The Head-Fi Bubble, Aavik Goes Nuclear, McMurphy Still Dies, and Wharfedale’s Super Denton Redemption: Editor’s Round-Up

I’ve been covering high-end headphones for more than ten years—writing for Gear Patrol, Digital Trends, The New York Times, and now five years as Editor-in-Chief at eCoustics—and honestly, I can’t recall a year quite like this. The pace of new releases has been relentless, faster than a cable skeptic scrambling for excuses during a blind test, and just as exhausting. At this point, even Bosch would’ve poured a drink, lit a cigarette, and told the industry to take a damn breath.

Make no mistake: this is the golden age of personal audio. Headphones have evolved from the embarrassing afterthoughts tossed in with your Discman to serious audiophile tools capable of rivaling five-figure loudspeakers in detail, intimacy, and resolution—all without requiring a dedicated listening room or permission from your significant other.

And yet, a stubborn and shrinking faction of the high-end faithful still insists that anything not chained to 200-pound amp is beneath them. How quaint. The same kind of confidence Grand Moff Tarkin had while standing on the bridge of the Death Star—seconds before it detonated.

Do audiophiles even realize how good they’ve got it? The Head-Fi revolution—the one that started in sketchy forums filled with DIY zealots soldering tube amps in their basements—dragged this beautifully obsessive hobby into the mainstream. It kicked down the doors, democratized access to high-end sound, and proved that great gear doesn’t have to be the size of a microwave or require a second mortgage.

So here we are in 2025, with more killer cans in only nine months than we used to see in two years. And if you’re still on the fence, mumbling about how “serious” audio only happens between two tower speakers, maybe it’s time for a long listen—and a longer look in the mirror. Because the rest of the world? They’ve already hit play.

Back in March, while dealing with something rather serious and waiting for group therapy to start, I had one of those rare, uncomfortable moments of clarity. The kind that hits you like a poorly grounded amplifier in a rainstorm. I realized I’d come a long way in 12 weeks. Personally, yeah—but also as someone who’s been neck-deep in the high-end headphone space for over a decade. And March? March was madness. Not just basketball-madness. I’m talking about a bonkers release schedule that had CanJam NYC 2025 feeling like the afterparty, not the main event.

Fast forward to mid-July. I was in Florence. Yes, that Florence—Renaissance art, cobblestones, espresso strong enough to kill a man, and… a regular Italian woman at the next table—think Sophia Loren if she swapped Cinecittà for codec support—eating something glorious, sipping wine, working on her laptop, and casually rocking a pair of Focal Bathys in the new Dune edition (and yes, they really did look that good in person).

And here I am, not sure if this is real life or just some beautifully absurd fever dream crafted by Head-Fi, pasta, and jet lag. Either way—nobody wake me.

Navigating the Headphone Sea of Options: More Choices Than Roberto Benigni’s Movie Plot Twists

Right now, the headphone world is flooded with so many killer options it’s enough to make even Roberto Benigni’s famously quirky storytelling feel straightforward. We’ve recently taken a deep dive into some stellar new gear—from HiFiMAN’s Arya Unveiled and HE1000 Unveiled to the Grado S950 Signature and the category-topping Audeze CRBN2 electrostatics. Sure, the CRBN2’s price tag puts them out of reach for about 99.9% of the planet, but if you’re itching for electrostatic magic without selling a kidney, the new STAX SR-X1 might just be your lucky break. Buon ascolto!

The wireless headphone market has also exploded like a plate of spaghetti tossed by an angry nonna—everywhere you look, new models are popping up, promising better sound, longer battery life, and features you didn’t even know you needed. It’s gone from a niche convenience to the default way most people listen, forcing even the most stubborn audiophiles to grudgingly admit: wireless is here to stay. Whether you’re chasing true wireless earbuds or over-ear cans with killer ANC, the choices are overwhelming—and, frankly, a bit exhausting. But hey, that’s progress, right?

