhere. However, this set is easily the resolution benchmark that will mock more expensive headphones.   ## HiFiMAN Arya Organic (FiiO K19, XLR) Overall tonal balance is very similar to the HE1000SE. It is a tad bit harsher and brighter in the treble. The bass is not as controlled and textured in its impact. The perceived technicalities are a step down particularly stage width and imaging performance. Whether the marginal improvement the 1000SE offers is worth double the asking price is a question your wallet must answer. I am very eager to try out the more affordable and supposedly smoother Arya Stealth when I get a chance.   ## Audeze LCD-5 (Burson Audio Conductor GT4, 6.35mm) The entire LCD series requires some serious neck strength to hold up the heft. I found the LCD-5 to not have deep enough cups for my ears. This issue with fit may have affected the seal so take my impressions lightly. The vocals, male or female, are wonderfully rich and lush. The timbre and texture in mids are excellent and reminded me of my HD600. The bass is tight and punchy with absolutely no bloom or bloat. The perceived technicalities do not compete with some sets half the price. The asking price and the comfort is the reason I would pick so many of the competitors over the LCD-5. Unfortunately, the entry level Audezes were out of order at this Connect. I am eager to try them after my struggle to notice any differences within the lineup last year.   ## Focal Utopia 2022 (Chord Dave, 6.35mm to XLR) Last year, I spent most of time trying the new DCA E3 and a plethora of top-of-the-line ZMF, Meze, Audeze and STAX sets. I never got around to trying any HiFiMAN or Focal sets. Unfortunately, unlike the sprawling lineup of HiFiMANs this time, Focal only had the Utopia 2022 for demo. I grabbed the empty seat and told myself to move on in 10 minutes to the ignored IEM section. The comfort is good although I found the clamp a tad loose. The build is beautiful but it did not feel as solid in the hand as the competitors; the notorious Focal headbands made me quite nervous. The Chord Dave is a robust, large and eccentric looking DAC. Despite the frustratingly complex controls, I must admit adjusting the volume with the metal ball is incredibly satisfying. Certainly not justified at 13 lakhs for I could buy a super sport instead. The first characteristic of the Utopia that struck me is its wonderful warmth and thick note weight. The bass is balanced with just the right amount of impact and texture. It threads the line between bloomy and controlled perfectly, but I would prefer an extra sprinkle of subbass. The vocals are placed forward with lush timbre. I found female vocals to be a bit more energetic but certainly not sibilant. The rich tone of violins, cellos and most other stringed instruments transforms my diverse playlist into velvety goodness. Percussion instruments, particularly tablas, are just simply brilliant. Cymbal and other brass kit decays are a bit lacklustre. Stage is good and layering and overall presentation is among the best I’ve heard. Imaging, detail and fine textures are not great especially considering the steep asking price. By the time I was testing the Utopia, Giriraj Sudha by Shakti had become my defacto track to test timbre, tonality, resolution and layering with the beautifully recorded and mastered ensemble of vocals, guitar, violin, tabla and ghatam. The HE1000SE unearthed incredible detail and realistic texture while imaging and staging the instruments so fabulously that it transported me to the middle of the concert stage, right at the epicentre of these maestros. On the other hand, the Focal wholly lacks this technical prowess. It is like a cup of decadent hot chocolate while curled up in a cozy blanket after a long day. It is like the sunrise the next morning, vivid and joyful without any undue harshness. Thirty minutes later, I realized this set teleported me away from the harsh, monotonous and real chair of analysis into a smooth, enthralling and surreal place. A place where the mellifluous music meanders like a clear river flowing down from glacial, snow-capped peaks. Simply put, a utopia.   # Conclusions With the diverse and capable options available under 300 USD, it is truer now than ever before – you do not need to break the bank to get good sound. However, if you are willing and able to spend more you will find gems that push the boundaries of what is possible with just a pair of drivers and earcups. You will find better technical prowess, exquisite designs and more robust build quality in general as you pay more. What you will not necessarily find as you up the budget is a more natural or neutral tuning and this is entirely fine. I can appreciate the exciting and coloured experience offered by Audeze, ZMF and maybe even Meze if I am in a weird mood. However, the headphones that not just played but resonated my music to life will linger in my memory as mighty, almost unfair, benchmarks for every other set to come. These sets that I yearn for and hope to eventually add to my collection are – the E3 for balance and precision befitting a prodigious ballerina; HD800S for the separation, layers and presentation of a freshly baked croissant from a Michelin-starred kitchen; the HE100SE for resolution and detail surpassing an IMAX screen; and finally, the Utopia for effortlessly enabling music to do what it does best – teleport one through time and space.

Thank you for reading and the kind words! I did debate including price but it would've been a mess with sales and discounts and at some point it really stops mattering. Comparing detail retrieval at a noisy event with a time crunch is quite difficult but the difference in presentation, timbre and tonality that you brought up is plainly obvious. Within a track or two I knew which sets connected me with my music and which ones disappointed me. Both are excellent sets, you really must try to demo them soon!

