The next steps for Audio-Technica’s ATH-ADX5000 didn’t lie in the creation of another flagship, but arguably something more important in ATH-ADX3000. Those TOTL technologies trickled down to birth this mid-tier marvel, placing its affordable exploits into the hands of more. Audio-Technica’s claim of being “the best sound for everyone” really comes to fruition here, with ADX3000 priced and performing at the sweet spot in 2024 between ATH-R70X and ADX5000. ADX3000 brings forth neutral, Harman-emphasised mids that clearly benefit from Audio-Technica’s Core Mount Technology – state-of-the-art on the ADX5000 in 2017 – being built of the same architecture to enable a truly open, undamped flow of air. Another exploit is it packing a 58mm dynamic driver, the largest this side of SGD$2,000 and joint runner-up for sheer size in all Head-Fi already. Never will one hear as open or effortless a soundstage, cast in front of them with nary an effort. ADX3000’s pristine, immaculate soundscape breathes naturally, materialising before you. But don’t mistake this as a bloodless affair devoid of guts. Paired with anything on up from iBasso Audio’s DC Elite, ADX3000 gains a gravitas and purpose in the low frequencies that make you pay attention, to a headphone that’s meant to do it all, for the long haul. [See Product Desc. For More] It’s no small feat that Audio-Technica were able to reproduce such a large 58mm driver that’s able to climb in high frequencies seemingly devoid of intermodulation and modal break-up. ADX3000 is an audibly low-distortion affair throughout, seemingly able to move pistonically at all frequencies. That achievement is only made more remarkable by the apparent absence of any damping material in ADX3000 apart from its earpads. Its driver starts with a sandwich driver core of softer material for effective damping at higher frequencies. This surface is coated with tungsten for the metal's stiffness, lightness and air acceleration properties moving at low frequencies. This means ADX3000's driver moves as a perfect piston over all frequencies up to and above its working range, keeping distortion down due to cone and modal break-up. Given Audio-Technica’s design goal of providing a clean, totally clear path of air towards the ear via a streamlined, svelte baffle with no acoustic impediments hanging off its inside, it’s remarkable what the company’s engineers did on a relatively small budget. That’s what 60 years of Audio-Technica’s audio know-how, and construction at their Japanese Naruse Machida plant, sounds like. The allowances for such a large driver were not for mere bragging rights.  By being built big, ADX3000’s 58mm driver’s cone can move less – by going large, the radiating driver surface area is increased exponentially on a comparable 40mm driver while reducing requirement pistonic movement substantially, to move the same amount of air and sound with better cone control.  ADX3000’s development period was a lengthy one, if one considers the seven years its ADX5000 sibling was on the market, and how Audio-Technica have churned out hits for six decades.  The former’s metallic material driver performs as effectively in the time domain as the frequency one, ADX3000’s ideal Q-factor not depending on tons of damping material that leads to a deader sound. Rather, transients zip and snap naturally and organically, without acoustic crutches. ADX3000’s purist construction means that this headphone can be nudged out of its comfort zone too, playing beyond the kind its creators directly intended for it. The extra ability to grant it sub and mis-bass response from sources is another feather to Audio-Technica’s versatile bow, responding and adapting to your listening needs, and chain. This is a heavyweight performance, from a 257 gram featherweight. Its 50ohm impedance gives it ability to scale with power, without fear of overdamping, so treat it to your ideal voltage sources such as Questyle Audio’s M15i and CMA18P too. Indeed, here’s a mid-price treat that really behaves like Audio-Technica’s co-flagship. Apt, that a 60-year-old company produces such a potentially timeless, made-in-Japan, heirloom. Check out the higher-specced ADX5000 that will love tube gear on the other hand here, all of Audio-Technica’s other classics here, and our other headphones here.

