Sound Impressions
The following sound impressions of the Dan Clark Audio NOIRE XO were completed with a mix of the Ferrum OOR/WANDLA GSE and the Cayin C9ii (using the line out of the Cayin N7).
Summary
Compared to the boisterous and sparkling X, the NOIRE XO is the smoother, more eloquent sibling with a finely balanced tuning, a shade more warmth, and generally a curve that is almost Harman to a ‘t’.
This is a headphone that delivers an excellent but not overcooked bass shelf. It is not as punchy or in-your-face as the X, but it is satisfyingly deep with good control on any problematic bloom, especially when paired with solid-state amps such as the Ferrum OOR or the Topping DX9.
Vocals generally sit forward, especially around the 2-3k region, though I did find the impact and presence varied with amplification choices.
Amplifiers such as the Cayin C9ii teased out some seductive brilliance and sparkle in the vocal timbre. Whereas desktop tube amps, such as the ZMF Headphones Aegis, produced a richer tone but a more laid-back imaging experience.
Treble is almost perfect for my tastes. Not too bright or attenuated, with good percussion timbre body, and excellent headroom. Coming from the NOIRE X, the highs sound a little smoother and more natural-sounding to my ear.
Which do I prefer? I have to say the NOIRE XO is getting my vote because of those creamier vocal tones. I like a good high-contrast powerhouse now and then for high-BPM recordings; the X certainly delivers on that.
However, for longer listening sessions, and the way the XO gels so well with my preferred amp setups, it’s the more natural and smoother-sounding of the two.
Frequency Response
Well, this is an easy one to talk about since the NOIRE XO has a strong adherence to the Harman Target Reference Curve.
You get an extended bass shelf up to 100-150Hz, one that is very audible, especially on the sub-bass response when called upon, which is excellent.
It is also a bass shelf that, with one pairing exception, keeps the bloom well away from its gradual 200hz to 1k rise into the mids. That one exception in my testing was the DX9 DAC and Cayin HA-2A combo, which I found prone to a bit of bloom.
As you would expect from any headphone that claims Harman adherence, you get a decent amount of head gain from the NOIRE XO from 1-4k.
Perhaps it’s the acoustical environment, but the NOIRE XO mids are not quite as intimate as the X tuning, especially when paired with more laid-back tube amp pairings such as the Aegis.
Still, it’s satisfyingly forward for this vocal lover, particularly with the OOR and C9ii, which teases some welcome brilliance and sparkle out of the timbre compared to more sedate pairings such as the darker ONIX Mystic XP1.
From 6k onwards, the NOIRE XO pulls back a bit more from the peaks and bumps of the X, producing a smoother, more balanced set of highs.
It’s not until you push back 10k do you get a hint of overt elevation, and by then it’s beyond my sensitive trigger regions, so it’s more of a welcome hint of sparkle rather than anything sizzling to my ears.
Paired with the Aegis and the C9ii in Class A Classic Tube mode, that NOIRE XO high-end gets creamier and smoother, so pairings can matter in this instance.
Staging & Dynamics
The staging qualities of the NOIRE XO differ from the closed-back X version, but in terms of sheer size, there is not a huge difference. I have never really found a night and day gap in staging size from DCA headphones that have closed-back and open-back versions.
In this instance, the general imaging of NOIRE XO feels a little more holographic but also seated a little further back from your position relative to the band or artist, and not quite as immediate or as intimate as the X.
Instead of an upright and pushed treble presence and an aggressive, punchy bass to accompany it, the XO bass presence is deep but controlled, with improved separation and space. Note dispersion sounds airier and more effortless.
Vocal presence is emphasized for some pitches, but again, compared to the X, the NOIRE XO is a shade more relaxed to my ears. As per earlier observations, you can modify this a little with amplification.
Choosing a tube amplifier such as the Aegis or the C9ii in Class A non-Hyper Mode does seem to pull the vocal imaging back a little, creating a relaxed listening experience.
Whereas the Ferrum OOR delivers a neutral bass response, but with a more forward-sounding, clearer vocal performance from the NOIRE XO.
Synergy
Efficiency & Sensitivity
The Dan Clark Audio NOIRE XO has the same 94 dB/mW SPL rating as the NOIRE X but with a slightly higher impedance level at 16Ω over 13Ω.