And if you think the wireless high-end game’s slowing down, think again. Take the new Focal Bathys MG—bringing that signature French flair and serious planar magnetic chops to a wireless package that’s as sleek as a Vespa. Sony’s WH-1000XM6? Still the ANC kingpin, fine-tuning their crown with every iteration. Bowers & Wilkins’ Px7 S3 arrives dressed to impress, blending luxury looks with sound that punches well above its weight.

Bowers & Wilkins isn’t stopping with the Px7 S3. The Px8 S2, priced at $799, is their answer to the Focal Bathys, offering higher-end features and performance while remaining surprisingly accessible—you can read our recent review here if you’re curious how they measure up.

Meanwhile, DALI’s IO-12 throws a Scandinavian curveball into the mix, combining minimalist design with surprisingly robust performance. It’s a crowded, noisy battlefield out there and we understand how that can be confusing.

So, what have been my favorite new headphones of 2025 so far? As a team, we’ve logged time with more than 40 new headphones and IEMs this year—some great, some forgettable, and a few that surprised us for the right reasons. These aren’t official Best of or Editor’s Choice picks—that call comes later this month once everyone’s weighed in—but they’ve earned their spot on this list for one simple reason: they deliver where it counts.

FiiO FT7

Following the successful launches of their FT1/FT1 Pro, FT3, and FT5 headphones, FiiO is taking a run at HiFiMAN and Audeze in the planar magnetic category with the introduction of their flagship FT7 open-back planar magnetic headphones which are going to retail for around $700 USD.

FiiO claims that the FT7 offers high-end performance and integrates well with headphone amps such as their K19 ($1,399 at Amazon). The design and components have been chosen for sonic performance and longevity, from the Zebrawood Grille detailing, Gold + Silver Precious Metal Multi-Layer Coating Technology, 1μm Ultra-Thin Film Diaphragm, 18 High-Performance N52 Neodymium Magnets on each side, 106mm drivers and Liquid Nitrogen-Frozen Single Crystal Copper Cable.

FiiO has done a rather good job so far with their on-ear/over-ear headphones and kept the prices for all of those products rather affordable. The FT5 proved that they can build a solid planar model for $450. 

Can they be competitive in the planar magnetic category at $700? HiFiMAN, Dan Clark Audio and Audeze have already proven that they can deliver between $800 and $1,000 so the FT7 will have to do something comparable or better than all of them to make a dent with consumers.

Build quality is legitimately impressive, with zebrawood grilles and carbon fiber detailing on both the earcups and headband—a clear signal that Noble didn’t cut corners. Sonically, the FT7 strikes a clean, dynamic balance across the spectrum. There’s a noticeable lift in the upper treble—similar to what you hear from the HiFiMAN Arya Organic—which some listeners might find a bit sharp, but it keeps the presentation lively and detailed without crossing into harsh.

Where to buy: $699 at Amazon

Grado Signature S950

Resist decline at all costs. It is what helps one get through challenges.

Listening to the Grado Signature S950, it was clearly evident that there has been a shift in their thinking — and while not everyone will see that as a good thing — I think it was rather necessary and the early results are very promising.

Weighing in at 395 grams, the Signature S950 are a comfortable weight that is well distributed across the top of your head, with a rather average amount of clamping force.

The Signature S950 utilizes a version of the Grado 52mm S driver that first appeared in the new Signature HE100 SE. A paper composite cone was selected, and paired with a high-flux magnetic circuit made from rare earth alloys. The driver also features a lightweight copper-plated aluminum voice coil.

According to Grado, the new driver and the refinements made to it for the Signature S950 results in “improved dynamic and transient response, while providing a refined sense of space, soundstage, detail and imaging.”

With a sensitivity rating of 115 dB (SPL @1mW) and impedance of 38 ohms, the Signature S950 are not particularly hard to drive and I achieved a good baseline of their performance with my iPhone and iFi GO Bar Kensei.

You can read the rest of my thoughts here.