This is the open-back headphone from ZMF Headphones that everyone's been dreaming of. Bokeh is the next ZMF that can claim to be portable, its lightweight fidelity a dream companion for your workspace. It's the same ZMF quality and promise of durability sans unwieldy storage case. With customary lifetime ZMF driver warranty especially important as Bokeh Ioen gets put about the rigours of daily life, this is a build and tuning that will stand the test of time. Brought to a new and affordable price point, Bokeh Open is just the latest ZMF that stands to become a classic, bringing their cherished house sound with you on the go whether via USB dongle DAC/amp, music player or small desktop amp. [See Product Desc. For More] An alternative to Audio-Technica's ATH-ADX3000 and Focal's Hadenys, ZMF's new entry-level is greater than the sum of its parts. A new 80ohm Liquid Crystal Polymer driver is pushed to its acoustic limits with proprietary ZMF work, in their patented Atrium Damping System (ADS) first found in the flagship Atrium. All this tuning potential in earcup acoustics extends to Bokeh's owners with new Caldera earpads useful add-on options. Caldera pads bear a special fluted, tapered, horn-shaped design that take on the form of acoustic amplifiers. Leather or suede directly contribute to which frequencies you choose to enhance, making Bokeh such a pleasure because ADS makes it so versatile. Bokeh grants ZMF full control over a soundscape, with internal cavity design challenging the physical limits of linear full-range reproduction –  now with the help of an open-back grille. Acoustic dampers work closely together with driver mounting position for optimal diffusion effects, allowing ZMF to introduce greater perceived soundstage width and depth.  An incredible amount of fine-tuning took place selecting distances within the cup and damping material for optimal airflow, a five-year research and development process before ZMF deemed Bokeh ready to release to the public. Brought to a new point of cost-effectiveness is an 80ohm LCP driver that is the beating heart of Bokeh. It's a load that's simultaneously easy to drive for any partnering amplifier – such that a studio console, mixer or tube amplifier with varying output impedance mates comfortably with suitable damping factor. In fact, ZMF's newborn showcases a nominally flat impedance and thus exhibits the company's DNA, taking to tube amplification with exactly the same aplomb as its bigger siblings. Apart from frequency response being less prone to variation from impedance mismatch, Bokeh's easy load means many modern bridge-tied load outputs on music players won't grind their gears pushing into inordinately low impedances – small power supplies and output stages producing less in the way of distortion and noise as a result. Bokeh will make for a happy result running around the house from iBasso Audio's DC07 Pro, DC Elite and DX180, but high output impedance, imperfect voltage sources from FiiO and Shanling will not be tested untowardly either – music players from the latter both having enough mettle to push this ZMF very satisfactorily.  Settling down from its travels at its natural habitat that is the desk, Bokeh will continue to display sound that belies its cost, scaling into small desktop amps like HiBy Music's FD5, iFi Audio and HIFIMAN.  It's this versatility that really elevates Bokeh beyond the generic releases that otherwise dominates the mainstream. To find out how ZMF craft elevates the headphone hobby check out their other releases here, or view all our other headphones here.

Third time's the charm for Cayin Audio with N6III. They've perfected the formula for the ideal Android 12 platform – one music player that truly will keep up with all your audio needs. The trilogy continues with the C201 module built around eight Cirrus Logic CS43198 DAC chips to yield neutral, high-resolution playback, which you will start your N6III journey. After that, continue to develop the ecosystem with new DAC/amp motherboards that are subsequently released. It's easy for another Cayin to follow in the footsteps of the N6II – the first interchangeable audio motherboard that contained the entire DAC and its corresponding analog audio circuit in one whole swappable module. First never follows, but in the case of N6III there's a strong foundation laid down by its groundbreaking mid-priced predecessor. Never wanting for sound quality – even inspiring other manufacturers to produce their own copies – Cayin have taken steps forward to modernise the N6 modular concept with a Snapdragon 665, 6GB of RAM, an external long-range Wi-Fi antenna and a 50 per cent larger battery. Modules can now also be changed without separate tools. Need we mention that the signal path is fully shielded from parasitic wireless interference housed in its own isolated aluminum chassis. N6III's build only increases the noise rejection immunity of modules that are each already top-notch audio performers in their own right. [See Product Desc. For Info on C201 Circuit] The N6III is presented to you with Cayin's first Cirrus Logic DAC circuit. Continuing the tradition of being pioneers, never has the CS43198 been paired with four cascaded JRC NJU72315 analog volume controls. N6III's C201 provides fine volume level steps and crucially shunning the DAC chip's lossy onboard digital controller. Everyone knows the resolution Cirrus Logic's flagship DACs are capable off – or do they? As the first opting for an overbuilt analog volume control that can reduce both signal and noise at the same time, hence preserving dynamic range so much better, N6III/C201 is able to excavate detail close to the noise floor of your music like no other CS43198 DAC can. Cayin's C201 employs a novel parallel differential matrix DAC architecture with its eight CS43198 DAC chips. N6III's FPGA feeds each DAC chip independently with I2S signals, operating them in mono mode before they are grouped into pairs and paralleled to form full-differential output channels. To ensure optimal performance, each DAC chip benefits from discrete, symmetric power supply and peripheral circuitry. This design minimises distortion and jitter, resulting in enhanced sound density and overall audio quality. By precisely aligning the phase of all DACs, Cayin has achieved a significant improvement in the C201's sonic performance. This is an analog output performance that matches the precision of its digital decode, with their operation in balanced differential mode counting on common-mode rejection to cancel out distortion and noise. The larger PCB size that N6III affords means that C201 is able to count on 30 per cent larger board space to keep overbuilding its circuits. This robust nature is typified by the NJU72315 volume controls – these analog attenuators are unbuffered in their basic IC form, leaving the choice of subsequent driver stage to Cayin and allowing N6III to be its quiet best, achieving 130dB of signal-to-noise ratio. This high quality is preserved into your transducers as C201 loads in four Texas Instruments OPA1622s as N6III's output stage. These powerful, precise op-amps supply abundant current and mean N6III promises high damping factor while maintaining low distortion into low impedances typical of IEMs, Focals and Fostexs achieving up to 700mW on its 4.4mm output. Still the closed-loop internal gain remaining after the application of negative feedback around N6III/C201's op-amp IC analog circuit remains high. So where she really shines could be in swinging voltage, opening up the sound of any high-impedance Audio-Technica, Sennheiser and ZMF Headphones while barely breaking sweat. Its fine small-signal component also sees it serve as a line source into Cayin's other hot 2024 release, C9II, allowing you to add tubes and a Class A discrete analog circuit down the line to scale up further. C201 is a fine start to life for N6III and your journey with Cayin's latest mid-range overachiever. As you await the launch of their next audio motherboard, check out the rest of Cayin's gear here, or view our other music players here.

