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. 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 | Apple Music

 

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. 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 | Apple Music

 

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. 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 | Apple Music

 

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.

I am condensing my impressions of budget headphones (<50K INR/500USD) that I tried at HeadphoneZone Connect. I heard these sets at the event in Chennai across two days, Jan 31^(st) and Feb 1^(st), 2026. Last year, I couldn’t try out a single budget set. This was partly due to the crowd and partly due to my distraction by the flagship planar magnetics.

Since then, I have acquired and use the Sennheiser HD600. With that as my benchmark, I tried to evaluate most headphones with a diverse playlist 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. Save for the Sundara, this will be my first time hearing all of these sets.

Wherever possible, I used my portable, yet powerful TRN Black Pearl to eliminate any source variation. 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 have covered open backs first and two closed backs at the end of the article with a summary after each section.

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 | Apple Music

Open Backs

HiFiMAN Edition XS (Topping A70 Pro + D70 Pro Sabre & TRN Black Pearl, 4.4mm)

Last year, I went to Connect with the plan to find a budget IEM and to see if the XS and HD600 were actually good as people said. Naturally, I got sidetracked by the expensive open back sets and didn’t get a chance to hear either set by the end of the day. I eventually purchased a HD600 blind and I returned to Connect hoping that they would hold their own again the XS as they had with the Sundara and AR5000 I had the fortune of trying. For what it’s worth, I couldn’t notice any difference between my portable dongle and the incredibly powerful Topping stack.

The massive egg-shaped cups were incredibly comfortable but the use of this set would be restricted to a desk. As expected, the XS was a bright set with incredible texture and detail in all instruments and vocals. The initial transients were notably harsh but the decay of cymbals and drum hits was incredible and a notch above the HD600. The stage was undoubtedly wider in all directions with good separation and layering even on the busiest of tracks. Although they are bassier, I would’ve still liked a tad more bass impact and warmth in the mids. If you crave every last morsel of texture and detail, the Edition XS is what you want. The FiiO FT1 Pro gets incredibly close while sounding less harsh and being lighter on the head. If you instead want rich timbre and unparalleled mids, the HD600 is still the standard to match.

FiiO JT7 (TRN Black Pearl, 4.4mm)

I tried this set quite briefly so my thoughts are short. Incredibly light but plasticky build lends to quite a comfortable headphone. The bass quality and quantity for an open back are excellent particularly at this price. Overall balance is good and treble is not sibilant or harsh but is not incredibly smooth. I have since heard the HD560S and prefer the JT7 over it. It is now the default budget open back recommendation in my opinion.

FiiO FT1 Pro (TRN Black Pearl, 4.4mm)

Another much hyped budget set that people compared against the XS often. It has a good built with a very nice stock cable. The comfort however is a bit worse than the JT7, it doesn’t adjust as well. I would be hard pressed to notice specific tonality differences between the FT1 Pro and it’s younger sibling. The separation and imaging however are noticeably better. Both these sets offer excellent detail and resolution without sounding as bright or harsh as the Edition XS. However, the XS remains the king of soundstage and imaging at this price point.

Sony MDR-MV1 (TRN Black Pearl, 3.5mm)

As you pick up the MV1, you are shocked by how light it is. Yet, it is built well with a clever use of metal and plastic. It is easily the most comfortable headphone I’ve tried. The bass quantity and texture rivals some closed back sets. I am baffled by how Sony managed to tune this headphone. The stage is arguably the most holographic in this segment and imaging and separation are not far behind. The midbass is too much for my tastes and it ruins the timbre of the mids noticeably.

I figured this set with it’s incredibly bass and stage would be brilliant for soundtracks. Unfortunately, the highs are so poorly tuned that I just can’t enjoy the brilliant aspects of this set. The lower treble is pulled back and impacts vocal presence while the mid treble is boosted and makes transients quite harsh and unnatural. Cymbals and strings suffered particularly. The MV1 has the highest of lows and the lowest of highs. Despite this shortcoming, I am eager to try this set again with 3 or 4 simple PEQ filters. I hope that the result is a tonally flawless and incredibly comfortable open back headphone.

