Sony’s latest closed‑back headphones complement the open‑backed MDR‑MV1.
Japanese mega‑corporation Sony have a presence in practically every aspect of the music industry. Whether you’re tracking with Sony mics, releasing your songs on one of the innumerable Sony labels or playing them back on a Sony hi‑fi, they really do offer something for everyone. And that something naturally includes headphones.
A vast range of over‑ear, on‑ear, in‑ear and wireless models is available from Sony’s consumer electronics arm, but studio and broadcast users are catered to by the separate Sony Professional division. This has long been home to the evergreen MDR‑7506 closed‑back headphones, and last year saw the launch of the MDR‑MV1, which, as far as I’m aware, are Sony’s first open‑backed design, intended for mixing and in particular for working with immersive audio. And 2024 sees the introduction of a companion closed‑back model called the MDR‑M1.
Sony’s marketing team are taking a slightly different tack with the new phones. The focus on spatial audio is gone and, instead, the emphasis is on what Sony call “ultra‑wideband playback”. The MDR‑M1s proudly bear a Hi‑Res Audio certification from the Japan Audio Society, meaning that they are capable of reproducing frequencies of up to 40kHz. According to the specifications, in fact, high‑frequency extension is a humongous 80kHz, while at the low end, they are said to go as low as 5Hz. As ever, though, no tolerances are given.
In other respects, the specifications of the MDR‑M1 are fairly standard for modern headphones. They use a 40mm moving‑coil driver which presents a nominal impedance of 50Ω, with sensitivity given as 102dB/mW. Low distortion is also claimed as a positive, though no measurements are given.
Box Fresh
The MDR‑M1s are sold in commendably eco‑friendly paper‑based packaging, and seem designed to offer a long and fruitful life, with replaceable earpads and detachable cables. Two of the latter are supplied, in different lengths; they plug into a mini‑jack socket in the base of the left earcup, and can be locked in place by screwing in a threaded barrel. Sadly, though, you don’t get a case, or even a soft bag.
Weighing in at a mere 216g without the cable, the new Sony cans are among the most lightweight models around. This is thanks in part to their compactness, and in part to construction which seems mostly to use rigid plastic. The earcups are attached to yokes that allow them to swivel both vertically and in the ‘fore and aft’ plane, and the effective length of the headband can be adjusted easily and precisely. I found them very comfortable for extended use.
The High Life
Although the Sony MDR‑7506s remain very popular, and are used by numerous big‑name engineers, I’ve never liked them without corrective EQ; they are, for want of a better word, somewhat shrill. By contrast, I’m still a fan of the long‑discontinued MDR‑7509s, which have a completely different, more mid‑focused tonality, and I have good memories too of the 7510 and 7520. The recent MDR‑MV1 open‑backed headphones sound different again, with a modern ‘hi‑fi’ sound that foregrounds the upper bass and the high‑frequency presence region.
Whereas some rivals aim to create the impression of epic bottom by pushing the low midrange, bass on the MDR‑M1s seems to have genuine depth.
Unsurprisingly, these new closed‑back Sony cans take most of their sonic cues from the MV1, rather than any of the older models. My middle‑aged ears can’t tell you how well they put across 40kHz, but I can well believe Sony’s claims about their high‑frequency extension: even within the audible range, there’s a noticeable sense or airy brightness about the top end. This is neither unpleasant nor unnatural, and there’s not a hint of the grittiness or sharpness you’ll find in many headphones. The low end also feels subtly emphasised, but whereas some rivals aim to create the impression of epic bottom by pushing the low midrange, bass on the MDR‑M1 seems to have genuine depth. Sony’s claim of low distortion is also very plausible; the MDR‑M1s sound very clean, with an almost exaggerated sense of clarity.
Like the MDR‑MV1s, then, the MDR‑M1s are perhaps not the most neutral‑sounding headphones in their class, but inasmuch as they deviate from the Platonic ideal of a perfect flat response, they do so in ways that are straightforward to get your ears around, and indeed useful in many scenarios. Both for general‑purpose studio use and for mixing, especially of music with significant bass content, the MDR‑M1s have a lot to offer.
Summary
Clean, clear and comfortable to wear, the MDR‑M1s are very nice all‑purpose headphones.
Information
£209 including VAT.
When you purchase via links on our site, SOS may earn an affiliate commission. More info...
When you purchase via links on our site, SOS may earn an affiliate commission. More info...
