Synergy
Efficiency
With a sensitivity of 115 dB, the Distant Mountain is an easy headphone to bring up to volume.
Whether I was running it through a tiny DAC like the ddHiFi TC35M2, or the powerful EarMen TR-Amp, or even straight out of the headphone jack on my Microsoft Surface Pro 4, performance was consistent with clear mids, a punchy low-end, and controlled treble.
The Distant Mountain is efficient and easy to drive and does not require anything special to perform admirably.
Pairings
ddHiFi’s M120B fits better than the stock cable aesthetically, and the brighter tune of the M120B’s Realtek ALC5686 chip is an excellent match for the strong bass of the Distant Mountain.
While some visceral impact in the low end is lost, the midrange benefits from additional detail and clarity. The soundstage also sees improvements with additional width and depth, though I didn’t hear any other technical alterations.
ROSESELSA’s RZ200-m uses the same Realtek ALC5686 chip as the M120B, but where that model is tuned with a brighter sound in mind, the RZ200-m has a bass-biased tuning.
Paired with the Distant Mountain, the already warm, bassy tuning takes another step in that direction. The low end hits hard with tons of mid-bass punch and good sub-bass extension that provides more visceral feedback than you might expect from such a compact on-ear.
Unfortunately, all that bass means the midrange takes a step back, and at times, vocal articulation and clarity are reduced. I also noticed that the soundstage lost some width, and instrument separation wasn’t as good as with the other product features in this section.
SNOWSKY’s RETRO NANO is a very competent budget Bluetooth amp with a neutral-warm signature that slots between the M120B and RZ200-m in terms of what it does to the Distant Mountain. The bass is elevated, offering more slam than the M120B but not as much as the RZ200-m.
The sound stage sees a mild increase in sizing, and the midrange only a minor penalty to clarity and detail. Treble sees improvements in terms of refinement, sounding smoother out of the RETRO NANO compared to the other products in this section.
The main benefit of pairing the RETRO NANO with the Distant Mountain is gaining access to its onboard EQ, which enables fine-tuning of the signature.
Select Comparison
Thinksound ON2
Technical
Like the Distant Mountain, the ON2 utilizes 40mm dynamic drivers with metal protective grills. Whereas they are set within stainless steel cups on the Distant Mountain, the ON2 features wood cups with plastic inserts holding the speakers in place
Both models include cloth-covered cables in the box. The cables included with the ON2 are a considerable improvement, offering better microphonics, greater resistance to kinking, a beefier sheath, and even after all these years, have not frayed, something I am skeptical about with the Distant Mountain’s cable.
The inline microphone also sounds improved on the ON2, better mitigating unwanted cable noise. The module on the Distant Mountain’s cable is quite a bit smaller, though, and the button provides clearer feedback when depressed.
The sensitivity of the Distant Mountain is 115 dB. This specification is not available for the ON2, but I suspect it is similar, given their driving characteristics.
The impedance of the Distant Mountain is 32Ω versus 50Ω for the ON2. I found the Distant Mountain moderately easier to bring up to volume, which is good.
Unlike the ON,2 the Distant Mountain provides almost no isolation, so the volume headroom is needed when using them outdoors or in noisy environments.
Design
Thinksound’s ON2 has a more traditional design, with classic but plain wooden earcups containing the brand logo. The plastic yolks are rounded and connected on either side of each cup, linking in the middle where they attach to the headband.
In contrast, the Distant Mountain’s earcups are stainless steel with a slim, single-arm yolk that connects directly to the headband and contains the sliding mechanism for sizing.
The sizing mechanism of the ON2 is hidden within the headband, revealed when extended, where you also see it uses plastic-reinforced stainless steel.
The headband of the ON2 is wider and thicker, with more padding and the Thinksound logo stitched into the top.
Unfortunately, the faux leather they chose has already deteriorated completely and has flaked off, leaving just fabric beneath, something that should not happen to the lambskin ROSESELSA wisely selected for the Distant Mountain.
Where the ON2’s design is a notable improvement over the Distant Mountain is in earcup articulation. Where there is none on the Distant Mountain, the cup of the ON2 can twist and pivot, ensuring a more even pressure on the ear.
This results in the ON2 being quite a bit more comfortable long term, though I found it less stable during movement and when looking down, prone to slipping off. The ON2 can also fold up when not in use, making it more portable overall, despite being quite a bit larger.