HiFiMAN Sundara (TRN Black Pearl, 3.5mm)

The Sundara was a good set when it came out and open back options under 300 USD were limited to the venerable Sennheiser HD6XX series. Today, it is easily the worst set as it doesn’t excel at anything particularly. The HD600 has much better mids and timbre while also demonstrating refined treble. The Aune AR5000 has similar imaging and staging capabilities while sounding cohesive and is more comfortable to boot. It’s sibling, the Edition XS has markedly better technicalities and more palatable treble for most. The FiiO FT1 Pro offers a smoother, easier to power and more portable alternative to the XS. Finally, the Sony MDR-MV1 lays to rest the orchestral prowess of the Sundara with its incredible stage and bass with the comfiest design on the market. I would even take the JT7 over the Sundara if I’m being candid.

Summary

Despite the notable downsides of the HD600, it will remain the last piece in my collection if I ever need to downsize. The midrange, timbre, overall tonality and neutrality surpass most and at best, are toe-to toe with the flagship headphones I tried (impressions to come soon). I could never justify keeping around an XS or FT1 Pro around if I did upgrade later. The MV1 with its brilliant chassis design and bass could be a brilliant option for bassheads or for those that EQ. I hope to get a chance to try the Audio-Technica R70X and the HiFiMAN Anada Stealth soon.

Closed Backs

Meze 99 Classics v2 (TRN Black Pearl, 3.5mm)

The first thing you notice as you pick it up is the clean design and how solid the build feels in your hands. They are quite comfortable but I would prefer slightly larger cups. The first things that I notice is the wonderful meaty and textured bass that manages to avoid muddying the mids too much. The vocals are presented well without being recessed or too forward. Female vocals are quite tame and I felt the energy to be lacking on certain tracks in the higher registers. Male vocals are good but the timbre along with other instruments in the lower mids left something to be desired.

Acoustic instruments and orchestral strings were much better tonally. The attack and decay of cymbals and drum hits was emphasised very enjoyably. The soundstage was good for a closed back, separation and layering were par for the course, and resolution and timbre were particularly bad. At the asking price, the timbre personally ruined an otherwise fun and engaging closed back set. Compared to my previous experience with the V1, this was a marked improvement. I would like to add that I am not sure if the mesh damping material was installed. Most others who tried the set seemed to enjoy it a lot more than I did.

Audeze LCD-S20 (FiiO Q5, 4.4mm)

As I waited in queue for the open back Audezes, I decided to give the newly launched closed back from Audeze a try. This was easily the worst set I tried at Connect. The tonality overall was quite bad and mids sounded hollow. The lower and mid treble were so unnatural that I did not bother to listen to all my key testing tracks. To add to this, the cups were quite small and comfort was poor. The bass punch and slam were the only positives of this set. Save your money and get the FiiO FT1 instead.

Summary

Get the FiiO FT1 and do not spend a single dime more on a closed back until you can afford the entry-level Dan Clarks. If you prefer coloured tunings, the Mezes may be more to your liking but I personally find them unnatural and too far from neutral.

I am condensing my impressions of budget headphones (<50K INR/500USD) that I tried at HeadphoneZone Connect. I heard these sets at the event in Chennai across two days, Jan 31^(st) and Feb 1^(st), 2026. Last year, I couldn’t try out a single budget set. This was partly due to the crowd and partly due to my distraction by the flagship planar magnetics.

Since then, I have acquired and use the Sennheiser HD600. With that as my benchmark, I tried to evaluate most headphones with a diverse playlist 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. Save for the Sundara, this will be my first time hearing all of these sets.

Wherever possible, I used my portable, yet powerful TRN Black Pearl to eliminate any source variation. 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 have covered open backs first and two closed backs at the end of the article with a summary after each section.

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 | Apple Music

Open Backs

HiFiMAN Edition XS (Topping A70 Pro + D70 Pro Sabre & TRN Black Pearl, 4.4mm)

Last year, I went to Connect with the plan to find a budget IEM and to see if the XS and HD600 were actually good as people said. Naturally, I got sidetracked by the expensive open back sets and didn’t get a chance to hear either set by the end of the day. I eventually purchased a HD600 blind and I returned to Connect hoping that they would hold their own again the XS as they had with the Sundara and AR5000 I had the fortune of trying. For what it’s worth, I couldn’t notice any difference between my portable dongle and the incredibly powerful Topping stack.

