Closed back Over ear (Circum aural) Headphones
“Literally possess the essence of flagship headphones costing more than triple its price.”
Driver Type : Hybrid – Dynamic, electrostatic
PROS: Portability, Voice Clarity, Details, PRAT, Upper bass, Mid-bass, Mids, Lower trebles, Soundstage Height, Soundstage width, percussions, Strings
CONS: Nothing worth writing
High quality white cardboard box
Portability, its major selling point. For an electrostatic hybrid this sealed the deal.
Should you be a wood guy, you’re in for a treat ! Real solid wood Cherry cups. One of the most gorgeous out there and I’m a wood guy.
The sound signature, so the saying goes, …” Mids is life. ” Yep, one of the best out there, in any price range, without forgetting the other relative major frequencies, bass and trebles.
Here we go…
For better impressions, the reference tracks were played more than once, a good excuse to enjoy.
Files types were soft copies in FLAC, 24bit & DSF. The LG V10 (high impedance engaged) was paired with the JP1s
From “The Waterboy” movie OST
“Let’s groove” – Earth, wind and fire
The recording was high quality studio stage like, very nice layering. Instruments, loops and a rock steady percussion on the right were properly placed and spaced. The listener would really love the voices placement, a front man with the backing vocals literally at the back, insistently projecting their voices out back.
“Boom Boom” – Big head Todd & the monsters
A John lee Hooker classic, the band here played ferociously I couldn’t stop my left knee jerking. I really like to boogie on this one. The bass was astounding, vocal included. It was raw, fast but all details the listener could catch up to. One of the strongest points for the JP1s – Zero bass bleed…
The rest of the Reference Albums / tracks:
1976 Boston / Hitch a ride (DSD 64)
1982 Avalon / More than this, Avalon
1984 Body and Soul / The verdict, You can’t get…, Be my number two
1984 Treasure / Persephone, Donimo
1986 Colour of spring / I don’t believe (DSD64)
1971 Partita no.2 “Ciacone” Y. Menuhin-violin
1986 So / Red rain, In your eyes (DSD64)
1988 A Blues for buddha / Walk w/ the night, sacred Child
1989 Street Fighting Years / Wall of love, Let it all come down, Belfast child
1991 Laughing Stock / Myrrhman, Ascension day
1997 Dig your own hole / Block rockin’ beats, Dig your own hole, Electrobank
1998 K&D Sessions / Bug powder dust, Useless (24 Bit)
2010 Further / Another world, Dissolve, Wonders of the deep
“Hitch a ride” presented us with one of the most natural acoustic guitar, never steely. The cymbal crashes were extended. Brad’s (RIP) voice and the rest of the band’s blending were superb. Engineer Tom’s riffs were just as excellent. The trick mix on the same was both on either side and were extended outside the ear cups.
This is my go-to track for sibilance and I’m happy to report there was none.
On to “More than this”, Bryan’s voice was as cool as ever, emotive. The instruments were used sparingly but it was dynamic. Soundstage was wide.
Next “Avalon” with Bryan’s moving voice gave us a hint of the venue. Lightly accompanied by subtle but enticing guitar riff on the right, Caracas on the left, and that back up female that will surely qualify for The voice on any day. Soundstage was high. Instrument placement was very good.
Joe Jackson’s “The verdict” displayed his superb piano skills as well as the quality of the keyboard.
Drum rolls gave us wide soundstage, cymbals were detailed and the brass side timbre was very well done. The band was playing very well. It was dynamic. We were presented how it should play and sound on stage.
I consider “You can’t get what you want” more than a simple track. Brass was excellent, bass guitar and that jazzy riff was truly engaging. Even if the band were busy from the back drop, Joe’s voice was on top.
Properly scaled and my go-to track for piano, ”Be my number two” with Joe’s skill were again displayed with tenacity and the band were just as equally great. We got dynamics all over.
