After knocking it out of the park with the Aeon 2 Noire, Dan Clark Audio decided to revisit their most popular model with the Noire X. They’ve tweaked both the inside and outside of their entry-level offering—but, surprise, the price jumped by a crisp hundred bucks, from $899 to $999.
So, is the Noire X just the same old song wrapped in a sleeker black outfit? Or did Dan Clark actually put in some work to improve what was already a stellar headphone?
With expectations set higher than a boutique headphone snob’s ego, the question is: can the Noire X really deliver the goods? Stick around, and let’s find out.
Technology & Specs: What’s Under the Hood of the Noire X
Perhaps the biggest tech upgrade in the Noire X is Dan Clark Audio’s Acoustic Metamaterial Tuning System (AMTS). This tiny insert is designed to smooth out the treble by shaping frequency response and killing high-frequency standing waves—promising a fatigue-free listen. At least, that’s the theory.
The Noire X is now the most affordable DCA headphone to sport AMTS, a feature that debuted on the flagship Stealth and then filtered down through the Corina, E3, and now here.
Under the hood, the planar magnetic drivers (62 x 34 mm) are an improved version of the ones in the original Aeon 2 Noire. Dan Clark claims better rigidity, tighter unit-to-unit consistency, lower distortion, and boosted reliability thanks to their “V-Planar knurling” tech—a design where the diaphragm is creased instead of flat, allowing more driver excursion than typical planar headphones.
With a low impedance of 13 Ohms paired with a modest 94dB/mW sensitivity, the Noire X isn’t exactly an easy load. Driving these cans well requires some juice—a topic we’ll dive into later. For now, let’s shift focus to the design and comfort of these closed-back beauties.
Design & Comfort: How the Noire X Feels for Long Listening Sessions
Unboxing the Noire X is straightforward. Inside the box, you get the headphones, a semi-rigid case, your chosen cable tucked in a velvet pouch, a Certificate of Authenticity, and the usual paperwork.
These headphones are a proper looker. The ear-shaped angular cups and distinctive yoke design definitely turn heads. I’m a fan of the all-black aesthetic, and the premium materials make the Noire X look far pricier than its $999 tag. Let’s dig into those material choices.
The cups feature Gorilla Glass 3—a tough alkali-aluminosilicate that resists scratches and cracks better than regular glass. The trade-off? They’re fingerprint magnets. Either avoid touching them or keep a microfiber cloth handy—you’ll need it.
A fair chunk of R&D went into the earpads. The contact surface uses Alcantara synthetic suede for better heat dissipation and less moisture buildup. They’re also designed to stop the inner foam from rolling, which helps maintain a consistent, long-lasting fit. Downside: the earpads are glued on, making replacements basically a DIY nightmare.
The clamp force is medium-strong, keeping the Noire X firmly on your head—head-banging approved. This is thanks to the self-tensioning nitinol headband, which evenly spreads pressure and prevents hotspots. Yes, that’s the same material that makes those indestructible eyeglass frames.
The leather strap is intricately stitched and auto-adjusts with a suspension system—no fiddling with manual adjustments like on the older Aeon 2 Noire.
The bottom line? The Noire X is comfortable enough for marathon listening sessions. It’s heavier than its predecessor (385g vs. 327g), but anything under 400 grams isn’t heavy—unless you’ve only ever worn plastic junk.
Transporting them is a breeze thanks to a unique foldable design. The cup yokes have an extra hinge that lets the headphones collapse inward, shrinking their footprint to fit easily in the included case. Toss them in a backpack or suitcase and you’re good to go.
Included is a “DUMMER” cable—your choice of terminations. For the review, I got a 4-pin XLR and a 4.4mm Pentaconn. The cables feel rubbery, lacking premium flair—probably a nudge to spend $300 on DCA’s “VIVO” cables.
Another quibble: the use of Hirose connectors to attach cables. They’re sturdy with a locking mechanism—great if you like a secure fit, but I prefer cables that don’t feel like a Rubik’s Cube to plug in. Plus, Hirose connectors aren’t common outside DCA’s lineup, limiting aftermarket cable options. And aligning those pins can be a pain.