Available in a fetching jade teal, this limited edition DITA Audio x Zeppelin & Co. Project M embraces a philosophy of continual progress and innovation.  Headfonics hail its "exceptional resolution and technical prowess". Everyday Listening says Dita's "usual strengths of their earphones are on full display here". Like the original Project M, this collaboration departs from DITA's previous designs with a redesigned, ergonomic form that strikes a balance between familiarity and distinctiveness, embodying a new era for the brand. Equipped with DITA's revolutionary PM1+ Dynamic Driver and a balanced armature driver, the Project M showcases the prowess of the PM1+ Driver – a 9.8mm dynamic driver exclusively crafted for this model. Serving as the sonic heart of the Project M, the PM1+ Driver imparts the earphones with a signature characterised by texture, clarity, speed, and punchy bass, delivering a full-range sound experience.In a special collaboration, the limited Teal edition with Zeppelin & Co. is definitely something to add to your collection of IEMs.

Lotoo have yet another chance to showcase their DSP code mastery, bringing AKM's AK4191-AK4499EXEQ DAC ecosystem in the Paw Gold Touch (LPGT) 2 music player to new heights. After taking the original Paw Gold Touch as far as they could with constant Digital Signal Processing evolution, Lotoo acknowledge the strides digital audio has made in the six years since, bringing its flagship up to 2024 standards. Knowing what AKM's own AK4191 delta-sigma modulator is capable of, and Lotoo's own track record of proprietary software upgrades down the years, LPGT2 is good to go for a decade on its own on the digital front. It's backed up by a 4.4mm output capable of producing 1,000mW balanced power per channel. In addition to the Analog Devices Blackfin DSP microprocessor, LPGT2 adds the wireless Lotoo Teleport Protocol (LTTP) that allows your everyday smart device to transmit streaming of up to 24/96Khz high-res lossless audio to your player. Via a USB-C attachment to your phone, LTTP brings the improvements Lotoo's techniques bring to your favourite streaming content from Tidal and Apple Music. [See Product Desc. For More] Lotoo's use of the Analog Devices Blackfin BF706 DSP microprocessor is the stuff of legend by now, with the code written and loaded up over multiple firmware upgrades and several years a technique these Taiwanese coding innovators have made their own – so much of how each of Lotoo's classic DAPs sound is owed to this. The generation of pristine I2S is the ultimate goal for LPGT2's DSP. But even the best digital trickery in the world needs a hardware platform sufficiently capable to execute software. Enter Asahi Kasei Microdevices (AKM)’s resurgent flagship DACs.  These Japanese giants, back on their feet with a clean slate, started afresh expanding the basic footprint of a single DAC chip IC into three separate parts – to similarly multiply capabilities by a factor of three. AKM’s AK4191EQ is the brains of the operation, receiving pristine I2S clocking and data from LPGT2's Blackfin. Aboard, AK4191EQ’s delta-sigma modulator takes advantage of its expanded, dedicated, silicone footprint to lay claim to the title of the first chip IC working at seven bits. These seven single-bit modulators flow on into LPGT2's dual AK4499EXEQ DACs, one for each channel and built with a single purpose in mind: to turn the interpolated, noise-shaped, digital data it receives into the most precise analog waveform possible afforded by its large footprint. Silicone size matters when it comes to a great DAC IC, and AK4499EXEQ has it. Enabled by much more exact, matched resistors and capacitors aboard for precise DC single-bit decoding, and dynamic element matching that is less burdened by switching errors – granted by parts accuracy from a bigger footprint. Any conversion errors from AK4499EXEQs outputting in current manifests as DC offset, and not total harmonic distortion, that is easily filtered out. That's expected of any source claiming to be high performance. A high-quality current-to-voltage I/V section follows these AK4499EXEQs, befitting of chips that output in current for best distortion performance and indeed more expensive players. The second Lotoo device after Mjolnir this decade to boast such a circuit, LPGT2 brings those benefits to a portable device 10 years after the first generation LPG in 2014. Once again, LTTP allows you to get high-res lossless from your favourite streaming app on your smartphone to LPGT2, adding to its versatility beyond its 2TB SD card capacity. Running on Lotoo OS 1.6, LPGT2 once again eschews Android operation for the cleanest, lowest interference and CPU noise for a black background. That's only helped by an eight-layer PCB with shielding for the analog circuit, preserving all the analog resolution dual AK4499EXEQs can produce. This high-fidelity is amplified and flows on to powerful op-amp output buffers that supply current and mean Lotoo's flagship promises high damping factor while maintaining its low distortion into low impedances typical of IEMs, Focals, Fostexs and Rosson Audio Designs. Specially selected by Lotoo, LPGT2 boasts Texas Instrument parts that are ideal voltage sources and stable into capacitive loads, with their gain bandwidth product ensuring frequency response extends well beyond the human hearing range for excellent phase response and taut, impactful dynamics in the human hearing range. Still the closed-loop internal gain remaining after the mandatory application of negative feedback around Lotoo's analog circuit remains high, so where she really can shine is in swinging +20.3 dBu of voltage, opening up the sound of any high-impedance Audio-Technica, Sennheiser and ZMF Headphones while barely breaking sweat. Indeed, this latest evolution of Lotoo's beloved Paw Gold concept ensures it's totally future-proof, ready for whatever the bright future of the rapidly-advancing world of Head-Fi throws at it, on the digital and analog fronts. After LPGT2, keep up to date with the fantastic staying power Lotoo releases have here, or view all our other music players here.