Where to buy: $2,195 at Crutchfield

HiFiMAN Isvarna

HiFiMAN has earned its stripes in the open-back planar game—fast, detailed, and often wildly underpriced for the performance you get. But when it comes to closed-back designs, the track record has been… let’s say, less legendary. The R10 raised a few eyebrows (and not just because of the price), and the Audivina flirted with greatness but didn’t quite seal the deal.

Enter the HiFiMAN Isvarna—a dual-driver hybrid with serious intentions. This isn’t just another swing at the closed-back market; it’s a full-on reboot of the playbook. Think planar clarity meets dynamic driver slam, all packed into a semi-closed design that doesn’t make your head feel like it’s in a wok at full sizzle.

Hybrid driver setups are old news in the IEM world, especially out of China, where there’s no shame in stuffing six drivers into a shell the size of a peanut. But over-ears? That’s a different beast. Getting a planar and a dynamic to play nice is tricky business. Timing, crossover tuning, and enclosure acoustics all have to click. Otherwise, you’re just listening to a sonic tug-of-war.

The Isvarna actually delivers on HiFiMAN’s lofty promise of a hybrid driver, quasi-closed-back headphone that doesn’t sound like a science experiment gone sideways. It’s clear they didn’t just dust off the Sundara’s tech sheet and shove it in a closed cup.

This is HiFiMAN stepping outside the comfort zone, trying something bolder—and mostly pulling it off. Is it a true closed-back? Not exactly. Isolation is modest at best. But for a headphone that sounds this open and breathes this naturally, we’ll happily take the trade-off.

Is the Isvarna the closed-back revolution HiFiMAN fans have been waiting for? We dig into that in our full review—and yes, we cranked it.

Where to buy: $2,899 at Apos Audio

Sennheiser HDB 630 Wireless Headphones

Sennheiser’s been in the high-end wireless game for years, but the new HDB 630 Wireless Headphones mark a shift — this time, they actually came to win. At $499 USD, they’re walking into a stacked lineup: Sony’s WH-1000XM6, Bose’s QuietComfort Ultra, Apple’s AirPods Max, and the Bowers & Wilkins Px7 S3. On paper, Sennheiser’s done its homework — 24-bit/96kHz playback, aptX Adaptive, active noise cancellation, and the BTD 700 USB dongle for proper hi-res listening without a driver nightmare.

The bigger question is whether anyone should care. Turns out, maybe they should. The HDB 630 offers clean, detailed sound with a sense of space that’s rare in this class — no gimmicks, no “lifestyle audio” pretense. It borrows the MOMENTUM 4’s chassis but swaps in custom drivers and a fresh tuning job from Sennheiser’s Tullamore, Ireland team.

The result isn’t revolutionary, but it’s focused — the kind of refinement you’d expect from a company that finally looked up from its legacy catalog and noticed what the competition’s been doing.

Build quality is sharper, materials feel more deliberate, and comfort’s been sorted for real-world use. It’s not flashy, but then again, neither is competence — and the HDB 630 has plenty of that.

Strengths? Start with clarity that borders on surgical, a midrange that stays locked in, and a sense of space that edges dangerously close to open-back territory. Comfort is excellent, and battery life is the kind you stop thinking about — a solid week of commuting without reaching for a charger.

Tonally, Sennheiser leans into upper-bass control and midrange accuracy rather than gut-punch sub-bass, which might leave bass heads cold but rewards anyone who values texture and imaging. ANC is clean and doesn’t muffle the soundstage, though it still trails the Bowers & Wilkins Px7 S3 and Px8 S2 when it comes to pure isolation.

Weaknesses? The touch controls work, but they’re the kind of “modern convenience” you’ll miss real buttons over. The low end lacks the visceral hit some rivals pull off, and passive isolation isn’t quite up to British standards. It’s also a bit chunkier than the Bowers options, and the ear pads can warm up after an extended session — not a dealbreaker, but noticeable.

Want to learn more? Read my detailed review here.

