Select Comparisons
The following comparisons to the NOIRE X were completed using a mix of the Ferrum OOR/WANDLA GSE system, the Cayin HA-2A/Topping DX9 system, and the Shanling Mystic XP1 portable DAC/amp.
Dan Clark Audio AEON 2 Closed
It has been just under 5 years since the AEON 2 closed-back planar headphones were launched, and they are still being sold today on the company website for $899.
Technical
The NOIRE X and the AEON 2 share similar planar driver dimensions at 62 mm x 34 mm and benefit from trickle-down technology, though they are many generations apart.
The AEON 2 uses a 2nd generation version drawn from the Ether 2, and the NOIRE X is a 3rd (or 4th?) iteration that includes AMTS drawn from the higher-end E3 upwards.
AMTS has been the game-changer here since. Before its integration, the non-AMTS AEON 2 included a pack of filter pads that had a specific effect on the FR of the headphones.
In a way, it covered its bases by introducing a degree of choice over the stock tuning, though after some time, I felt the non-pad performance was the most resolving.
With AMTS, that desired effect is programmed right into the acoustical response of the NOIRE X, so there is no perceived loss in resolution from pads, and I guess it is exactly how DCA wants it to sound, with no compromises.
There is no difference in the impedance values of the two headphones at 13Ω. Where there is a difference is the SPL of each, with the NOIRE X more sensitive at 94 dB/mW compared to 92 dB/mW for the AEON 2 Closed.
You will notice the difference in volume matching with some dynamic range gaps on good-quality portable sources, where the NOIRE X is the better performer.
Design
The form factor and folding mechanism are the same, but the finishing and the aesthetics of the AEON 2 Closed are closer to the original NOIRE, with the NOIRE X closer to the E3.
That means the wider and firmer E3 self-adjusting head rather than the softer, narrower version with the self-adjusting sliders on the AEON 2, the more breathable and deeper pads that have no memory foam rolling (thus far) on the NOIRE X, and that streamlined cup housing combined with the gorilla glass all-black finish.
I admit I still have a fondness for the AEON 2 red and carbon fiber finish, and it is more fingerprint-friendly than the NOIRE X Gorilla Glass and piano black finish.
Still, it does look a little dated now compared to the more aggressive NOIRE X styling, which is more consistent with the E3, Stealth, and Expanse.
The new NOIRE X hybrid pads are more comfortable with their wider contact surface and breathable synthetic Alcantara. They result in a firmer feel laterally but clear my ears better than the AEON 2 pads.
The AEON 2’s non-perforated all-Japanese synthetic leather pads isolate slightly more than the NOIRE X pads, but that is no surprise given how much more breathable the newer pads are.
The NOIRE X is also a bit heavier at 385g compared to 327g, but it’s not hugely noticeable once either headphone is on your head. I tend to look more for sticking points, such as uncomfortable downward pressure on my ears or a loose fit and neither suffers from that.
Performance
Comparing these two is a nice exposition on how DCA has got to grips with closed cup resonance over the years as well as the matured tuning, enhanced by AMTS.
There is no question the NOIRE X sounds ‘freer’, with a more controlled and extended performance at both ends of the spectrum compared to the older AEON 2 closed edition.
Arguably, the AEON 2 is warmer sounding on every system setup I tested. That comes from the stronger closed cup bloom up to 100Hz combined with a curve that runs a little north of neutral up to 1k.
The Noire X is just as punchy on the lows but the clarity into the sub-bass is improved with a short decay and enhanced in presence from a more neutral upper-bass to lower-mids (200Hz to 1k) tuning that delivers a stronger bass-to-mids separation.
In comparison, the AEON 2 sounds a little muffled with a strong deemphasis around 2-4k sucking out the presence and fill from its stronger 5-10k tuning.
You get plenty of fill and a more forward midrange performance from the NOIRE X. It does not need too much lower-treble emphasis given its more balanced and clearer midrange performance.
Despite the AEON 2 graphing fairly strongly through the treble range, the NOIRE X exhibits a stronger perception of upper-treble headroom without undue harshness.
A little of that upper-mids dip and emphasized upper-bass to lower-mids tuning sucks some of the instrumental upper-harmonic balance out of the AEON 2’s response leaving it sounding more muted and less airy in the highs compared to the NOIRE X.
Audeze LCD-2 Closed Back
The LCD-2 Closed Back is an iterative version of the original LCD-2 and launched at the same time as the LCD-2 Classic sometime in 2018. It has had several minor tweaks since then, with our review of the latest edition completed in 2021.