It's the bone conduction takeover at Empire Ears with Triton! The third generation of Dean and Jack Vang's Dual Conduction Architecture (DCA) distils the lessons learnt from Empire Ears' own W10. The tri-brid Triton introduces a new level of cost – and sonic – effectiveness after Legend EVO and Raven. Far from being the bass cannon everyone taught it might be, Triton in fact puts in a good word for entertaining neutrality. Here, it sports a pair of new Sonion bone conduction units – that are already carving a reputation for themselves for uncoloured transparency – alongside one custom Empire Ears mids balanced armature and a trademark W9+ bass dynamic driver.  Operated efficiently, the latter pair operate conventionally as pressure-based transducers, with Triton's bone conductors literally making their presence felt. These bone conductors are the driving force behind DCA, enhancing both Triton's auditory and tactile elements of music. This fusion works with an expertly designed SynX crossover to ensure that every note resonates with unparalleled precision assigning drivers to the right frequencies. And, thorough tweaks like Anti-Resonance Compound (ARC) and tri-port ventilation are the Empire Ears signature on Triton, truly standing it apart from anything else on the market. [See Product Desc. For More] The benefits of bone conduction are discernible, particularly the way Empire Ears operates them full-range. Music gains a new found solidity as the bone conductors reach one's inner hearing structure through vibration. Music is propelled at you, but the lack of distortion – a benefit of not needing to tax Triton's pressure-based drivers for SPL to generate intangible listener engagement and immersion – is clear. Certainly, without needing to punch too hard by way of artificially overemphasising micro and macro dynamics, combines with Triton's lack of transducer distortion to reduce listener fatigue. Notes are portrayed sweetly and effortlessly. And by not trying too hard, Triton actually fills in the blanks in your music more effectively, conveying emotion. Triton's earth-shaking performance indeed amplifies the performance of the premium dynamic driver and balanced armature Empire Ears chose. ARC aids in the resonance, amplification, and dispersion of sound waves, synergising with other elements to achieve a distinctive sound signature and optimise Triton's acoustic performance. To optimise sound quality, Empire Ears meticulously engineered the enclosure's ventilation system. Precise adjustments to vent size and placement were crucial, as even minor changes significantly impacted audio performance. By carefully calibrating the vented drivers to their ideal volume, Triton's full sonic potential was unlocked. With bone conductors performing for many other conventional pressure-based drivers, the SPL demands on the other cast members was lessened. Triton's Weapon 9+ dynamic woofer for low-frequencies can stick to its assigned range without needing to overcompensate. And Triton's balanced armature particularly benefits as the reduced need to produce SPL leads to less distortion and an edge-less body to their detail. Triton is a show of Empire Ears maturity and is possible also because of the state of maturity the Head-Fi ecosystem is at. DAC/amp and music player sources show up in abundance to drive Triton's very difficult 3ohm load. It starts as simply as Questyle Audio's M15i, with this flagship current-mode DAC/amp ever happier as a voltage source the more it detects a dead short. And the potent output devices of HiBy Music's Class A entry R4, FD5 and R6III are more than up to the task despite their budget status. And then there are the discrete DAC music players which output plenty of juice. Cayin's DSD N7 with its 5 ampere output devices, and HiBy's PWM R8II plus R2R RS8 with inductor power supplies and large, paralleled transistors, promise natural tone, gravitas, soundstage and imaging for audio fireworks.  Because Triton is the party that brings all of Head-Fi together; and also every Empire Ears technology – synX crossovers, DCA, ARC, tri-port exhaust vents – under one roof. Whet your appetites for Triton with every other Empire Ears release here, or view all our other earphones here.

iFi Audio's work with ESS Technology DACs continue, with balanced. GO Link Max, their latest balanced 4.4mm dongle, runs with dual ES9219C chips.  What's special about the ES9219C is that it grants GO Link access to its on-chip analog volume control. This dongle attenuates volume in the analog domain granting much better signal-to-noise performance than the average competitor's lossy digital volume control. It receives a full 5⭐ from What Hi-Fi?. Forbes proclaims it the "best headphone DAC" at a budget. Music player levels of detail and fidelity even from USB's 5 volt supply are possible with GO Link Max. A thoroughly regulated circuit and clean power form the basics here, as with every iFi. [See Product Desc. For More] After decoding, iFi's generous use of negative feedback quashes distortion and claims huge signal-to-noise ratio – aided by the analog volume controls of its ES9219Cs. Powerful op-amp output buffers can supply high power and mean iFi's little wonder promises high damping factor while maintaining its low distortion into low impedances typical of IEMs, Focals, Fostexs and Rosson Audio Designs. Still the closed-loop internal gain remaining after the application of negative feedback around GO Link Max's op-amp IC analog circuit remains high. So where she really shines is in swinging voltage, opening up the sound of any high-impedance Audio-Technica, Sennheiser and ZMF Headphones while barely breaking sweat. The quality of GO Link Max's signal will translate to nearly everything you choose to drive from its balanced 4.4mm output. Flying the dongle DAC/amp flag high is GO Link Max, till you turn to iFi's other upgrades here, or others in our catalogue here.