The massive egg-shaped cups were incredibly comfortable but the use of this set would be restricted to a desk. As expected, the XS was a bright set with incredible texture and detail in all instruments and vocals. The initial transients were notably harsh but the decay of cymbals and drum hits was incredible and a notch above the HD600. The stage was undoubtedly wider in all directions with good separation and layering even on the busiest of tracks. Although they are bassier, I would’ve still liked a tad more bass impact and warmth in the mids. If you crave every last morsel of texture and detail, the Edition XS is what you want. The FiiO FT1 Pro gets incredibly close while sounding less harsh and being lighter on the head. If you instead want rich timbre and unparalleled mids, the HD600 is still the standard to match.

FiiO JT7 (TRN Black Pearl, 4.4mm)

I tried this set quite briefly so my thoughts are short. Incredibly light but plasticky build lends to quite a comfortable headphone. The bass quality and quantity for an open back are excellent particularly at this price. Overall balance is good and treble is not sibilant or harsh but is not incredibly smooth. I have since heard the HD560S and prefer the JT7 over it. It is now the default budget open back recommendation in my opinion.

FiiO FT1 Pro (TRN Black Pearl, 4.4mm)

Another much hyped budget set that people compared against the XS often. It has a good built with a very nice stock cable. The comfort however is a bit worse than the JT7, it doesn’t adjust as well. I would be hard pressed to notice specific tonality differences between the FT1 Pro and it’s younger sibling. The separation and imaging however are noticeably better. Both these sets offer excellent detail and resolution without sounding as bright or harsh as the Edition XS. However, the XS remains the king of soundstage and imaging at this price point.

Sony MDR-MV1 (TRN Black Pearl, 3.5mm)

As you pick up the MV1, you are shocked by how light it is. Yet, it is built well with a clever use of metal and plastic. It is easily the most comfortable headphone I’ve tried. The bass quantity and texture rivals some closed back sets. I am baffled by how Sony managed to tune this headphone. The stage is arguably the most holographic in this segment and imaging and separation are not far behind. The midbass is too much for my tastes and it ruins the timbre of the mids noticeably.

I figured this set with it’s incredibly bass and stage would be brilliant for soundtracks. Unfortunately, the highs are so poorly tuned that I just can’t enjoy the brilliant aspects of this set. The lower treble is pulled back and impacts vocal presence while the mid treble is boosted and makes transients quite harsh and unnatural. Cymbals and strings suffered particularly. The MV1 has the highest of lows and the lowest of highs. Despite this shortcoming, I am eager to try this set again with 3 or 4 simple PEQ filters. I hope that the result is a tonally flawless and incredibly comfortable open back headphone.

HiFiMAN Sundara (TRN Black Pearl, 3.5mm)

The Sundara was a good set when it came out and open back options under 300 USD were limited to the venerable Sennheiser HD6XX series. Today, it is easily the worst set as it doesn’t excel at anything particularly. The HD600 has much better mids and timbre while also demonstrating refined treble. The Aune AR5000 has similar imaging and staging capabilities while sounding cohesive and is more comfortable to boot. It’s sibling, the Edition XS has markedly better technicalities and more palatable treble for most. The FiiO FT1 Pro offers a smoother, easier to power and more portable alternative to the XS. Finally, the Sony MDR-MV1 lays to rest the orchestral prowess of the Sundara with its incredible stage and bass with the comfiest design on the market. I would even take the JT7 over the Sundara if I’m being candid.

Summary

Despite the notable downsides of the HD600, it will remain the last piece in my collection if I ever need to downsize. The midrange, timbre, overall tonality and neutrality surpass most and at best, are toe-to toe with the flagship headphones I tried (impressions to come soon). I could never justify keeping around an XS or FT1 Pro around if I did upgrade later. The MV1 with its brilliant chassis design and bass could be a brilliant option for bassheads or for those that EQ. I hope to get a chance to try the Audio-Technica R70X and the HiFiMAN Anada Stealth soon.

Closed Backs

Meze 99 Classics v2 (TRN Black Pearl, 3.5mm)

The first thing you notice as you pick it up is the clean design and how solid the build feels in your hands. They are quite comfortable but I would prefer slightly larger cups. The first things that I notice is the wonderful meaty and textured bass that manages to avoid muddying the mids too much. The vocals are presented well without being recessed or too forward. Female vocals are quite tame and I felt the energy to be lacking on certain tracks in the higher registers. Male vocals are good but the timbre along with other instruments in the lower mids left something to be desired.

