Sound Impressions
The following sound impressions were completed using the Ferrum WANLDA GSE and the dCS Lina Network DAC as sources with the HIFIMAN Shangri-La Jr, a modified Stax SRM-T1, and an SRM-007tII as the main energizers.
Summary
If the original CRBN broke classic e-stat ranks with its fulsome-sounding performance, then the CRBN2 goes even further with one of the best e-stat sub-bass responses I have heard to date. Not even the original comes close to the CRBN2’s almost tactile bass response sub-80Hz.
It is not all about stellar bass. You get a smoother tonal quality with beefier mids, and what I would describe as a slightly darker lower treble with the energy shifting upwards to an improved upper-treble response.
For original CRBN owners, you will notice that the original has a stronger upper mids and lower treble peak that injects a bit more bite and presence into upper-register percussion presence resulting in a more noticeable lower treble fill in some recordings than the CRBN2.
And yet, the CRBN2’s taller and deeper soundstage over the original CRBN creates a stronger perception of space and air with an improved holographic presentation despite that slightly toned-down lower treble response.
One thing to be very aware of is source and energizer setups. This is a personal preference but I much prefer a cleaner neutral desktop setup with the CRBN2 over the classic tube sound.
This is a demanding electrostatic headphones so portable amps such as the Stax SRM-D10 do not offer enough headroom for my tastes.
Clean and punchy sources such as the dCS Lina Network DAC feeding neutral amps such as the Stax SRM-T1, and an SRM-007tII created more energy, drive, and tonal contrast from the CRBN2 than the smoother-sounding Shangri-La Jr and dCS Bartok Apex DAC setup.
Go with the latter if you want to keep the tone relaxed, smooth, and rich but if you want the maximum treble clarity and control on those CRBN2 lows then go with the former.
Frequency Response
The CRBN2 frequency response standout is the focused elevation from 80hz downwards hitting the 20Hz marker with an approximate 6-8 dB over the original CRBN.
You can hear that difference, it is palatable, especially with any recording that offers deep and sustained notes in that same region.
That low-end lift creates a beautiful sense of gravitas and power from lower-pitched instrumental fundamental frequencies, shifting the listener’s focus slightly downwards over the original. This is a denser richer sound than what has come before.
Unless you are pushing your chosen amplifier to the limits you are going to hear all of the above without a lick of distortion from the new ‘Slam’ integrated driver.
From 100hz up to 1k, the CRBN2 stays slightly above the Harman Target curve, similar to the original though I did notice a little bit more lift in presence around 1-2k that teases out a bigger vocal image, especially for male vocals.
The CRBN2’s ear gain is dialed back just a little over the original. It’s not as forward sounding from 3-5k with reduced upper order harmonic influence from the 5-7k range which has been dropped by a few dB this time around.
Those tuning adjustments make for a smoother more agreeable sound but it’s also one of the reasons why I prefer the CRBN2 paired with a neutral high-energy cleaning-sounding setup. It tends to sound a little too safe and rounded in tone from warmer and more relaxed system chains.
A clean, tight, and dynamic sound from DAC to amplifier teases out the CRBN2’s stronger 8-10k upper treble presence very nicely, injecting just enough contrast into the harmonic balance when required.
Staging & Dynamics
The CRBN2 delivers a taller and deeper soundstage than the original though the overall width is relatively unchanged.
There is a degree of mid-forwardness still there with ‘big vocal’ imaging around 1-2k pulling you in a bit but the rest of the mids have been toned down a little over the CRBN’s more aggressive 3-5k imaging.
The sense of space from the CRBN2 is more prominent than the original with improved headroom, a slightly airier set of highs, and a blacker background that enhances the perceived dynamic range.
I still would not classify the CRBN2 as having the same set of airy highs that you would expect from more traditional e-stat tunings such as the HIFIMAN Shangri-La Jr or some of the flagship Stax models.
The CRBN2 is not a bright headphone in that respect. You will find the CRBN’s treble presence to be generally south of neutral from 6-7k onwards creating a comparatively relaxed sound, hence the listening focus will shift more to those beefy lows and forward mids as a result.
What I will state from my observation is that the stereo field from the CRBN2 sounds quite natural to my ear. It’s not an unnatural soundstage with extreme stereo separation, more of a quality near-field experience.
Synergy
Efficiency & Sensitivity
Not a huge amount has changed in terms of efficiency from the CRBN2 over the original. I would still classify it as one of the more voltage-hungry electrostatic headphones, perhaps more so than the CORINA (and the older VOCE) in terms of useable amplification headroom.
That is not the say the CRBN2 cannot be driven well by decent amps. I found the pairings with all of my desktop amps to be very enjoyable either in a single-ended or balanced analog input format
The dynamic range is excellent from the likes of HIFIMAN’s Shangri-La Jr amp, and the SRM-007tII so it’s just a matter of hitting your preference in terms of quality and scale.
Rather, it was the portable pairings to be deficient in terms of dynamic range and headroom. For example, the 200Vrms Stax SRM-D10 is a great little portable energizer that I find Stax headphones such as the SR-L300 Limited Edition and the SR-007 MK2 to drive quite well from.
That was not the case with the CRBN2, and in truth, from my experience of the original that comes as no surprise. You will run out of volume very quickly from the D10 and constrained imaging and a lack of depth, sounding a bit flat, even at full tilt.
I will say though that the neutral coloration of the ES9018 DAC inside is more suited to the CRBN2’s beefier and smoother sound compared to the original CRBN’s slightly brighter tuning.
It does add some additional contrast into the mids and highs instrumental timbre but the power and dynamic snap on the lows did not wow me.
Pairings
I tested the CRBN2 with three desktop tube amps and three very high-performance DACs and came away with a distinct preference for more neutral setups rather than warmish tube and DAC combos.
Two good examples included the dCS Lina Network DAC and the Bartok Apex which are world-class Ring DAC sources. However, they sound different with a neutral high-impact for the former and a weighty, smoother sound for the latter.
Pairing the Shangri-La Jr amp and the Bartok Apex delivered a rich and voluptuous sound from the CRBN2 but just a little too sweetened with notes a little more rounded and lacking in the tonal contrast I would want, especially in the CRBN2’s relaxed lower treble.
It is a very inoffensive sound, capable of producing some intoxicating female vocal performances. However, given the enhanced weight on the lows, I want to hear a tauter, more defined sound with more treble bite from the CRBN2.
I get more of that style of sound from the dCS Lina Network DAC (especially with the Master Clock) combined with amps such as my modified Stax SRM-T1 and the SRM-007tII energizer.
These are also tube amplifiers, but a little more to the neutral side than the Shangri-La Jr amplifier presentation. With the Lina behind it, the CRBN2 low-end sounded more defined and controlled for bloom and decay with upper harmonics in the note timbre throughout gaining some welcome presence.
Out of these setups, the CRBN2 sounded more vivid and detailed and less romantic and laid back in its delivery.
And just to check it was not purely anecdotal to the Lina, I switched to the Ferrum WANDLA GSE as my main DAC and again, a stronger level of treble presence with a cleaner sound was evident from the CRBN2.