Vision Ears unleash Elysium EXT MK II, the same dynamic-electrostatic flagship with enhanced performance and a slimmer nozzle for an easier, more universal fit. It lands right on Headfonia's Recommended Buys list, with Headfonics applauding "the company's most bombastic and 'fun-sounding' IEM ... produces one of the best bass performances in the market". The hype remains about this hybrid, because a big bass dynamic driver and four electrostatic driver complement yield extreme performance at the frequency extremes. Enhanced bass and treble units flank the ever-reliable mid-range dynamic driver that's tuned with an enhanced High-precision Acoustic Levelling Chamber (HALC), featuring Side Tuning Chamber (STC). EXT MK II's mid dynamic driver is where the whole experience meets in the middle, tying the performance of this six-driver Vision Ears flagship together seamlessly. [See Product Desc. For More] Two years were what Vision Ears needed to develop their dream dynamic driver for bass reproduction. Selecting aluminium-magnesium to form a generous 9.2mm diameter, this bass driver works as advertised, providing plenty of presence, drive and rumble in the depths of your music. Hard and stiff as a diaphragm held securely in place by a liquid silicone rubber surround, EXT MK II's bass unit is capable of plenty of excursion while under the full control of a N52 neodymium magnet. Movement remains pistonic till it's time to transition to its smaller 6mm mid-range counterpart. HALC optimises EXT MK II to produce the same mid-range meat that defined Elysium, and STC aids further bringing an enhanced richness to vocals and definition to instruments.  The optimisations to shell shape with EXT MK II adopts the ergonomic work Vision Ears put into VE10 to increase the effectiveness of these acoustic implements. With a more svelte nozzle shape, and a narrower bore accomodating a wider set of ears, a more universally perfect seal is ensured on EXT MK II, allowing HALC and STC to make their effect heard more as intended. Crafted for mid-range frequencies, EXT MK II's 6mm aluminium-magnesium mid driver pushed by double N52 magnets is up to the task. At the optimum size and stiffness to come down in frequency to take over from its bass sibling, before being small and damped enough in turn to pass up to four treble electrostats, this specialised unit gets the job done with minimal cone or modal break-up. That's also thanks to the use of a high-order crossover keeping drivers in their frequency comfort zone without overlap. Finishing the show at the top are four second-generation Sonion tweeters found right at the spout to yield maximum SPL and the most direct path to your ears. Indeed, EXT MK II's unique design isn't just style without substance. Vision Ears were deliberate with placement for the best acoustic network, and the vented rear of their flagship is encased with acoustically-open metal mesh for the largest perception of headspace and soundstage.  Enjoy EXT MK II with the best modern sources to date more than capable of handling its three-way crossover, with Questyle Audio's M15I, the Cayin Audio N6III, HiBy Music R6 Pro II and R8II, as well as iBasso Audio D16, PB5 and DX340.  And what a new arrow to the Vision Ears bow EXT MK II is proving to be, another great way to enjoy the house sound of these personal audio artisans. Browse the rest of our VE collection here, or our other IEMs here.

HiBy Music's R1 is one's ideal first music player. As affordable as a portable USB DAC dongle – in fact also able to be used as one – it's R1's standalone features that stand out. A dedicated device to play your music on, this HiBy packs its own battery meaning you won't need to deplete that of your everyday mobile devices.  HiBy use R1's battery to good effect, building a full audio circuit around it. You'll hear the upgrade proper PCB space and a dedicated power supply yields. From the outset, you'll find out what 'Hi-Fi' sound is about, through its Cirrus Logic CS43131 DAC. With specially-developed audiophile digital filters aboard R1's DAC– coded for their audio reproduction fidelity and not cost – you'll hear the difference versus your regular mainstream Bluetooth buds and PC outputs.  R1 also achieves high playback bandwidth, essential if phase response in the human hearing range for taut, snappy dynamics is to be preserved. Instruments and voices will sound lifelike for the first time, with transient reproduction all phase and timing intact. Come and reap the benefits from one of Sennheiser's single dynamic driver IE200 and IE600 earphones. Also check out the rest of HiBy's other releases here, or view our other DAPs here.