Acoustic instruments and orchestral strings were much better tonally. The attack and decay of cymbals and drum hits was emphasised very enjoyably. The soundstage was good for a closed back, separation and layering were par for the course, and resolution and timbre were particularly bad. At the asking price, the timbre personally ruined an otherwise fun and engaging closed back set. Compared to my previous experience with the V1, this was a marked improvement. I would like to add that I am not sure if the mesh damping material was installed. Most others who tried the set seemed to enjoy it a lot more than I did.

Audeze LCD-S20 (FiiO Q5, 4.4mm)

As I waited in queue for the open back Audezes, I decided to give the newly launched closed back from Audeze a try. This was easily the worst set I tried at Connect. The tonality overall was quite bad and mids sounded hollow. The lower and mid treble were so unnatural that I did not bother to listen to all my key testing tracks. To add to this, the cups were quite small and comfort was poor. The bass punch and slam were the only positives of this set. Save your money and get the FiiO FT1 instead.

Summary

Get the FiiO FT1 and do not spend a single dime more on a closed back until you can afford the entry-level Dan Clarks. If you prefer coloured tunings, the Mezes may be more to your liking but I personally find them unnatural and too far from neutral.

I am condensing my impressions of budget headphones (<50K INR/500USD) that I tried at HeadphoneZone Connect. I heard these sets at the event in Chennai across two days, Jan 31^(st) and Feb 1^(st), 2026. Last year, I couldn’t try out a single budget set. This was partly due to the crowd and partly due to my distraction by the flagship planar magnetics.

Since then, I have acquired and use the Sennheiser HD600. With that as my benchmark, I tried to evaluate most headphones with a diverse playlist 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. Save for the Sundara, this will be my first time hearing all of these sets.

Wherever possible, I used my portable, yet powerful TRN Black Pearl to eliminate any source variation. 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 have covered open backs first and two closed backs at the end of the article with a summary after each section.

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 | Apple Music

Open Backs

HiFiMAN Edition XS (Topping A70 Pro + D70 Pro Sabre & TRN Black Pearl, 4.4mm)

Last year, I went to Connect with the plan to find a budget IEM and to see if the XS and HD600 were actually good as people said. Naturally, I got sidetracked by the expensive open back sets and didn’t get a chance to hear either set by the end of the day. I eventually purchased a HD600 blind and I returned to Connect hoping that they would hold their own again the XS as they had with the Sundara and AR5000 I had the fortune of trying. For what it’s worth, I couldn’t notice any difference between my portable dongle and the incredibly powerful Topping stack.

The massive egg-shaped cups were incredibly comfortable but the use of this set would be restricted to a desk. As expected, the XS was a bright set with incredible texture and detail in all instruments and vocals. The initial transients were notably harsh but the decay of cymbals and drum hits was incredible and a notch above the HD600. The stage was undoubtedly wider in all directions with good separation and layering even on the busiest of tracks. Although they are bassier, I would’ve still liked a tad more bass impact and warmth in the mids. If you crave every last morsel of texture and detail, the Edition XS is what you want. The FiiO FT1 Pro gets incredibly close while sounding less harsh and being lighter on the head. If you instead want rich timbre and unparalleled mids, the HD600 is still the standard to match.

FiiO JT7 (TRN Black Pearl, 4.4mm)

I tried this set quite briefly so my thoughts are short. Incredibly light but plasticky build lends to quite a comfortable headphone. The bass quality and quantity for an open back are excellent particularly at this price. Overall balance is good and treble is not sibilant or harsh but is not incredibly smooth. I have since heard the HD560S and prefer the JT7 over it. It is now the default budget open back recommendation in my opinion.

FiiO FT1 Pro (TRN Black Pearl, 4.4mm)

Another much hyped budget set that people compared against the XS often. It has a good built with a very nice stock cable. The comfort however is a bit worse than the JT7, it doesn’t adjust as well. I would be hard pressed to notice specific tonality differences between the FT1 Pro and it’s younger sibling. The separation and imaging however are noticeably better. Both these sets offer excellent detail and resolution without sounding as bright or harsh as the Edition XS. However, the XS remains the king of soundstage and imaging at this price point.

