I have a confession to make. I have completely disregarded the SoundMAGIC headphones for ages simply because of their name. It wasn’t the fact that they’re a Chinese (i.e. not German) company because I love some of the IEMs and headphones coming from companies like HiFiMan. No, the simple reason is that I thought the name sounded a bit dinky and cheap.
It was only because the HP200s were setup as a demo at the recent AV Show in Melbourne that I heard them at all and I was really excited to discover a hidden gem. These are an incredibly well-priced headphone for their outstanding performance and well worth considering for anyone looking at headphones like the Sennheiser HD650s or HD600s.
The HP200 is an open-backed full-size headphone from Chinese manufacturer, SoundMAGIC. SoundMAGIC built a reputation on their excellent budget IEMs, but are showing with their HP100 (closed) and HP200 (open) headphones that they can play at a higher level too.
- Driver: 53mm dynamic
- Frequency range: 15 Hz – 35,000 Hz
- Impedance: 20 ohms
- Sensitivity: 98 dB / mW (at 1 kHz)
With a price tag at a little over AUD $300, the HP200s are direct price-point competitors for headphones like the Audio Technica ATH-AD900 and AD900X, the AKG K/Q701, and Beyerdynamic DT880 and DT990. That’s stiff competition, but I would also go so far as adding the much praised and more expensive Sennheiser HD600 and HD650 to that mix. Intrigued? I was…
Design & Comfort
These are some nice looking cans – and they feel as good as they look!
They are made from a combination of plastic, metal and faux leather and everything looks and feels solid, but not heavy. When you pick up the HP200s they just feel great – soft and smooth where they should be (ear pads, headband, etc.), and solid and sturdy everywhere else. In terms of design and build quality, the HP200s are easily on par or ahead of every other headphone I listed above as their competitors so we’re off to a good start.
The headband slider is metal over plastic and moves in clearly notched increments. It’s even labelled with numbers painted onto the metal to help you return to your perfect settings every time.
The outside of the ear cups are covered in a gloss black metal grille that looks and feels great. Meanwhile, other parts of the frame are made from high quality soft-touch plastics that feel almost luxurious.
In terms of practical design, the HP200s are basically faultless. Their visual design is a matter of taste, but isn’t going to offend anyone. I personally wasn’t “wowed” by the styling of them, but I would also be very happy to have these displayed on my headphone rack.
The HP200s have a relatively low, 20 ohm impedance which helps them easy to get good volume levels from portable devices but can be a double-edged sword because lower impedance leads to less control, especially in the bass and can reduce the overall tightness in the sound of the headphone. If I had to pick a fault with the HP200 it would be this low impedance. Had these been a >100 ohm headphone, they might just have completely dethroned some of the long-term kings of the category. As it is, they are great, but can be a little bit picky with the source / amp used. If you try these or buy these make sure you use them with a source or amp that has an output impedance below 2 ohms. If you listen to them and they sound a bit loose and flabby try another amp or source – it’s not the headphones.
It’s always nice to receive some extra goodies with a set of mid-to-high level headphones and the HP200s deliver with a nice black hard-case, extension cable and airline adapter. A really nice touch is the pouch that’s built into the case using a velcro system so you can store your adapters, etc. in the case without them rattling around and damaging your headphones.
I mentioned the extension cable provided with the HP200s, but it’s worth going a little deeper.
The headphones come with a straight, 1.2m cable which is great for desktop use, but won’t reach to your television and may be a little limiting if you like to move around without always having your source at your hip. The extension cable takes care of that by adding a couple of extra metres to the cable. The main cable ends in a 3.5mm jack with a screw on adapter for 6mm connection while the extension cable ends in a plain 3.5mm plug without screw thread.
In addition to the extension option, the HP200s have a detachable cable which uses a simple 3.5mm stereo jack so it would be very easy to buy (or make) a replacement cable if required. If you did decide to go the custom cable route though, it’s worth noting the SoundMAGIC locking system which limits the size of the plug used (and means the plug won’t lock into the headphones so it could pull out if accidentally tugged on.
The stock cable is a little bit prone to hold the “waves” created by coiling so a slightly better cable would be nice for ergonomics, but it sounds fine.
Having waxed lyrical about the great feel of these headphones in the hand, it’s probably a good time to consider if they feel as good on the head!
The simple answer is “yes”. The HP200s are very comfortable. The soft ear pads are very comfortable and the cups are big enough to fully cover the ears without putting pressure anywhere and without getting too big. The padding on the headband is sufficient to keep it comfy for long listening sessions, but I’d say overall the headband is not quite as comfortable as some of the best in the game (HD650 / Beyer T1, etc.) due to a slight sense of pressure in the centre of my scalp. It’s worth keeping 2 things in mind here: firstly that I have no hair to add padding between my scalp and the headphones, and secondly that I am being very nit-picky to find anything you might want to know.
Overall I’d rate the HP200s as a fraction behind the HD650s in terms of comfort, but it’s literally just a fraction.
The HP200s garnered their comparison to the HD650s on account of their sound signature. Similar to the HD6X0 series from Sennheiser, the HP200’s sound smooth and a touch warm, but without losing any detail. They have more top-end sparkle and clarity than the HD650s and may be more akin to the HD600s, but I can’t compare directly to the HD600s because I don’t know the HD600s well enough.
The HP200s produce excellent, controlled bass that has plenty of body and impact in the mid-bass region, but without bloat and boom. Once again they’re quite similar to the HD650s in their presentation. Bass is warm, full and smooth with kick and presence. It’s not the most detailed bass I’ve heard, but it’s very enjoyable and tends to flatter most music I’ve thrown at the HP200s.