If you think you know how C9II sounds because it's a Class A tube/solid-state hybrid portable amplifier, Cayin Audio asks you to think again. The successor to the genre-defining C9 throws in local feedback adjustment around dual 6P1 Nutubes as well as its discrete solid-state output stage. That’s before anode voltage adjustment allows Cayin to reinvent the rule book, once again. It enters Headfonia's Hall of Fame for that. In its rawest form – with the barest minimum error correction around its Nutube voltage gain and transistor output stages – C9II is an exercise in circuit purity. It's a simple circuit that outperforms any complex one, especially in portable form factor. With Hyper mode, where operating voltage and bias gets pushed to the linear open-loop maximum, and full balanced differential operation, Cayin equipped C9II with the means to operate at its maximum in every possible mode of operation. [See Product Desc. For More] The vast majority of an amplifier's tuning comes from its initial input and voltage gain stages. Here, we see how far Cayin have come since C9 was released in 2021. A listener's ability to adjust every parameter including tube anode voltage and the feedback loop around Nutubes means up to five potential sonic signatures are possible. The operation of C9II's Gen 5 Nutube circuit in Classic mode reduces negative feedback to a bare minimum, increasing immersion with a simpler and faster circuit that avoids time lag and transient intermodulation distortion. Distortion figures also increase on paper but are of a low-order variety that is less jarring to the ear, compared to the complex intermodulation associated with unabated feedback levels. READ ALSO The full blow-by-blow story of C9II's development Here is where a good old linear open-loop circuit based on immaculate parts gain matching raises the victory flag. And that's before Class A bias and high operating voltages come into play, setting up C9II for success. You can even play with Nutube anode voltage for very audible sonic outcomes.  Throughout, C9II allows linearity specs to remain respectable even without error correction, because there are less errors to correct in the first place. Cayin's biggest asset in that regard comes from differential, balanced operation, where common-mode rejection enters the picture to amplify signal and block off non-linear distortion and noise.  While 6P1 Nutubes are always going to be the star of the show, and adaptable to sonic preferences and tastes, don't ignore C9II's solid-state input either.  Four channels of single-ended Class A Toshiba JFETs work in quasi-complementary fashion. Just NPNs, without PNP mismatches, plus even-order harmonics and square law make for a totally unique differential circuit in a portable set-up. Once you find your ideal match from five possible permutations, the input signal passes through JRC's MUSES 72320 resistor ladder volume controls – kept far away from the input and implemented only after the driver stage to preserve fragile small-signal integrity and excellent signal-to-noise ratio. This preserved resolution is handled all the way by a discrete transistor signal path. C9II's design is more than up to the task of preserving the signal – mere op-amp ICs need not apply. Instead of wasting their input stage advancements by entrusting the analog job to commercial ICs, Cayin's labour of love continued into its discrete, differential, output stage for common-mode rejection. C9II's driver section counts on all the benefits that come with a discrete FET & bipolar design – low open-loop gain and the resultantly lower negative feedback necessary, high slew rates, current-handling and unity gain stability.  Cayin's headphone power amplifier section is inherently stable without going into oscillation caused by too much gain product. The utmost attention is paid throughout. Differentiating itself from even other amplifiers that cling to op-amp layouts seeking THX-certification but with inordinate amounts of gain and feedforward/feedback, C9II's linearity remains excellent already in the open-loop, owing to its high operating voltages and bias. Those ensure individual transistors are working in optimum condition. Distortion and noise are kept low, without resorting to the excessive use of negative feedback. Cayin designed a true-balanced differential amplifier to further improve C9II's linearity, and you can count on common-mode rejection at its best whenever you plug in via 4.4mm preserving its resolution. It's an output stage that's direct-coupled to improve low-frequency performance, and C9II audibly plumbs the lowest bass depths. With the extension down low, phase reproduction in the audible human hearing range for taut, hard-hitting and life-like dynamics is excellent. At the tip of the power stage's spear, large bipolar devices work in parallel emitter-follower configuration to ensure excellent beta and current-handling for good reason, reaping the full benefit of Cayin's quad of 18650 batteries outputting direct DC and working without voltage boost conversion. These power transistors are linear enough in the open-loop, running fully biased and at high operating voltages, that they can be removed from the feedback loop with the push of a button. The reduction in feedback to simple local quantities innocuously just controlling small-signal gain means sound becomes all the more natural. A faster, simpler and more responsive circuit is just able to present musical information in a more effortless way.  Capable of following the impedances of the Empire Ears Raven, Odin and Legend Evo down low, Cayin's tradition building amplifiers that provide actual power as proper voltage sources into halving resistances continues with C9II. This is Cayin's latest exercise in old-school linear amplification brought away from the shackles of heavy hardware and into a portable future – with nary a compromise in sound, and adapted to manage the increasingly complex crossovers flagship IEMs represent. The versatility C9II yields in tuning options is only acknowledgement by Cayin for how much the portable audio market has grown. This Nutube hybrid promises to adapt to and improve your ever-changing transducers and portable sources, making you the chef that is in full control of the flavour of your audiophile nourishment. For much, much more detail into the portable technological advances C9II heralds, check out Cayin's full development story here plus the rest of their gear here, and all our other portable amplifiers here.