Sony MDR-MV1 (TRN Black Pearl, 3.5mm)

As you pick up the MV1, you are shocked by how light it is. Yet, it is built well with a clever use of metal and plastic. It is easily the most comfortable headphone I’ve tried. The bass quantity and texture rivals some closed back sets. I am baffled by how Sony managed to tune this headphone. The stage is arguably the most holographic in this segment and imaging and separation are not far behind. The midbass is too much for my tastes and it ruins the timbre of the mids noticeably.

I figured this set with it’s incredibly bass and stage would be brilliant for soundtracks. Unfortunately, the highs are so poorly tuned that I just can’t enjoy the brilliant aspects of this set. The lower treble is pulled back and impacts vocal presence while the mid treble is boosted and makes transients quite harsh and unnatural. Cymbals and strings suffered particularly. The MV1 has the highest of lows and the lowest of highs. Despite this shortcoming, I am eager to try this set again with 3 or 4 simple PEQ filters. I hope that the result is a tonally flawless and incredibly comfortable open back headphone.

HiFiMAN Sundara (TRN Black Pearl, 3.5mm)

The Sundara was a good set when it came out and open back options under 300 USD were limited to the venerable Sennheiser HD6XX series. Today, it is easily the worst set as it doesn’t excel at anything particularly. The HD600 has much better mids and timbre while also demonstrating refined treble. The Aune AR5000 has similar imaging and staging capabilities while sounding cohesive and is more comfortable to boot. It’s sibling, the Edition XS has markedly better technicalities and more palatable treble for most. The FiiO FT1 Pro offers a smoother, easier to power and more portable alternative to the XS. Finally, the Sony MDR-MV1 lays to rest the orchestral prowess of the Sundara with its incredible stage and bass with the comfiest design on the market. I would even take the JT7 over the Sundara if I’m being candid.

Summary

Despite the notable downsides of the HD600, it will remain the last piece in my collection if I ever need to downsize. The midrange, timbre, overall tonality and neutrality surpass most and at best, are toe-to toe with the flagship headphones I tried (impressions to come soon). I could never justify keeping around an XS or FT1 Pro around if I did upgrade later. The MV1 with its brilliant chassis design and bass could be a brilliant option for bassheads or for those that EQ. I hope to get a chance to try the Audio-Technica R70X and the HiFiMAN Anada Stealth soon.

Closed Backs

Meze 99 Classics v2 (TRN Black Pearl, 3.5mm)

The first thing you notice as you pick it up is the clean design and how solid the build feels in your hands. They are quite comfortable but I would prefer slightly larger cups. The first things that I notice is the wonderful meaty and textured bass that manages to avoid muddying the mids too much. The vocals are presented well without being recessed or too forward. Female vocals are quite tame and I felt the energy to be lacking on certain tracks in the higher registers. Male vocals are good but the timbre along with other instruments in the lower mids left something to be desired.

Acoustic instruments and orchestral strings were much better tonally. The attack and decay of cymbals and drum hits was emphasised very enjoyably. The soundstage was good for a closed back, separation and layering were par for the course, and resolution and timbre were particularly bad. At the asking price, the timbre personally ruined an otherwise fun and engaging closed back set. Compared to my previous experience with the V1, this was a marked improvement. I would like to add that I am not sure if the mesh damping material was installed. Most others who tried the set seemed to enjoy it a lot more than I did.

Audeze LCD-S20 (FiiO Q5, 4.4mm)

As I waited in queue for the open back Audezes, I decided to give the newly launched closed back from Audeze a try. This was easily the worst set I tried at Connect. The tonality overall was quite bad and mids sounded hollow. The lower and mid treble were so unnatural that I did not bother to listen to all my key testing tracks. To add to this, the cups were quite small and comfort was poor. The bass punch and slam were the only positives of this set. Save your money and get the FiiO FT1 instead.

Summary

Get the FiiO FT1 and do not spend a single dime more on a closed back until you can afford the entry-level Dan Clarks. If you prefer coloured tunings, the Mezes may be more to your liking but I personally find them unnatural and too far from neutral.