It shouldn’t make that much of a difference in terms of amp selection, although out of the Ferrum OOR/WANDLA GSE stack, I did detect a slight difference in favor of the NOIRE X at lower volumes compared to the NOIRE XO, enough to push up the dial a little during playback.
As with the closed-back version, you need a decent-quality amplifier to allow the NOIRE XO to shine. I am not discounting portable amplification since you can get offerings with plenty of grunt these days.
Traditionally, DCA headphones require at least 1W of power to sound optimal, although their websites list a minimum power rating of 250mW.
I had zero issues driving the NOIRE XO with hefty compact desktop amplifiers such as the Topping DX9, the Ferrum OOR, and the Cayin iHA-8.
But equally, portable units such as the Cayin C9ii and the ONIX Mystic XP1 did ever so well to bring a mixture of tube warmth (C9ii) and excellent sub-bass presence (XP1) into the mix.
Just be sure to get any stock cable in a 4.4mm configuration if you plan on using a portable pairing. Going balanced with the NOIRE XO will enhance the channel separation performance and produce a more dynamic sound.
Portable Pairings
I tested 2 portable amps and 2 DAPs with the NOIRE XO, including the Cayin C9ii, ONIX Mystic XP1, the HiBy R8 II, and the iBasso DX340.
I tested the C9ii using a line out from the Cayin N7 and the ONIX Mystic XP1 with a local microSD card of the same recordings. The C9ii blew the XP1 away in terms of staging height, vocal brilliance, and staging holography when the Hyper mode was turned on.
The XP1 was great for sub-bass reach and presence, but it lacked the same pop in the mids and highs as the C9ii, sounding a little too dark overall.
The C9ii in a hyper mode was bristling with intent when paired with the NOIRE XO. The vocal imaging is impressive, the bass punch and snap are tight with excellent channel separation.
Going tube with a High Anode setting produces a very smooth and rich performance from the NOIRE XO.
The only caveat is that this pairing can get almost too exciting with more tonal contrast in hyper mode, especially on solid-state. Switching to Class A mode reduces the contrast and gives you a more soothing and relaxing experience with vocals just dropping back a little on the NOIRE XO.
It was a similar feeling with the DX340/AMP15 and HiBy R8 II DAP pairings. The R8 II digs deep and delivers a satisfying bass response from the NOIRE XO but falls away in midrange vibrancy and treble sparkle, producing a narrower soundstage than the DX340.
The iBasso pairing leans back a little on the bass presence but significantly widens the soundstage, producing more vocal impact and treble sparkle. It’s a very evenly balanced pairing with great staging qualities. Neither DAP had any driving issues with the NOIRE XO.
Desktop Pairings
I tested the NOIRE XO with 2 solid-state and 2 tube amps, including the Topping DX9, the OOR/WANDLA GSE stack, the Cayin HA-2A, and the ZMF Headphones Aegis with the Holo Audio Spring 2 DAC behind it.
Both solid-state amps tightened up the NOIRE XO’s bass response when compared to the tube pairings. If speed and a slightly shorter decay matter, then go solid-state.
The DX9 delivers a bit more punch and weight, but I preferred the more refined harmonic balance throughout from the OOR/WANDLA. The DX9 is a little rougher on the upper-mids and treble performance, whereas the OOR/WANDLA combo sounded purer and with less harmonic dissonance.
I would take the Aegis/NOIRE XO pairing over the Cayin HA-2A. However, that is only if you use an XLR connection and not a 4.4mm stock cable. The Aegis 4.4mm is attenuated for IEM use, so the dB levels are too low for the NOIRE XO to sound optimal.
The Cayin (with the DX9 as the DAC) sounded a bit bloated in the lows and very vocal forward, lacking some resolution relative to the solid-state performances, but introducing a bolder, fuller vocal tone. I would honestly pick the C9ii over the HA-2A if you are after a Cayin pairing.
The Aegis is warmer but more balanced on the bass bloom, with more space for the mids to shine. The NOIRE XO/Aegis vocal imaging is also more relaxed in its positioning, making the sound exceedingly rich and smooth to my ears.