Nothing shows mastery over a transducer type like multiple types. HEDD Audio prove the foresight to their Air Motion Transformer (AMT) concept with the launch of HEDDPhone 2 GT, the audiophile counterpart to the award-winning HEDDPhone 2. HEDD, the AMT pioneers of 2020, proved they could do it first, and do it, again and again. HEDDPhone 2 GT remains tastefully accurate to the music but refrains from putting it under an audio microscope in the spirit of a recording tool. Instead, GT takes a step back, caressing your ears with an immersive approach to sound that invites you to stop analysing, but rather bask in your music's glory. Still, those desiring a more microscopic view of the musical scene materialising can change out the stock leather pads for the included suede alternatives. Throughout, the technical aptitude of HEDDPhone 2 GT's full-range AMT keeps up with the demands of this tuning departure from the monitoring studio, and into one's lounge chair. [See Product Desc. For More] The beauty of a velocity-based driver, rather than the standard pressure-based type, is only half the story with HEDDPhone 2 GT. With a pleated driver surface area up to three times larger than contemporary dynamic, planar or electrostatic headphones, HEDD's third coming is a benchmark of transparency and audio purity. One of Hi-Fi speakers' most important technologies, the quality promised by an AMT tweeter has always been unquestioned, and HEDD made a full-range, full frequency response one possible with Variable Velocity Transform (VVT) in their first HEDDPhone. Now, HEDDPhone 2 GT adds practicality with its build and design. 25 percent lighter than its predecessor, a patent-pending HEDDband smart strap system allows height, width, curvature and even the clamping pressure to be tweaked to individual head shape for a complete earpad seal – all with HEDDPhone 2 GT still built entirely in Berlin, Germany. HEDD already impressed Head-Fi with the pioneering spirit of the AMT's creator, Oskar Heil, when releasing the first HEDDPhone. Now, bringing the HEDDPhone 2 GT up to 2024 standards of audio quality are specifically positioned layers of damping material around its AMT that yields extension up and down in frequency, as well as elimination of driver crinkling. Rather than moving back and forth as a pressure-type transducer (like 99 per cent of conventional driver technology on the market), HEDDPhone 2 GT's AMT is pleated with magnetic force acting to laterally squeeze air out of the driver's folds as an accordion would – according it the tag of being a velocity-based transducer. That allows air to accelerate towards the ear up to four times faster than a beryllium or diamond dynamic driver of huge rigidity and excursion might. But without the cost, or distortion associated. The AMT's ability to reproduce sound as it was recorded is unrivalled in speakers, and now in headphones. HEDD's VVT technology varies the fold lengths to aid this AMT in producing low frequencies below this tweeter technology's typical threshold of 3Khz, for high-quality, fast and accurate bass. That's an upgraded AMT driver that still retains all of its old spatial advantages, namely excellent horizontal dispersion. Because of that, HEDDPhone 2 GT produces real depth and a sound that truly sounds like it's coming from outside of the head – perhaps most fulfilling the claim that it's almost like listening to true speakers. Additional air compliance really grants breathing room and soundstage over its HEDDPhone 2 sibling, for equally high fidelity just packaged differently. Similarly, included velour earpads allow you to swap with GT's stock leather units for a different tuning. Coming in at 550 grams, HEDD's next major upgrade comes in the form of the HEDDband – lighter in construction, yet stronger and more ergonomic. Built to be adjusted on two axes, the vertical dimension sees owners able to adjust wearing height and curvature via a patent-pending belt secured system. The horizontal dimension also sees width and therefore clamping pressure customisable. So much thought has gone into turning HEDDPhone 2 GT not just into HEDD's most complete product, but one of Head-Fi's barometers of affordable quality made to last with every last detail considered. German-style. Built in Berlin, HEDDPhone 2 comes with a five-year warranty against manufacturer defects. Its accessorisation is something else too. Spare earpads, two cables – one balanced 4.4mm, another 1/4" – and 4.4mm-to-4-pin-XLR adapter all come neatly packed in a travel case so that studio professionals and audiophiles alike may bring HEDDPhone 2 GT to work and to play in equal measure. Reasonably easy to drive for decent amplification, HEDDPhone 2 GT's AMT is now 2dB more sensitive at 89dB/W. Portable behemoths like Cayin Audio's C9ii, Enleum's HPA-23RM and iBasso Audio's PB5 are plenty up to the task. Desktop power will truly unleash this AMT, though. Think of Cayin's iHA-8 or Questyle Audio's CMA18 for that purpose. While HEDDPhone 2 GT's flat impedance make HA-6A, HA-300B MK. II and Feliks Audio's Envy all transformer tube amplifier candidates. There is no ceiling to HEDDPhone's sound quality, and a step up to the Lina – one of the best synergies with dCS Data Conversion Systems' statement headphone amplification system – or Soul 170HA in no way overawes HEDD's flagship. The future is AMT, and the future is now with HEDDPhone 2 GT.  After you check yours out, proceed to explore HEDD's other HEDDPhone concepts here, or view all our other headphones here.