Technical
The LCD-2 Closed Back driver is a throwback to previous pre-Fazor generation Audeze planar drivers rather than the NOIRE X’s step forward or a trickle-down next-generation AEON driver with AMTS.
The LCD-2 Closed Back is a big headphone with Audeze’s classic 106mm planar driver, a much larger driver than the 63mm version inside the NOIRE X.
Though the LCD-2 Closed Back does not use the Fazor airflow technology present in headphones such as the newer MM-500, it does have Audeze’s Ultra-thin Uniforce diaphragm design as well as Neodymium N50 Fluxor Magnets in a proprietary dual-sided staggered array around the driver.
Because of the size and dual-sided setup, the weight differential is huge at 612g compared to just 385g for the NOIRE X. As you will read in more detail below, the LCD-2 Closed Back has all the feel and downward pressure of an old-school Audeze LCD series headphone.
It also has a much higher impedance rating at 70Ω and is far less efficient than the 13Ω rating for the NOIRE X. However, it is more sensitive at 101 dB/mW, so if both are paired with a decent amplifier, the LCD-2 Closed Back will seem like the easier-to-drive set of headphones.
Design
The bottom line is if you want a lightweight, comfortable headphone that is also very transportable, then the NOIRE X runs rings around the LCD-2 Closed Back.
Aesthetically, that is a different story since I find the dark or black themes of both headphones to be relatively similar, but then headphones are made to be worn and enjoyed rather than stared at (mostly).
The LCD-2 Closed Back is more in keeping with Audeze’s old-school design language, and to be honest, it is a very durable headphone with pressure dissipation that is surprisingly good for a 612g object on your head.
Credit to Audeze’s deep and plush earpads for creating plenty of distance from the ear to the driver as well as clearance around the ear. For lateral pressure, I find the LCD-2 Closed Back to feel just right on my head, though surprisingly it does not isolate quite as well as the NOIRE X.
It’s more the downward pressure of that weight where the NOIRE X pulls away considerably. You cannot defy gravity, though Audeze does a good job with the pressure strap in mitigating some of that compared to its original LCD-2 design.
One observation is the flatter NOIRE X headband produces a very slight contact hotspot. For all its weight, the softer headband of the LCD-2 Closed Back does not do this. I suspect the softening process on the NOIRE X pressure strap will reduce that feeling over time.
Performance
The LCD-2 Closed Back’s larger driver and deeper pad cavities still have a few tricks up their sleeve in terms of staging expanse but otherwise, the NOIRE X is the more balanced and vibrant sounding headphone.
The improved sub-bass presence combined with a more coherent mids-to-treble tuning imbues the NOIRE X’s performance with more contrast and directness.
Whereas, the LCD-2 Closed Back has a bit of comparative roll-off sub-50-80Hz downwards to 20Hz and a dipped 2-4k range that pulls back on the urgency creating a darker, warmer but less urgent delivery.
It has some nice grunt and generally a warmer upper-bass to lower-mid tuning which I quite like but you can tell the NOIRE X has the deeper and more impactful fundamental frequency and the super bass-to-mids separation to go along with it.
You have to remember this is the ‘old-old’ Audeze sound and there are still some hardcore fans out there who will swear by this tuning. It has its pros with a reduced treble overtone and grandiose or atmospheric staging quality.
However, the cons are a less coherent treble tuning and a less precise imaging experience. There is some peaking at 5-6k, and some minor bumps around 8k but otherwise it lacks the same extension and consistency as the NOIRE X treble tuning.
Vocal imaging is also a bit laid back on the LCD-2 Closed Back which can suit those looking for a mellower tone to their playback.
The NOIRE X soundstage is generally narrower with the vocal presence now more elevated than the Audeze tuning which sucks you right into the performances rather than presenting them from afar.
ZMF Headphones BOKEH
The BOKEH is the latest closed-back from ZMF Headphones, but unlike several previous releases, it is priced a bit lower and almost goes head-to-head with the NOIRE X in that respect.
Technical
The BOKEH is also a closed-back headphone but uses a dynamic rather than a planar driver with a 50mm LCP (Liquid Crystal Polymer) driver tucked inside.
It has different power demands to the NOIRE X with a relatively high 70Ω impedance rating compared to just 13Ω but with a much higher sensitivity level of 103 dB/mW over 94 dB/mW.
