But the best part comes when the HiFiMAN ‘phones reveal the blinding virtuosity of Tsang’s cello performance and the wonderfully controlled, perfectly paced lyricism of Wel’s piano work. The HE-6’s give you an amazingly up close, personal, and believable view of the performance, so that you can almost sense the intensity of Tsang’s concentration during the more challenging cello passages, or the way the players listen intently to each other and then make minor adjustments in pace and timing so as to stay exactly in sync with one another. Through the HE-6’s you aren’t “just listening to music” (as in hearing the general shape and flow of the notes); rather, you’re allowed to go deeper and to hear the performance—complete with all of the deep back-and-forth communication that word implies.
To give readers some idea of where the HE-6 fits within the broader price/performance spectrum, I compare it below to three competing modes at or near its price: the HiFiMAN HE-5LE, the Audez’e LCD-2, and the Sennheiser HD800.
HiFiMAN HE-6 vs. HiFiMAN HE-5LE ($699)
• The HE-5LE is $500 less expensive than the HE-6.
• The HE-5LE weighs about 100 grams (or roughly 20%) less than the HE-6.
• The HE-5LE is 4 dB more sensitive than the HE-6, which is a significant difference.
• The HE-6 comes with much a higher-quality signal cable harness than the HE-5LE does. Moreover, the HE-6’s signal cable harness comes with two different sets of terminations—one configured with a ¼” phone jack terminations, and the other configured with left/right set of banana plug connectors so that the headphone can be plugged straight into a conventional power amplifier of the type normally used to drive loudspeakers. But don’t feel pressured to connect the HE-6 to a big, beefy power amp; the fact is that a good, powerful conventional headphone amplifier will drive the HE-6 quite adequately.
• There is a strong, family resemblance between the sound of the HE-6 and the HE-5LE. That said, however, I think most listeners would say the HE-6 offers more powerful and deeply extended bass, more fully fleshed-out upper mids, and more extended, forward-sounding highs.
• While both headphones offer lots of resolution relative to like-priced competitors, the HE-6 ultimately takes resolution, transient speed, and overall definition to a whole new level. The bottom line is that the HE-6 is noticeably more revealing, while the HE-5LE offers a slightly more “forgiving” and thus, for some, a more comfortable sound.
HiFiMAN HE-6 vs. Audez’e LCD-2 ($945)
• The Audez’e LCD-2, also a planar magnetic design, is $254 less expensive than the HE-6.
• The LCD-2 is one of the HE-6’s strongest competitors for three reasons: first, it offers higher apparent build quality and better overall fit and finish; second, it offers levels of resolution close if not equal to those of the HE-6, and third, it is significantly easier to drive than the HE-6. The Audez’e also comes in a lovely rosewood presentation case, which is an appealing detail touch.
• The earcups of the LCD-2 are extremely large (larger, in fact, than the earcups for the HE-6). Nevertheless, the LCD-2 offers noticeably better ergonomics than the HE-6, meaning that it is more comfortable to wear for longer periods of time.
• The sonic differences between the HE-6 and the Audez'e LCD-2 might best be described by way of an analogy comparing them to two of the world’s greatest electrostatic loudspeakers; namely, the MartinLogan CLX and the Quad 2905.
• The HE-6, like the MartinLogan CLX, offers an almost hyper-revealing sound that is extremely tightly focused and capable of teasing even the smallest of fine details out of the music. Also like the CLX, the HE-6 can strike some listeners as sounding a bit “bright,” at least on some recording. Unlike the CLX, however, the HE-6 produces powerful, punchy and very deeply extended bass.
• The Audez’e LCD-2, on the other hand, produces a wonderfully natural and “organic” sound, as does the Quad 2905. While the LCD-2 may not achieve the ultra-revealing, super-focused sound that is the HE-6’s hallmark, it nevertheless produces a very richly detailed sound, and one that is consistently accessible and comfortable to listen to for hours on end.
• Which of these two great headphones you prefer will have much to do with what you are looking to take away from the listening experience.
HiFiMAN HE-6 vs. Sennheiser HD-800 ($1595)
• The Sennheiser HD800 costs $396 more than the HE-6.
• Both the HE-6 and HD800 are hand made products, but I would say the apparent build quality of the HD800 is a bit nicer—reminiscent in some respects of a fine Swiss watch.
• The HD800 is far easier to drive than the HE-6, though both headphones require high quality amplifiers for optimal performance. Even so, the more sensitive Sennheiser will arguably work well with a broader range of amps than will the very low-sensitivity HE-6.
• The HD800 is backed by Sennheiser’s time proven customer support organization, which implies that many years from now spare parts for the HD800 will continue to be available, should you ever need them. As a relatively new company, HiFiMAN’s long-term customer support capabilities are as yet unproven.
• Sonic differences: First, the HE-6 enjoys a decisive and clear-cut edge over the HD800 in terms of top-to-bottom resolution, detail, focus, and freedom from grain. By comparison, the HD800 sounds rougher and less well controlled up high, occasionally imparting a “spitty” or overtly “splashy” quality on sibilant “S” sounds.