From the 1984 Treasure, “Persephone” pertains to soundstage depth. Opening with a specially tuned drum machine and programmed synthesizers, it sits at the back side whilst steadily beat to the cue for the rest of instrument players. The synth is right in front of it. At front is Liz Frazer’s voice is as ethereal as ever, in centre and right side of centre alternating and blending. Bass tunes here were not muddled. A difficulty overcome by the JP1s. I’ve auditioned a lot of audio gears with this track.
The closing track “Donimo” on the same album, Liz is accompanied by a small voice choir, very well sung, during solo passage and in chorus. Signal decays hinted the recording venue or to that effect.
This album is my go-to for the most revealing, most convincing and that most sought after un muddled bass to mid-bass tones. The JP1s portrayed very well not only these 2 tracks mentioned but throughout the entire album.
“Red Rain” Peter Gabriel’s unique voice was captured here with great detail. He’s the keyboardist here as well. Climax of the track came and the synth played exactly as sung. “…Red rain is pouring down…” pouring down indeed from top left and right downwards motion.
Shall we dance? “Sledgehammer” next. Very funky, very busy, but we can comprehend and to every beat. “In your eyes” is world music. Percussions and more than a set of drums is perfect harmony together with Peter’s keyboards and synth, Topped with that voice and a small vocal ensemble. Overall it’s crisp, rhythmic, very wide soundstage and I could swear I wanted to dance, again.
Some highlander music vocalist Jimme “Walk with the night” was quite a story teller here. Starting with his voice and playing the guitar to gradually building a wave. We can already hear the recording quality from the beginning. By the time we’re in the chorus and with the rest of the band playing, the JP1s rode on top of that wave, with consummate ease. The impact of all the major frequencies are there, retained.
The other track “sacred Child” we can hear the band busy and all at work. Come the drum solo in grandiose scale, with Jimme’s looping voice here and there. The trebles were really extended. One of my test tracks for upper bass dynamics coupled with treble extension and decay.
“Wall of love” from Simple minds continues to exhibit the same trait of the above. This was an experimental album with the effect of recording from a large hall or venue. The JP1s conveyed that message very well.
With “Myrrhman” and “Ascension day” micro details, ambient acoustic bass, drums, guitars, keyboards, strings and Mark Hollis’ voice were portrayed as it was – a live take.
A hypnotic bass riff, great drumming skills unique tuned, bombing bass, percussions, another synth or two hinting the wide soundstage, a very entertaining “Block rockin’ beats” right there. Time to dance, again. The title track “Dig your own hole” and “Electrobank” just solidified how the Brothers are very skillful at their mixing art. The JP1s rendered these traits very well including PRAT, coherence, tuneful bass rhythms, ambient synths, lots of micro details.
The K&D Sessions presented another hypnotic trance that made me listen and stopped typing this review. The JP1s never fail to give you details, quality of mixes, bass rhythms, percussions.
Before we got stuck and impede this review, another portrayal of detail supremacy from complex passages. “Another world” and “Wonders of the deep” exemplifies the Brothers’ dance floor filling capabilities. Another success story for the JP1s, assuring the listeners to hear the music clearly.
To summarize the above:
Upper bass: ♥♥♥♥♥
Lower trebles: ♥♥♥♥♥
Upper trebles: ♥♥♥♥
Soundstage depth: ♥♥♥
Soundstage width: ♥♥♥♥
Soundstage height: ♥♥♥♥♥
Stereo separation: ♥♥♥♥♥
Detail retrieval: ♥♥♥♥♥
PRAT: ♥♥♥♥♥ (These cans are built for speed)
Build quality / Materials: ♥♥♥♥♥
Upgradability: ♥♥♥♥♥ Yes, cable. Cushions, possible but bespoke cups due to unique shape
Value for money: ♥♥♥♥♥ @ USD.599 Seem very reasonable considering it’s a flagship sound for a mid-fi price