The BOKEH will be the easiest of the two headphones to drive from a wider variety of sources, but bear in mind that the higher impedance rating means voltage output plays a stronger role in its performance than the NOIRE X.
Typically, OTL amplifiers excel with higher loads, whereas the NOIRE X will pull in more current to optimize its performance.
One thing to note is the Atrium Damping System (ADS) inside the BOKEH. You could argue that NOIRE X’s AMTS and Caldera Closed’s ADS have the same soundwave management objective and the same customizable ability, though both approaches are quite different.
Like the older AEON series, ZMF places a heavier emphasis on physical tuning options such as meshes and swappable earpad options, which DCA has been gradually moving away from using AMTS and gradually improving their earpad options at the same time.
Design
Each headphone has a very different approach to design, and both are very comfortable to wear, though I give an edge to the lighter and slightly more secure fit of the NOIRE X over longer listening sessions.
Aesthetics-wise, the NOIRE X looks more futuristic with some clever weight-saving craftsmanship. That ‘fold-in-half’ articulation also makes it super compact for travel purposes.
The BOKEH Claret-infused African Black Limba hardwood finish is striking and beautiful, though that was an early edition. The newer version has a lighter natural finish, which is more golden in color with distinctive black grain streaks.
Either way, you will notice The BOKEH in any headphone lineup a lot quicker than the lower-profile dark tones of the NOIRE X. It is, however, a traditional round-cup headphone design and, thus, comparatively a bit bigger.
Bigger also means heavier. There is a considerable weight difference, with the NOIRE X coming in at 385g compared to the BOKEH’s 480g. You can feel that difference when you are wearing them.
The NOIRE X’s ovoid cup shape and new pressure strap deliver excellent pressure balance, making this a very steady headphone that easily clears your ears, providing excellent comfort and slightly better isolation.
The BOKEH has some lateral pressure bias in the clamping, though the stock soft leather pads do a nice job of mitigating any potential discomfort.
Performance
Given the ZMF house tuning and dynamic driver timbre, the BOKEH is a very different sound to the NOIRE X, and in some ways, they could be considered complementary.
If you only want one headphone then the strong tuning differences will be more meaningful than subtle technical variations with the BOKEH leaning to the smooth, almost euphonic side of the coin, offering a longer decay, slightly less resolution but a more forgiving treble overtone.
It’s a more expansive sound signature that gels beautifully with higher-pitched vocals and brighter recordings that exhibit a stronger upper-register percussion energy.
If you are sensitive to treble then the BOKEH is my recommended choice. It sounds more euphonic through the mids with a reduced treble overtone and more bass warmth balancing it out.
If you want stronger clarity, a surprisingly deeper sub-bass response, a more vivid midrange, and enhanced headroom then the NOIRE X is the ticket.
It has more bass-to-mids separation, sounds more resolving and accurate with its imaging, and delivers a more immediate vocal presence from an elevated 1-3k tuning.
However, the NOIRE X does sound brighter courtesy of a 4-8k tuning that is consistently a few dB higher than the equivalent FR of the BOKEH.
The contrast and upper-harmonic order influence in the note timbre is stronger with the DCA tuning though the BOKEH tuning can make almost any neutral headphone sound brighter with that velvety sound signature.
My Verdict
The Dan Clark Audio NOIRE X sets an incredible performance benchmark for headphones $1k and under. It streamlines the original NOIRE’s design with AMTS, improves the overall fit, and delivers a cleaner, more exciting, and vocal enthusiast-friendly performance.
There is very little to fault here save for those looking for a hugely expansive soundstage presentation or sensitive to heightened treble tuning. I get that, I am one of those people also and normally shy away from anything that measures strong in the highs.
However, the NOIRE X is an exception. Everything sounds airy and brilliant yet under much better control than previous AEON series headphones.
For every new generation of headphones, DCA always leads with a freshly designed closed-back headphone, and oh boy, this is a closed-back headphone and then some.
If you want a taste of DCA’s high-end models such as the E3 without breaking the bank then the NOIRE X is the perfect point at which to start.
Dan Clark Audio NOIRE X Technical Specifications
- Driver Type: Planar Magnetic
- Tuning System: Acoustic Metamaterial Tuning System (AMTS)
- Impedance: 13Ω
- Efficiency: 94 dB/mW
- THD at 85 dB @1KHz: <0.1% 100Hz-8KHz
- Recommended minimum power at 16Ω: 250mW
- Weight: 385g
- Ear Pad Material: Alcantara Synthetic Suede