Hi Everyone! TL;DR: The ZMF Atrium Redwood Burl are works of art and sound incredible, super happy. I was on a mission to try out several headphones I've been unable to demo elsewhere and hopefully come away with an idea of what would be next for me. I've been spoiled for choice with some of the local shops here in the Twin Cities area but a few brands/higher-end options haven't been available. I reached out to ZMF to ask if they offer workshop tours and have demo units available to try. I thought I'd make a trip to Chicago and pay them a visit. While they do have kind of open-house days, they also told me they'd be at AXPONA. I'm a bit embarrassed to say I'd not heard of it prior, as I had only known of Canjam. I had previously lived in the LA area so the show was there all the time, but I had been pretty happy with my HD800S and LCD-X for a while, so I had not visited in years. I decided I'd visit AXPONA since pretty much everyone would be there and I'd be able to demo pretty much anything I'd be looking for. I made the rounds and tested several headphones out I had been considering and pretty much steered clear of the options that are $10k+ or of questionable quality/new brands. Any and everything was there to demo, but I didn't want try stuff that would linger in the back of my mind and ruin my wallet (Warwick) or disappear from existence in a few years. I tried the Audio Technica ADX3000 and ADX7000, ZMF Auteur Classics, Atrium, Tessidera, and Caldera. I also tried the Hifiman Arya Organic and Arya Unveiled despite being a Hifiman hater. I'd pretty much tried other contenders at the local shops; Meze Empyrean II and Elites, Audeze LCD5, Focal Utopia and Clear MGs, and Fostex TH1100RP. I like my HD800S, but I've since given them to my wife and I wanted kind of the "next level" for open backs and perhaps something with a bit more bass (thanks Sony) and "different" tuning. The ADX3000 and ADX7000 both had interesting tuning and I'd have loved to listen to them longer, but I didn't like any of the AT pads, the ear opening is just too small for my ears. The Hifimans I tried: The Arya Unveiled made me nervous to touch it ,and the booth had it hooked up to a laptop with literally only one Led Zeppelin song in windows media player. I didn't sit there long. The Arya Organic sounded pretty good, but I could not get them to feel secure on my head. Huge ear openings and relatively comfortable, but they kind of sloshed around on my head. Unfortunately for them, I had already visited the ZMF booth and the wood veneer and overall build quality just felt bad (I'd hazard to say not just bad by constrast, but just objectively bad). I also didn't listen to them for very long either as the track-list available at the Moon Audio booth was pretty poor and the folks working there were kind of cold / perhaps more interested in peddling cable snake oil to old folks with more money than sense. Sidebar: Shame on the audio industry and a lot of the trade show vendors for just making up lies about cables. I heard a vendor I won't name talking about $5000 speaker wire and $9000 1m long XLR cables. Onto the ZMF booth. Auteur Classics - like the HD600s but more of everything, including weight. I felt these would cause some discomfort for longer listening sessions and they didn't quite feel like "enough" of an upgrade to my ears from what I'm used to. I tried the new Tessidera and Caldera and both also felt too heavy for me despite the otherwise great ergonomics. I also think in contrast to the Atrium the timbre and the midrange of those planars just didn't hit right with me. I think they're both very technically competent with interesting tuning, but the key here is contrast. So the Atriums. Kind of funny, both my wife and I had the same general first impression, "wow". I sat with these the longest as it was clear to me these struck a lot of the right chords (pun intended). To sum them up in simplest terms, they have authority. Notes have heft/impact. The mids/upper mids are a bit forward, the bass hits hard, the treble is detailed, but not too bright. Instrument separation is good, sound stage isn't huge, but it's not overly intimate. Others have written more eloquently than me on how these sound, so I won't go on. I had a separate problem now, can I get one? The folks working the booth were great, especially Bevin, she was super helpful and very gracious. We went through the list of options they had available there and I felt like a kid in a candy store. There were so many wonderful combinations to choose from. The decision was complicated by some banter between Zeos, Bevin, and Zach. There was discussion of boneless versus bone-in chicken, chef boyardee resin stabilized LTDs, etc. I'm just standing there admiring the different wood, chassis, and grill choices. A truly surreal experience. Ultimately the Redwood Burls suited me best. Coming in at almost exactly 500 grams, they are hefty, but among the lighter options there because of their lower density. They have a really great sonic character and look stunning. The Atriums are a really special headphone that just ended up doing more right for me than everything else I've tried recently and I've been super happy listening to them the past few days. To those that made it all the way through, thanks for reading. If you have questions about why I chose these over some of the other models listed, I can answer in the comments, this post is already too long.

ZMF Caldera. Beautiful, comfortable, amazing sound.

Nope they’re not that similar. I own both the SE exclusive + and the Onyx Matrix. I will say with a pad swap and eq, it’s possible to get the SE to sound 9/10 but generally I agree it’s a 7/10 sound with the stock leather pads. For the price maybe an 8/10. Pad swap + EQ and I feel they start to outshine certain flagships like the ZMF Caldera for example. The matrix is an evolution. It needs no EQ or pad swap and sounds probably 9/10 stock. If comparing stock forms, the onyx matrix is significantly better than the older SE exclusive (thinner membrane). Detail retrieval, resolution, bass, mids.. pretty much everything to my ears is significantly improved. Again if comparing stock. I do have and plan to keep both my pairs but I did swap pads + use EQ on my tres se exclusive + (thinner membrane). The resolution & detail is actually astounding and surpasses the onyx matrix noticeably in my opinion + has a much arrier transparent sound compared to the thicker, more lush and musical sound of the Onyx Matrix.