For studio reference headphones, brands like Audio-Technica and Beyerdynamic have ruled the market. Sony has recently released a closed-back, studio headphone that is sure to take the music production world by storm. Retailing for $249.99, the Sony MDR-M1 has been the talk of the town, and today I had the pleasure of testing them out to analyze all the details.
What Comes In The Box
- MDR-M1 Headphones
- Headphones cable (1.2m/2.5m w 3.5mm termination)
- Plug adaptor (3.5mm to 6.35mm)
- Reference Guide Warranty Card
Aesthetics and Functionality
Starting with the look of these headphones, Sony continues to deliver on the aesthetic front. The black design is sleek and lives up to the “Professional” title. It is lightweight both in hand and during use, making this easy to use for extended periods of time. For the dedicated music producer, this is a great quality to have. They were comfortable to wear for extended periods of time, not feeling too tight in the clamping or misshapen on the ear.
I would argue that the design is too flimsy to be called durable; I could see these being jostled around too much and being broken. For $250, I would have expected a bit more durability. However, I would say that these are sturdy for long-term use and would last music producers a long time.
With two cables of different lengths and a 6.35mm adapter, the MDR-M1 is easy to use in any studio setup. It has a wire coming out of the left earcup and then can plug into any system. At 50 Ω of impedance, an extra amplifier isn’t necessarily needed, but it definitely helps elevate the sound that these headphones give. I used a small dongle amplifier into my computer during listening to get these up and running.
Tech Specs
- Driver Unit: 40 mm Dynamic
- Magnet: Neodymium
- Impedance: 50 Ω at 1kHz
- Frequency Response: 5 Hz – 80,000 Hz (JEITA)
- Sensitivities (dB/mW): 102dB/mW
Listening Review
Soundstage
In the MDR-M1, the soundstage is wide and immersive. I’m easily engrossed in listening from the moment I put them on, and the way the frequencies are detailed and expansive make these perfect for music producers looking to do some intense monitoring. The field takes on a V-shape, where the vocals and mid-range comes front and center while everything else starts filtering behind it. It gives the soundstage a lot of great depth and layers, and it is very pleasant to listen to.
I’d say the signature lays rather flat instead of having height, but for a reference studio headphone, this is quite ideal. If you’re looking for a standard studio reference headphone, this will certainly fit the bill. I wouldn’t say its doing anything special, but for a studio headphone, sometimes less is more.
Sound isolation is also a great feature on these. It may not be active noise cancellation like some Bluetooth headphones, but you still get private listening that won’t disrupt the people around you. The ear cup design fits well over the ear, and blasting the music still doesn’t cause any sound to bleed. You can lock in to your tracks, be it for audio work or otherwise, and go to work without interruption.
Low Frequencies
The low end is very deep and rich. The sound reproduction is excellent, and the bass matches the energy of the track. In rock songs, the kick drums and percussion are punchy and driving, and in slower indie tracks, they take on a more relaxing tone. This range definitely lays down a good foundation for any genre that comes its way. I particularly liked listening to “GARÇON” by Yseult, where the driving guitar track in the low end was deep and rumbly in the best way.
Mid-Range Frequencies
With a V-shaped signature, the MDR-M1 produces a mid-range that is stunningly clear. The layers in this range are heard distinctly, all without becoming too congealed together. Vocals get the front seat, and they are the star of any track. They sit right in the center of the soundstage, and even the layers of other vocals are heard clearly without issue. A great example of the excellent vocal reproduction is with the band Mother Mother, who is known for their many layers of vocal harmonies. In songs like “Little Pistol” or “All the Dying”, I was able to hear all the tracks they layered to create the eerie and ghost-like effect in the midrange.
High Frequencies
Of the three frequency ranges, I’d say Sony held back when looking at the top range. It lacks the same power the low end has, but it still comes through with great clarity and brightness that matches in tone. The top end is given the chance to dissipate quite naturally, with the frequency response being expanded all the way at 80kHz. I really enjoyed listening to acoustic guitar on the MDR-M1, with the natural sound reproduction starting at the high mids and trailing all the way up to the treble. “Chelsea Morning” by Joni Mitchell was a pleasure to listen to, with the vocals and guitar coming in with a lot of color that not once sounded fake.
Summary
Sony stays delivering standards in the music industry. This is a headphone that will last you a while, doing just what it needs to and nothing more. For $250, I would have expected Sony to be a bit more sturdy with the build and give us a more dynamic frequency response; still, with so many sonically colorful headphones on the market, it’s nice to step back to something simpler. Sony is reliable for its sound and style, and the MDR-M1 certainly checks both boxes.
The Sony MDR-M1 is available today at Audio46.