Lastly, about the closed-back design: passive noise isolation is excellent. On public transport, I was able to focus on the music without getting the “What’s that noise?” stares—so either the noise stayed out, or my music taste stayed secret.
Listening Impressions: How the Noire X Performs in the Real World
For this review, the Dan Clark Audio Noire X was hooked up to a variety of source gear to gauge its maximum potential and scalability as a closed-back headphone.
On the portable front, I tested the Noire X with two very different DAPs: the powerful iBasso DX340 (with AMP16 module) and the more modest Shanling M3 Plus.
Desktop setups covered the price spectrum, from the budget-friendly JDS Labs Element IV to the high-end Burson Audio Conductor GT4. My personal SMSL DO400/Aune S17 Pro stack sat comfortably in the middle.
The desktop rigs were connected via USB or Bluetooth to my phone or laptop, streaming Spotify and playing hi-res FLAC files to get a thorough sense of the Noire X’s sound.
Now, onto the listening impressions. I’ll be comparing the Noire X to the similarly priced ZMF BOKEH. They sound worlds apart, but your sonic preferences might lean toward one or the other.
Sonically, the Noire X closely follows the Harman 2018 target curve, which seems like a clear design goal for Dan Clark Audio. Since the Harman target is based on extensive listener preference research, the Noire X is poised to please the vast majority with its sound signature.
Bass Performance: Subtle Rumbles or Skull-Rattling Precision?
Dynamics—especially in the bass region—have taken a noticeable leap forward in the Noire X compared to its predecessor. Even on modest portable gear, there’s a newfound physicality to the bass that adds real impact without needing to crank the volume into hearing-loss territory.
The transition from subbass to midbass is smooth and well-controlled. You get tight, punchy bass hits with enough low-end extension to actually feel those subterranean rumbles. A perfect example is Hans Zimmer and James Newton Howard’s “Why So Serious” from The Dark Knight soundtrack. Around the 3:25 mark, the low-frequency swell is little more than a whisper on many headphones. The Noire X delivers it with clarity, weight, and presence—it doesn’t just reach deep, it communicates what’s down there.
In contrast, the ZMF BOKEH offers a warmer, softer midbass with a more atmospheric presentation. There’s a pillowy, almost romantic trailing edge to the bass notes that adds charm to certain genres. Ultimately, your preference may come down to the kind of bass you value: the Noire X offers precision and punch, while the BOKEH leans toward warmth and flow.
Midrange Clarity: Neutral, Natural, and Unbothered by the Bass
While the Harman target is sometimes criticized for sidelining the midrange in favor of boosted bass and treble, the Noire X doesn’t fall into that trap.
From 200Hz up through 2kHz (and a bit beyond), the Noire X stays impressively neutral. It doesn’t artificially elevate or recess any part of the midband, which means you’re getting a faithful representation of vocals, guitars, pianos—whatever sits in the heart of the mix.
Even with the bass taking a confident step forward, the mids remain unfazed. Vocals are vivid and full-bodied, with a natural timbre that avoids sounding sterile or overly sweet. Instruments are rendered with precision and separation, stepping into the spotlight when needed without pushing others aside. It’s a clean, confident midrange that walks the line between analytical and engaging without ever sounding clinical.
Treble Response: Bright but Balanced (Mostly)
Out of the box, the upper treble on the Noire X hit with more edge than expected—it came across as a little sharp at first. After some hours of use, things settled down noticeably. Whether that’s good old-fashioned burn-in or just my brain getting used to the tuning, I’ll let you decide.
That said, even after settling, the Noire X still leans a bit bright in the top end. There’s a noticeable peak in the upper treble—possibly tied to HRTF (Head-Related Transfer Function)—that wasn’t visible in most published measurements but was clearly audible during listening. If you’re especially sensitive to treble, the ZMF BOKEH will likely be the safer choice with its more restrained and forgiving top-end.
The rest of the treble region, however, is smooth and tastefully done. Cymbals, triangles, and other high-frequency details (like in La lune) ring out clearly and with realistic texture, never descending into harshness or sizzle. Dan Clark Audio’s AMTS system likely deserves credit here, helping to tame unwanted resonances and maintain tonal balance in the highest registers.
All in, this is arguably the best treble performance I’ve heard from any closed-back headphone in the sub-$1,000 category—clean, crisp, and impressively refined.
