I had to stop myself from comparing these headphones to much more expensive models because, frankly, they sound a whole lot better than you would ever expect from a pair of headphones at $100. While they don’t sound as good as the Editors’ Choice $449 Sony WH-1000XM6 headphones, they certainly compete with headphones in the $200-$300 range when it comes to audio response, but they cost a whole lot less.
(Credit: Christian de Looper)
The bass response, for starters, is very good. They deliver deep and impactful bass, even with the bass boost slider turned all the way down. With the default “Pop” EQ, and that slider turned down all the way, tracks like “Silent Shout” by The Knife, which rely heavily on sub-bass content, sound full and rich. The mids were slightly de-emphasized, as to be expected of headphones like this, which appeal to consumers rather than audiophiles. But that’s not necessarily a bad thing, especially when it’s coupled with crisp, detailed highs that easily produce nice-sounding percussion.
The great bass response was emphasized even further on “Loyalty” by Kendrick Lamar. This track relies on sub bass, though through a more distinct bass line that’s played throughout much of the verse and chorus. On this track, the headphones deliver that bass about as well as any other headphones I’ve heard, easily reproducing all but the lowest bass notes and even adding rumble and body to those low notes to help ensure it doesn’t feel disconnected. The bass doesn’t overshadow other aspects of the track either—Lamar and Rihanna’s vocals are rich, while percussion has good clarity.
More acoustic tracks, like “Drover” by Bill Callahan, expose some of the headphones’ weaknesses, but even those are few and far between. On this track, the driving kick drum has plenty of body, but at times it feels a little too much. While the acoustic guitar sounds relatively natural, it’s missing some of the sparkle that helps it cut through the mix. I’m really nit-picking here, though—I would expect to see many more complaints about headphones in this price range on this track. Everything still sounds nicely balanced, and the cymbals offer good sizzle to make for a dynamic and exciting track.
Orchestral tracks like the opening scene to The Gospel According to the Other Mary by John Adams sound good too. However, I do find that on this track, the soundstage isn’t quite as wide as it might be on more expensive options. It isn’t horrible, though, and there is still enough room for the different sections to sound distinct enough for an enjoyable listening experience.
(Credit: Christian de Looper)
The headphones provide two spatial audio modes: “Concert Mode” and “Cinema Mode.” I found that both of them are lacking. Concert Mode sounds a little muddy and mid-heavy without really adding much immersion, while Cinema Mode just sounds bad, over-emphasizing dialog in a way that doesn’t really sound natural. I like that there are different modes for music and movies, but they still have to sound good for me to want to use them—and I don’t really use even the best spatial audio approaches for music.
I will note that I found the headphones sound better with the custom EQ enabled, but with no adjustments made. The Pop EQ, which is the default, is fine, but it doesn’t quite offer the best of the CMF Headphone Pro. It’s also worth quickly mentioning the bass slider, which frankly is a gimmick at best. I get that people like emphasized bass, but the headphones sound good without resorting to tricks like this, and I recommend most people simply avoid it.
The headphones also have a personalized sound profile feature that involves a hearing test, and is supposed to tune the audio to compensate for any hearing loss, even if minor. Although the results of it weren’t bad for me, I preferred how the audio sounded before taking the test. It made for a slightly muddy sound in the left channel, resulting in an uneven feel. I kept it off most of the time.
One weak aspect of the headphones is the built-in microphones. While they pick up my voice, there is little clarity and a little too much muddiness. It isn’t quite to the point of sounding underwater, but it’s getting there. Again, on voice calls, the people you’re talking to should be able to hear you, but the microphones certainly leave a lot to be desired.