I often use Marrakech by Incognito to test bass because it opens with a well-recorded kick drum that really tests a headphone’s ability to move the air cleanly and tightly, but with force. The HP200s performed beautifully here and sounded as natural as anything else I’ve tried. The presentation had both the sound and the feel of standing in a room with a kick drum being played.
The HP200s also have sneaky sub bass. I was about to write that they didn’t go as deep as I might like, but I changed tracks and found the hidden rumble. While not quite at the level of the Beyer T1s (which cost nearly 4x the price of the HP200s), the sub bass is present and authoritative. While not a bass-head can, the HP200s are very impressive in the bass department, but present the bass in a very natural and musical way.
Hopefully you’re not getting bored of my HD650 references yet because there are at least 2 more to go.
The midrange from the HP200 is clean, smooth and balanced with everything else. Nothing about the midrange sticks out, but I think that’s exactly how it should be because it means nothing is being overshadowed or over-emphasised.
Switching over to Tin Pan Alley by Stevie Ray Vaughan, the guitars and the drums had beautiful texture and clarity, but were buttery smooth the way they should be. What struck me though is a level of openness that I think was lacking from the Sennheiser HD650s. People often talk about the Sennheiser veil and although I never bought into it 100%, I can understand where the term came from. To my ears, the HP200s present the same quality of silky smooth midrange for vocals and instruments, but manage to add a tiny amount of edge and attack that the HD650s never gave me. That edge takes the sound from relaxing and enjoyable to exciting and enjoyable. It does this without bringing fatigue – just excitement.
I also like to test headphones with tracks from the Alison Krauss and Union Station album, Paper Airplane because some headphones can sound a little glassy with some of the strings used. The HP200s aren’t among that group though. The strings all remained clean and “plucky” (for want of a better term), but without getting edgy and fragile sounding. To sum it up I guess I’d say they maintained both warmth and detail which is perfect!
If you’re waiting for the big “but” here and expecting the HP200s to falter you might be disappointed, but the treble does require some discussion.
Final HD650 reference alert! In my opinion the HP200s deliver better treble than the HD650s. It is brighter, more detailed and with more extension. Where the HD650s may have an edge over the HP200s is that they never become sibilant. It’s not a regular issue, but it is possible for the HP200s to sound a bit edgy in the treble, particularly if a track has been poorly recorded or heavily compressed. While not brutal like the T1 or HD800 headphones, the price we pay for treble detail and extension is the risk of sibilance. I personally think the HP200 balances the divide really well. Overall it’s still a smooth sounding headphone, but without drifting into anything mushy or vague.
I think the sound engineers at SoundMAGIC created a beautiful balance between enjoyable listening and detailed listening by presenting just the right amount of treble, but without going to the extremes and revealing every flaw and weakness in the music or the source.
Staging & Imaging
When listening to the HP200s, the headstage (a new term I’ve picked up from someone somewhere and prefer to soundstage because it recognises the fact that it’s all inside the head) is spacious and clear. The sound is intimate and feels like you’re up close to the musicians, but it’s not claustrophobic, just intimate. I noticed that the size of the headstage was influenced by the source I used. A better-matched source (i.e. <2 ohm output impedance) resulted in a larger, more spacious sound and a headstage which is clean, open and very lifelike.
Spacing in the headstage is good and instruments are well placed in a good-sized semi-circular stage. While I’ve noticed a few triangular headstages lately (front and sides with no depth at the diagonals), I’d say the HP200s perform quite well at the diagonals and present a convincing auditory picture. There’s also good vertical layering with voices sounding slightly higher than the instruments being played by singers.
In terms of imaging, the HP200s define the placement and boundaries of instruments really well. Listening to orchestral music, each instrument is clearly separated and defined and there is a nice sense of depth and placement within the stage.
I would describe the HP200’s staging and imaging as immensely enjoyable and relaxing. Sure, surgical tools like the HD800s will perform better at pulling apart instrument placement, etc., but the HP200s do a great job for enjoyable listening and a wonderfully relaxing and yet engaging presentation.
The easiest way to sum up this review is to say that this pair of HP200s was kindly loaned to me by Billy at Noisy Motel for the purpose of reviewing them. I am dropping them off again tomorrow afternoon and will not only miss them, but have started budgeting to by a pair. I like them that much!
I really wish I still had my HD650s to compare side-by-side with the HP200s because I have a feeling that the HP200s are on par or better in every area (as long as they’re paired with the right source) and a clear winner in the treble region. As mentioned, I have a feeling the HP200s are actually a very close competitor to the HD600s and look forward to a direct comparison soon hopefully.
In the meantime, if you have around $300 to spend on an open headphone and you’re looking for a headphone that delivers a slightly warm, but mostly neutral sound with plenty of detail and clarity then honestly look no further than the HP200s. I’ve tried the HD650s, HD600s (briefly), DT880s, AD900s, AD900Xs, and various other headphones at this general price-point. The HP200s are the first ones I’ve decided to buy since owning my T1s and selling my HD650s. If I could have HD650s or HP200s at the same price, I’d still choose the HP200s and the same goes for all of the other headphones at the same general price-point with the possible exception of the HD600 which I need to listen to in more depth.
Don’t be put off by the relatively unknown brand-name and lack of European heritage, the HP200s are the real deal and an absolute must-listen before spending any money on an open headphone. I can’t stress enough though that these must be paired with the right source. With a poosly matched source (like my tube amps) the HP200 sounds better than average, but with the right amp / source, the HP200s are simply astounding – not just for their price – simply astounding, period.