Where to buy: $499 at Amazon | Crutchfield | Sennheiser

Meze Audio 99 Classics 2nd Generation

Hard to believe it’s been nearly ten years since I met Antonio Meze at the Venetian during CES—one of those dimly lit rooms filled with headphone heavyweights. Then two Romanians walked in carrying closed-backs that looked handcrafted by a luthier, not a factory. That was the first Meze 99 Classics—no hype, no fanfare, just two engineers quietly outclassing the veterans.

At the time, the idea that a $300 closed-back could actually sound great was treated like folklore. Then Meze proved everyone wrong. The 99 Classics had real soul—rich, warm bass, crisp detail, and a build that felt more like an instrument than a gadget.

I bought my own pair not long after, and a decade later they’re still going strong. In an industry where most “flagships” barely outlast the warranty.

The 99 Classics 2nd Generation aren’t a reinvention—they didn’t need one. Meze simply tightened the formula: better driver matching, sturdier clamping force, improved ear pads, and small but meaningful upgrades for today’s gear.

The tuning is more linear but still carries that signature warmth and musicality. Isolation’s improved, imaging feels more precise, and they’re easy to run from anything—DAPs, dongle DACs, or full desktop setups.

Not everything’s a win. There’s a bit less low-end heft and midrange body than the originals, and the short cable sections near the cups could show wear over time. The design remains understated but classy, with gold accents and slightly larger cups that will grab attention—for better or worse.

Are these among the best closed-back headphones you can buy for well under $500? Find out what I really thought here.

Where to buy: $349 at Crutchfield | Apos Audio | Meze Audio

Craft Recordings Lets the Lunatics Run the Asylum with a New One Flew Over the Cuckoo’s Nest Reissue

Fifty years on, One Flew Over the Cuckoo’s Nest still hits hard. Varèse Sarabande and Craft Recordings have brought back Jack Nitzsche’s Oscar and GRAMMY-nominated score on a newly remastered AAA vinyl cut by Kevin Gray from the original master tapes. This isn’t nostalgia—it’s a reminder of how raw and honest the film still feels.

Jack Nicholson’s McMurphy wasn’t a savior, just a man refusing to break. Louise Fletcher’s Nurse Ratched was control personified, a villain so precise and composed she made cruelty feel clinical. The supporting cast—Brad Dourif, Will Sampson, Danny DeVito, Christopher Lloyd—blurred the line between acting and confession.

Nitzsche’s score isn’t just the sound of rebellion—it’s the echo of what happens when control masquerades as care. Cold, precise, and uncomfortably human, it mirrors every locked ward and every false promise of “healing” handed out like medication. I’ve seen those rooms. I’ve faced my own Nurse Ratcheds—the ones with calm voices and dead eyes who call sedation therapy and obedience progress. The system hasn’t changed much; it just learned better PR. This music doesn’t soothe. It exposes. And fifty years later, it still hits exactly where it hurts.

Where to buy: $37.59 at Amazon

Aavik U-288 Network Amplifier: Danish Firepower Meets Digital Precision

I haven’t been able to stop thinking about the Aavik U-288 since hearing it at T.H.E. Show New York a few weeks ago. The design is pure Danish confidence—clean, aggressive, and just a little smug about how effortlessly it outclasses most of what passes for über-hi-fi these days.

The U-x88 series marks a new era for Aavik, born from the collaboration between two industry heavyweights: Gryphon Audio’s founder, Flemming Erik Rasmussen, who joined Aavik in 2021, and Michael Børresen, whose fingerprints are all over its sound and design. The result is Danish high-end at its most unapologetic—meticulous, muscular, and built with zero regard for your credit limit.

The system featured the Børresen C3 floorstanding loudspeakers ($40,000) paired with the Aavik U-288 Unity Amplifier—an all-in-one system that crams a high-resolution streamer, DAC, line stage, preamp, and power amplifier into one seriously engineered chassis. At $30,000, it’s not for the faint of heart (don’t cry for me, I’m already dead), but the performance more than justifies the sticker shock.