PlusSound's Volta is an evolution of Allegro alongside Sonora, and a step further in their mission to develop world-beating IEMs. After a decade of releasing cables to tune the work of other earphone manufacturers, PlusSound have now released a new generation to hit the desired frequency targets themselves. The tri-brid Volta is a new concept redefining what you can expect from six drivers. Tuned neutrally with respect to the Harman curve with elevated isobaric dual dyanamic driver sub-bass, upper mids and electrostatic highs, Volta benefits from PlusSound's experience with tweeter integration. Achieving better integration with the rest of the frequency spectrum, Volta's electrostatic pair benefit from a crossover that's a work of art. Placed within a new ergonomic shell that ensures Volta's drivers always perform as intended into a multitude of ear shapes and sizes, all three types are kept ticking over as one sound, and quietly showcases PlusSound's pedigree as an IEM builder [See Product Desc. For More] PlusSound's brilliance here was designing a crossover that operates at a virtually flat 10ohm impedance and electrical phase. Indeed, said crossover is the platform to perform for Volta's drivers. PlusSound's low-order network feeds both dynamic driver bass and electrostatic treble sections. Their slow frequency roll-off slopes ensure accurate phase reproduction and maximum cohesion in their assigned audible band. And these simpler, lower-order signal paths utilise fewer components such that the crossover saps as little power as possible, ensuring maximum transparency, dynamics and detail reach the bass and treble units. Volta's dual dynamic drivers, operating in push-pull isobaric fashion, are more than capable of keeping up with the extended range they operate in. Both stiff yet well-damped as they rise higher in frequency, these large 10mm drivers are mounted in a 3D-printed acoustic enclosure with a massive rear vent. That aids decompression out of phase, lowering air resistance within their chamber for greater excursion and better drive. PlusSound similarly mounted Volta's electrostat tweeters where they would have maximum effectiveness, albeit with smoother integration with her mid-range balanced armatures. Placed coaxially against the IEM spout for the best directivity, their wide-frequency bandwidth extends up into the ether. Their low-order crossover sees these Sonion electrets enjoy the best sensitivity and power-to-SPL conversion, for audibly excellent dynamic ability. In between are two mid-range balanced armature drivers, this time working under high-order slopes to keep them in their ideal range of reproduction to avoid unduly taxing them. All six drivers are masterfully placed in Volta's shell for maximum frequency and time-domain performance. PlusSound's attention to detail extended to their accessorisation, with custom-designed silicone eartips for ideal acoustics beyond the shell showcasing the technical potential of Volta. The team significantly refined Volta's shape, resulting in a much more comfortable and better-fitting design. Production has also been enhanced with the incorporation of engraving machinery, allowing for intricate patterns to be precisely etched onto each model. PlusSound pushed the boundaries of manufacturing by utilizing advanced 7-axis CNC and engraving machines to create one of the most intricate earphone designs to date. Each shell undergoes a meticulous finishing process, including polishing, anodising, and cryogenic treatment to enhance surface durability and protect against damage from drops.  Volta's all-aluminum housing provides an acoustically inert environment, effectively reducing unwanted vibrations and resonances that can distort the sound. While you're enjoying Volta, experience Allegro here, how you can cable up your other transducers with PlusSound here, or view our other favourite IEMs here.

This is what everyone's first audiophile open-back headphone can be. That's the message Focal have sent with Hadenys, an entry-level wired headphone for the masses. What Hi-Fi? are already impressed. Built on the familiar, chic, compact chassis of the Bathys, Hadenys sounds great. Trademark 40mm M-shaped aluminum-magnesium dynamic drivers work with its open grilles to supply a healthy dose of space which Trusted Reviews noted. As possibly one's first experience with open-back headphones, Hadenys however never once pushes listeners out of their comfort zone. Reference soundstage, dynamics and detail are delivered politely and palatably, never once beating the uninitiated over the head with excessive high-frequencies. Also requiring zero amping, but improving with some, Hadenys gives you headroom to explore. Enquire in-shop about swapping Focal's stock mic cable with a balanced 4.4mm version, increasing this groundbreaking release – or its closed Azurys sibling's – audiophile credentials yet. [See Product Desc. For More] Like every Focal, Hadenys combines stunning design for immersive listening experience, with unmatched portability and comfort. These wired closed-back headphones boast a high-end design with Focal's signature style elements, featuring luxurious materials like leather, magnesium and aluminum.  It's this winning combination that ensures both durability and comfortable wear for any head shape. Inspired by the Hadean era, when the Earth completed its formation, Focal's rich brown colour gives it a distinctive touch, evoking earthly depth and organic warmth. Its beauty is matched only by the serious technology it hides underneath. Like every Focal, 40mm M-shaped dynamic drivers that have been made in French facilities reside below its cups. Built to be extremely pistonic in motion, the maximum potential travel of the Hadenys drivers give its bass proper low-frequency presence, speed and dynamics – useful on a noisy commute. These are traits that remain as frequencies rise. Focal's humble 40mm driver dimensions and the superb damping qualities of magnesium mean movement stays pistonic and doesn't deteriorate into harsh modal break-up up top. Treble detail stays inherently warm and natural. Focal engineered Hadenys seriously so you could have fun. Worth every penny as it gives you a taste of French finery, few entrances into the audiophile hobby are as credible as this new closed-back headphone. Enquire with us about the balanced cable that's in order, for use with any one of our portable DAC/amps or desktop sources. Otherwise, see how you can step up via the rest of Focal's range here, or check out our other headphones here.

LetShuoer have set the gold standard for entry-level quality, so is it any wonder the colour they chose to build their Eighth Anniversary S12 Edition.  This is a celebration of LetShuoer’s timeless quality no matter the price of entrance, and so they constructed their most emblematic model of a rose-gold titanium alloy. This is a durability that will protect its specially-tuned 14.8mm planar-magnetic driver, with a new tuning that brings it to an ever-wider public. Refined to tame any possible peaks remaining from its original S12 Pro predecessor, S12 Eighth Anni irons out remaining treble issues to produce an effortless, warm listen for all. The interchangeable plugs provided – in balanced 2.5mm and 4.4mm – ensure future compatibility with balanced sources and DAC/dongles. This is an IEM you're intended to start with, and keep with you in the long-term. Check out LetShuoer's other gear here that you can grow with here, or view our other IEMs here.