• Second, the HE-6 sounds more harmonically coherent and all-of-one-piece on both human and instrument voices. Good though the HD800 is, it occasionally exhibits very small yet audible textural discontinuities that keep it from the finely focused, hyper-revealing sound that defines the HE-6.
• Third, the HE-6 offers noticeably better low frequency extension and pitch definition than the HD800, although both are markedly better than most competing headphones in this respect.
• Although the HD-800 is arguably one of the finest dynamic driver headphones on the market (many consider it to be a benchmark product), the HE-6 offers significantly greater performance upside, provided that you drive the HE-6 with an adequately powerful amplifier.
• With lower-powered amplifiers, however, the situation is reversed. The HD800’s can “sing” even when driven by smaller amps, where the HE-6’s cannot.
Comments
Ive heard that the he6 goes well out of the speaker taps of power amps. I don't know exactly how that works but I saw it in another site. If thats the case, that is actually a big bonus for these cans for people that already own high resolution hifi equipment. No more expensive headphone amp purchase needed :)
Hi donunus,
The HE-6 uses a two-piece cable assembly where there is a "Y-cable" that connects to the headphone earpieces and that terminates (at the "Y-junction") in an XLR connector. From there, you can plug in a variety of amp cables to connect to whatever amplifier you use.
The HE-6 ships with two amp cables, one for use with traditional headphone amps, and the other for use with full-size integrated amplifiers or power amps.
The traditional headphone amp connector cable provides a 1/4-inch phone jack on one end and an XLR connector on the other (which, of course, clicks into the provided Y-cable).
Alternatively, the power amp cable provides two pairs of color coded banana jack connectors on one end and an XLR connector on the other. Thus, you simply plug the banana jack connectors into the speaker taps of your full-size amp, cautiously turn up the volume, and enjoy.
To see a photo of the HE-6's standard cable sets, check out page 2 of the posted review. The power amp cable is pictured on the lower left of the image frame.
Best,
Chris Martens
Chris Martens
Editor, Avguide.com/Playback/The Perfect Vision
Chris, could you please elaborate on how the HE-6 would compare to a top-flight STAX electrostatic headphone?
Cheers, Marcel
Latest sampling among nature lovers is a reasonable preference for the Audeze. Many sense an unnatural sibilance or electronic edge in the top and a somewhat hyped reality to the pushed details of the HE-6 - a bit of tuning needs to be done here me thinks, certainly not like the CLSes which I had owned. I don't have any answers, but I prefer what I hear live, a more relaxed, spacious and natural reproduction. There are good reasons though for preferring a somewhat technicolorized reality. Hearing loss and a correction for it?
http://www.headfonia.com/audeze-lcd-2-trio/
They're both great headphones, probably the best at the current level of the art, but my LCD-2 is on it's way. It is, me thinks, the more refined and better built of the two. I ordered it this week. People should give a careful listen to both. I plan to run my LCD-2 from the Wyred4Sound DAC2's preamp out - direct. Direct is more, well, explicit...and anyhow, may be too much for the HE-6's already more aggressive presentation.
Will report back on what is possible or not and on my impressions. Thanks to both Steven Stone and Chris Martens for the reviews of these now becoming-dominant technologies.
The Wyred4Sound DAC is certainly NOT explicit with the AUDEZE after having warmed up a couple of hundred hours. It is very relaxed, almost tubey sounding, but not warm at all. There is absolutely no grain, edge, fuzz or the etching one may hear with other DACs.
The AUDEZE cans can sound warm compared with others, but not always. It is not warm compared with live music in a good room. Others can be bright next to the real thing. The AUDEZE is full sounding. Full of details, harmony and musical textures.
The top of the sytem as a whole is extended enough, not etched, hyped or bright, very natural and overall the sound should be described as liquid, round and "pure."
The bass is such that it can leave skid marks. Stupendous and earth shaking. I've heard nothing like it from cans before.
The huge benefit of this system is the direct drive to earphones out of the DAC - and a good electrical match with the AUDEZE. With the W4S having a 32 bit volume pot and preamp functions, balance and other features can be accessed from the menu, filter slopes and such, we have full control. From what I understand, the DAC has a very linear class-A FET output stage, highly evolved in its design using lots of regulation, 4 SABRE DAC chips in parallel for balanced output achieving a huge dynamic range. I am awaiting the balanced cable that needed to be custom made for the male XLR outputs on the DAC - this should make another improvement, not as if I'm missing anything.
With this arrangement no additional headphone amp is required - making the W4S DAC-2 a genuine bargain at this price, this DAC is, as is, technically competitive with others costing four to six times as much. It is said that no wire with gain is better than any wire with gain. True. No additional interconnects are needed either. The only interconnect is between the iMAC and the DAC, a one meter NORDOST Blue Haven USB, reportedly the best as of this date. We'll see. At this point in time the system has the best sound I've had here by a reasonable margin. Quite stunning. Steve Stone hit a home run in his review of the W4S DAC-2, and it, in combination with the AUDEZE cans, hit the proverbial sonic ball out of the park.