Review: Verisonix N500 – Selected

Sound

The reason is simple: the N500 punches way above its weight.

Both it and the N501 share the same spec’d driver set: a single electret and 40mm dynamic with sensitivities of 120dB @32Ω. I’ve found no meaningful difference in volume between the two at the same output voltage settings, meaning the N500 gets good and loud any at decent current-to-voltage ratios, but may start to crackle at lower volume pot settings than insensitive headphones. For my purposes, the following sources and amps did most of the driving grunt work: iPhone 6, Cowon Plenue D, Lynx Audio Hilo, LinnengerG Maestro. Despite the N500’s incredible sensitivity, no source or amp I paired with it hisses. Wonderful. For reference, a volume range of 40 – 50 was enough for anything through the Lynix Hilo, meaning that the N500, like the N501, is just a bit more sensitive than the Grado PS1000.

I’m glad I reviewed the N501 first. Given perfect circumstances, the N501 is phenomenal.

But the N500 is, at least in my opinion, better. I agree with my wife: wow.

What specifically it does better than the N501 is vocals, low-voiced percussion, and upper midrange instruments. That sounds like a lot, but it’s not really. The two share a recognisable house sound which is detailed, extended, and mostly flat. But, the N501’s bass-at-the-sides super-stereo sound can be a bit fatiguing. The N500 massages 3D into the thing and better anchors the bass.

That last bit may be why I prefer it. Like I said way up there, it’s a bass that reminds me of the PS1000: full, wide, and soft-edged. Transitions to super lows and to mids are smooth, and unlike the N501’s super-stereo bass, it anchors just to the left and right of your brain stem rather than outside your head. At the worst of times the N501 make normal albums sound like binaural recordings. The Verisonix N500 maintains high levels of positional stereo detail in all frequencies, but its centrally located bass really pulls the experience together unlike the N501.

Upper mids don’t trip out to the sides and, perhaps as a result, sound fuller. Female vocals transition from bass and to highs more smoothly. Honestly, this is my sound. 100%.

I know for sure that people not into flat signals, and that dislike neutrally flat highs likely will have something about which to complain. Highs extend far and present just as much sound pressure to the ear as does bass. The effect is ultra clarity. They’re not warm. They’re not accented the way the DT880’s highs are, and they don’t splash out around cymbals. They’re speedy like a classic Grado does. But they do stick out.

They stick out in exactly the way I wish my PS1000 would. I love that headphone. But the transition zone between upper mids and highs is sucked out. Anyone can get used to it, but it takes time. The N500’s transition zone maintains great stereo detail, wonderful Z-axis detail, and isn’t prone to smear.

And vis-a-vis the N501, the sound stage is rounder and fuller of 3D detail. It’s puts out an in-the-club experience that isn’t usual for closed back headphones. Of course, neither headphone closes you in. I’d go so far as to say that in a blind test, I’d probably not suss that the N500 was a closed headphone.

Which is to say that this phone sounds delicious. For my uses, it sounds perfect.

End words

We’ve been through this before. Verisonix phones sound great. But they fit less less well. The N500 doesn’t sag on narrow heads like the N501. Unfortunately, it also doesn’t isolate that well – which precludes DJ use right out. And its metal chassis is microphonic and creaky. Both are emotional points for me. I love how this headphone sounds. But that’s not the entire picture.

Verisonix: let’s get some more isolation out of this thing. And, let’s dampen its joints. After that, the world is your oyster and this headphone should help redefine what is possible in the affordable hi-end market.