Performance
Bass
Both models have their bass regions elevated over neutral, with the Distant Mountain being the bassier of the two. The ON2 better balances the mid- and sub-bass regions, while the Distant Mountain shifts more emphasis to the mid-bass.
The driver in the Distant Mountain slams harder than that in the ON2 and provides a stronger visceral response, thanks to the added low-end emphasis.
The presentation from the ON2 is cleaner, though, sounding more refined with a tighter note presentation, snappier attack and decay qualities, and better control.
The ON2 also has a small advantage when it comes to texture and detail, though it’s not immediately obvious given that the other frequencies are more prominent in the tune and take some of your attention from the low frequencies.
Mids
The midrange on both models is slightly recessed compared to the rest of the signature, with the ON2 having a stronger upper-mid peak, while the Distant Mountain focuses more on the lower mids.
This gives the ON2’s presentation a thinner note weight, resulting in some vocalists, males in particular, coming across a tad lean and edgy and more subject to unpleasant sibilance.
The ON2’s upper-mid focus also gives it a cooler presentation, one that comes with a bump in clarity and detail. The Distant Mountain’s lower-mid focus and stronger mid-bass give it a warmer tonality than the ON2, along with a more weighty, meaty performance.
Aside from the differences in frequency emphasis, the biggest difference between the two is refinement. The Distant Mountain’s driver simply sounds rawer and less refined.
Treble
Treble out of the Thinksound ON2 is more vibrant than the Distant Mountain’s thanks to a stronger brilliance region. The additional emphasis and greater extension result in a brighter, more lively, and energetic sound, aided by the ON2’s overall thinner presentation.
The ON2’s speed and control advantages are also evident here in that notes sound tighter and more defined on busy passages where the Distant Mountain can run into mild smearing.
The ON2 again has an advantage in terms of detail and general clarity, though it is closer here than in the midrange.
While the Distant Mountain’s treble presentation is less refined and technically impressive, the way it rolls off into the upper regions results in a less fatiguing listen.
I welcome this because if I’m using the Distant Mountain outdoors, a volume increase is needed, and a prominent brilliance region can be harsh and tiring in that instance.
Staging
These two headphones have good sound stages for an on-ear style, though they go about it in different ways.
The ON2’s default vocal positioning is further from the ear, giving it a more immediately open appearance. The leaner presentation and tighter notes of the ON2 also result in an airier presentation compared to the Distant Mountain.
When testing staging width and depth, sounds move about the same distance on both models, though I’ll give the ON2 a small advantage in depth and width to the Distant Mountain thanks to the bass floor.
Channel-to-channel movement is well-defined on both, but off-center accuracy on the Distant Mountain is better, while it’s easier to track small movements elsewhere through the ON2.
Instrument layering and separation are better out of the ON2, thanks to the additional space afforded between notes. The Distant Mountain still does a good job though.
My Verdict
ROSESELSA has released a wonderful budget-friendly headphone in the Distant Mountain. In terms of visual appeal, they have completely aced it by crafting a product that looks retro yet completely distinct from the current audio landscape. And it comes in brown!
The Distant Mountain’s build and material quality are also strong points. ROSESELSA recruited lots of stainless steel for the construction and avoided the temptation to cut corners with faux leather that would last a fraction as long as the lambskin they selected for the headband.
Even the packaging is a step above what you’d expect for the price, using high-quality cardboard and detailed printing for the images and presented information. The accessory kit is also quite good, with the option to add a decently well-performance $13 DAC for only $5.
While the 40mm driver used for the Distant Mountain is a bit unrefined and has unexpectedly high distortion values on paper, in use, it sounds good.
The amount of bass works well outdoors and in noisy environments, and the rest of the signature is competent enough technically to provide a pleasant listening experience with most genres of music, especially bass-heavy ones.
This could have been a $200 headphone, and I wouldn’t have blinked an eye. At $65, the Distant Mountain is an absolute bargain and well worth investing in if you want a great-looking, well-built, good-sounding headphone and know the lack of earcup articulation won’t be a problem for you.
ROSESELSA Distant Mountain Technical Specifications
- Frequency Response: 20Hz–20 kHz
- SPL: 115±3 dB
- Impedance: 32Ω±15%
- Harmonic Distortion: ≤2%@1kHz