Imaging & Soundstage: Closed-Back? Could’ve Fooled Me
It’s surprisingly easy to forget you’re wearing a closed-back headphone when listening to the Noire X. That’s how open and spacious they sound.
A well-executed ear gain region combined with the lively upper treble helps create the illusion of openness, enhancing both the depth and vertical layering of the soundstage. There’s an almost three-dimensional sense of space—voices and instruments don’t just float in a blob around your head, they exist in their own distinct zones.
The soundstage isn’t the widest I’ve heard—it’s more intimate than expansive—but that doesn’t work against it. Why? Because the imaging is razor-sharp. There’s a well-defined center image, and instrument placement across the stereo field is precise and coherent.
Cue up something like “So What” by Miles Davis or “Nude” by Radiohead and you’ll hear what I mean—every instrument breathes, each with its own space and role in the mix. The Noire X doesn’t just throw sound around, it builds a scene and lets you explore it.
Drivability: Easy to Power, Worthy of More
The Dan Clark Audio Noire X isn’t particularly hard to drive in the traditional sense—you’ll get plenty of volume from most gear—but if you want to hear what these cans are truly capable of, don’t skimp on amplification.
Starting with the Shanling M3 Plus and its 4.4mm Pentaconn output (800mW @ 32Ω), the Noire X sounded competent but slightly restrained. The soundstage felt a bit more compressed, and dynamics didn’t quite hit with full authority. Everything was there, just missing that final layer of refinement and energy.
Stepping up to the iBasso DX340 with the AMP16 module (1,500mW @ 32Ω) brought a noticeable lift in both stage width and dynamic headroom. The added bonus? The AMP16’s tube-influenced warmth helped round off the upper treble edge, making longer listening sessions more relaxed.
Things got even better when switching to proper desktop amplification. With the SMSL DO400/Aune S17 Pro stack, the Noire X opened up—soundstage expanded, treble settled, and the overall presentation gained that final 5–10% polish. The Burson Conductor GT4, on the other hand, turned up the macrodynamics to 11, delivering slam and impact that genuinely surprised me.
Another welcome trait: the Noire X doesn’t smooth over differences between gear. If your amp or DAC has a distinct sonic character, this headphone won’t mask it. In short, it’s transparent enough to grow with your system, which is exactly what you want at this level.
The Bottom Line: $999 Never Looked—or Sounded—This Good
Dan Clark Audio doesn’t miss often, and the Noire X proves they still know how to land a punch. It’s the most affordable DCA headphone to feature AMTS, and the tuning? Practically hugs the Harman target like it’s a long-lost friend. If you’re chasing mass-appeal sound done right—this might be your endgame under $1,000.
But this isn’t just a science project. The Noire X blends great sonics with sharp aesthetics, premium materials, and real-world comfort. It folds up like a seasoned roadie and won’t crumble after one accidental drop at a Hi-Fi show. Yes, $999 is still a serious chunk of change, but compared to some boutique brands that charge more for wooden cups and marketing fluff, the Noire X earns every dollar with actual engineering.
If you’re looking for a headphone that doesn’t just keep up with the competition—it exposes their weak spots—this is one worth hearing.
Pros:
- Portability factor: Foldable design and compact case make it a true travel companion—not just a desk queen.
- Ultra-premium build quality: Gorilla Glass, Alcantara, Nitinol—materials that don’t mess around.
- Perfect Harman tuning: Follows the 2018 target closer than most, which means broad listener appeal and excellent tonal balance.
- Superb imaging and soundstaging performance: One of the best closed-back staging and imaging experiences under $1K.
- Improved dynamics over previous generation: Bass hits harder, microdynamics more alive—even off modest gear.
Cons:
- Semi-proprietary cable connectors: Hirose locking plugs are tough to find aftermarket, and tricky to attach if you’re not patient.
- Bright-sounding: Upper treble has a slight edge—great for detail, but not exactly a warm blanket for your ears.
Where to buy:
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Anton
July 4, 2025 at 7:36 pm
I remember when he was just some guy modifying Fostex headphones as Mr. Speakers. He has come a long way.
How do these compare to similarly priced planars from Audeze or Meze? Rather interested after reading this excellent review.