If this is Aavik’s take on Class D, everyone else in hi-fi might as well feed their schematics to the shredder and call it a day. The sound was full-bodied, rich, and completely effortless. Bass hit with authority and precision—no bloat, no blur. Vocals were nailed in place, suspended perfectly between the speakers. The overall tonal balance ran a bit cooler than your typical Class A/B or British setup, but the sheer resolution, texture, and dynamic range were on another level.

Which got me thinking—what happens if you drop this Danish powerhouse into a system built around the kind of British loudspeakers I actually live with? Something civilized, musical, maybe even polite. It’s a ridiculous idea, but I can’t stop myself from wanting to find out. Because really—why the hell not?

Wharfedale Super Denton: The Bad Idea I Can’t Shake: What Happens If I Feed Them to the Aavik?

Wharfedale has moved a mountain of Linton Heritage and Super Linton loudspeakers, and I’m apparently the only one not invited to the party (story of my life). While everyone else gushes over those big retro boxes, I’ve been quietly listening to the real sleeper in Wharfedale’s Heritage lineup — the Super Denton.

Originally born in 1971, this one’s always been the oddball: smaller, denser, and far more interesting than the Linton if you actually care about texture and coherence more than mid-century aesthetics.

At 14.2 inches tall, 9.7 wide, and 10.8 deep, they’re a bit large for a bookshelf and too heavy at 21 pounds each to casually shove into an IKEA cubby. The twin rear ports mean you’ll want to give them breathing room — at least 12 inches from the wall, 18 to 24 if you actually want them to sound their best. They’ll work on a credenza (preferably a tall one) with IsoAcoustics stands or isolation pucks, but proper stands will really let them open up.

They use a 2-inch soft-dome midrange and 1-inch soft-dome tweeter offset from the baffle center to tame reflections — a very “Wharfedale” move that pays off in imaging and midrange smoothness. They’re rated at 87 dB sensitivity (6 ohms, dipping to about 3.4), which sounds easy enough until you try to run them off a low-powered amp. Wharfedale’s “25 to 120 watts” spec isn’t a suggestion; it’s a requirement if you want to hear what these things can actually do.

Stick with the walnut finish — it gives them the gravitas they deserve and keeps them from looking like something cobbled together in a freshman dorm. If your idea of “serious listening” involves Glenrothes, shortbread, and Taylor Swift on repeat, bless your heart — you’ll probably never get these. I’ll take rooibos tea, a veal sandwich, and Nick Cave reminding me why melancholy still has a pulse.

The Super Denton thrives on proper setup: keep the midrange domes on the inside, space them at least six feet apart, and toe them in toward your seat. Do that and you’ll get sharper imaging, cleaner midrange, and treble that stays refined without going brittle.

For amplification, the Audiolab 6000A, MOON by Simaudio 250i v2, the new Quad 3, and my reliable Cambridge Audio Edge A have all made them sing. But the twisted part of my brain wants to know what happens when I feed them 300 watts of Danish control from the Aavik U-288. That, paired with a REL subwoofer, could be the kind of “oops, this actually works” combo that keeps you up way too late.

The full reviews of the Super Denton, Quad 3, and Wharfedale Diamond 12.3 will land after Thanksgiving—once I’ve recovered from stomach surgery and not enough patience. The Super Denton, however, isn’t going anywhere just yet. It’ll be hanging around a little longer, purely out of professional necessity, of course… in case a certain piece of Danish hardware decides to grace my doorstep. As Blackadder might say, “I have a cunning plan—and it involves an amplifier that could probably power Denmark.”

Where to buy: $1,499/pair at Crutchfield

Related Reading:

• Quad 3 Integrated Amp Arrives Dressed Like It’s 1961, But Packs Modern Tech And That Classic Orange Glow
• Is the Algorithm Living Rent-Free in Our Heads? The 21st-Century Thought Police of What We Read, Watch, Think, and Hear
• Antonio Meze’s Headphone Legacy, Violectric’s HPA V324 Amp, Popori Acoustics, And The Price Of World Series Dreams: Editor’s Round-Up