Review of Fiio FT1 Pro: a neutral planar contender

Intro:

Since the very positive experience I had with the Fiio FT1, I couldn’t resist when the FT1 Pro came out and ordered one straight away. As I mentioned in my earlier FT1 review, I wasn’t a fan of the FT5, Fiio’s first and more expensive planar magnetic headphone. The FT5 felt too warm and laid-back, lacking the bite and clarity that many expect when stepping up to planar headphones around the $500 mark.

Both being planars, the FT1 Pro costs only a fraction of the FT5’s price. Can it surpass the exceptional value proposition of the FT1? Does it bring something unique to today’s competitive market with its touted ‘sapphire + aluminium dual-coating’? Let’s find out.

I’ve also posted this review on Reddit, along with some additional notes. Feel free to check out my post there if you’re interested in more insights and perspectives.

For those interested in detailed measurements, check out the final section of this article.

Specs & Comfort

RRP: US$ 199/ AU$ 349
Driver size: 95*86 mm (advertised)
Transducer type: planar magnetic
Sensitivity: 95 dB/mW @1kHz
Impedance: 20Ω @1kHz
Connector: dual 3.5 mm TS
Weight: 375 grams
Clamping force: light
Comfort: 8.5/10

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Measurement & Sound

link to the frequency response measurement & more comparisons

Tonal balance:

Fiio’s advertising, backed by its included frequency response graph, set my expectations for a neutral sound, and the FT1 Pro largely delivers. Its tonal accuracy is excellent, but there are a few things to note.

The FT1 Pro reminds me of the HD650/6XX. If “planar timbre” is something that bothers you (by which I mean the splashy quality often associated with elevated treble as some have noted in certain Hifiman headphones), you’ll be pleased to know it’s not here. Despite Fiio’s claims about their innovative ‘sapphire + aluminium dual-coating’, the tuning feels rather conventional here, although I mean it in a pleasant way.

The treble is smooth, free of excessive glare or sheen. You may think there’s a bit of extra energy in the upper mids and lower treble given the FR, but to me, it’s doesn’t sound grainy or overdone. The mids-to-treble transition is very linear, and the energy there feels evenly distributed. There’s an adequate sense of air, but the extension feels somewhat subdued due to the safe tuning. Overall, it reminds me of conventional dynamic headphones where the balance of harmonics lean more towards the lower orders and fundamental tones. A more ‘earthly’ tuning, if you like.

The bass has a good sense of body and rumble. Despite measuring like a flat line, it feels slightly warmer to me compared to typical planar headphones like the Sundara. Bass extension is excellent — similar to the NAN-7, the lowest frequencies are subtly boosted, delivering an impactful ‘planar bass’ experience.

Even with a slightly compromised seal, the FT1 Pro maintains a solid sense of punch. While it doesn’t quite reach the Audeze LCDs or Hifiman HE6se, it’s a step above what you’d expect from most open-back dynamic headphones in the mid-fi range, which often lack the subbass extension offered here.

The midrange is one of the FT1 Pro’s strong suits. Vocals come through full-bodied, while instruments sound mostly natural and smooth. You won’t get the delicate or ethereal quality that some planars are known for. The one quirk you’re likely to notice is the somewhat recessed 1-2kHz range, which is pretty common among open-back headphones. Vocals and instruments are slightly pushed into the background. Timbral accuracy, however, remain largely unaffected.

If the FT1 Pro were a planar HD6XX, the Sundara feels more like the HD600, with noticeably more energy in the upper frequencies. Cymbal crashes on the Sundara are sharper and more defined, whereas the FT1 Pro takes a more restrained approach. Audeze’s MM100 Pro, which is marketed as a monitoring headphone, falls short in timbre accuracy for most vocals and instruments when compared to the FT1 Pro.

Other qualities:

As for the more intangible qualities, the FT1 Pro is good but not exceptional.

The soundstage is adequate — neither overly confined nor particularly expansive. Compared to the Edition XS, the FT1 Pro delivers everything in a more intimate manner. Spatial definition and positioning are decent, offering a noticeably more holographic presentation than the HD6XX, though it doesn’t quite match the sharper imaging of the Moondrop Para.

Clarity is middle-of-the-road for planars in the sub-$300 category. It does outperform typical dynamic headphones in this range, such as the HD6XX, but the Moondrop Para clearly betters the FT1 Pro in this aspect. The FT1 Pro isn’t a “detail monster,” so if razor-sharp resolution is your priority, you may want to look elsewhere.

In terms of dynamics, the FT1 Pro shines with its excellent impact and slam, feeling more weighty than the Sundara. However, it falls slightly short in microdynamics. It doesn’t feel as snappy as the Moondrop Para, and percussion instruments can come across as slightly muffled compared to the Sundara.

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Value and competition:

Priced at US$ 199, the FT1 Pro marks a strong entry into today’s market. However, while the FT1 Pro is solid, its value proposition is probably not as groundbreaking as the FT1, which stands out with its closed-back advantages and wood aesthetics. The FT1 Pro is simply a more conventional open-back planar design.

As such, the FT1 Pro faces stiffer competition in its price range, with options like the Hifiman Sundara and Moondrop Para offering similar ‘planar tech’. Also, the Hifiman Edition XS is now discounted to around $250, making it another compelling contender. Although, some of these models are known for QC issues, so if the FT1 Pro proves to be more reliable, it could gain an edge.

That said, the FT1 Pro excels in one key area: natural timbre. It may well be the most natural-sounding planar in the mid-fi range. Even some higher-end models lack the smoothness and fullness the FT1 Pro delivers. If you’re looking for an HD650-like presentation with excellent timbral accuracy, the FT1 Pro is an excellent choice with the added benefits of planar tech and subbass extension.

That’s all for now. If you have any questions or comments, drop them below, and I’ll get back to you when I can.

Pros: Well-balanced tuning; smooth and easy to listen to; decent technical performance; generous accessory bundle.

Cons: A more expansive soundstage would be preferable; not very incisive or snappy.

Value Grade:

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Notes on Ear pads

Those familiar with my reviews know I have an extensive collection of ear pads. I’ve tested several aftermarket options, as Fiio doesn’t currently sell the stock pads publicly so finding replacements can be tricky. Luckily, despite the stock pads and chassis being oval-shaped, generic round pads with a 100–105mm diameter fit just fine.

One thing to note: the stock pads on the FT1 and FT1 Pro are actually different. The FT1 Pro’s pads have perforations on the inner wall, while the FT1’s do not. The measured FRs reflect these differences. If you prefer a more HD650-like experience with a forward midrange, swapping to the FT1 pads achieves this quite well.

For those interested in seeing the frequency response, I have uploaded them to squiglink.

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Notes on EQ

The FT1 Pro requires little EQ, as it is already very well-tuned. That said, there is one caveat to consider when EQing this headphone. The FT1 Pro’s excursion limits might be slightly lower than those of higher-end planars like the Audeze LCD-X/LCD-5 or the HIFIMAN HE6se V2, which can handle extreme SPLs of 110–115dB without issue. This particular pair of FT1 Pro begins to clip around 98–100dB in the bass. While this should be more than sufficient for most listeners, serious bass heads pushing extreme levels may find the headroom slightly lacking. Whether this is a general design limitation, specific to my unit, or due to QC variations, I can’t say for certain at this stage without access to multiple units.

EDIT 05/02/25: More users have reported bass clipping and distortion issues at high SPLs on their units. If you tend to listen at louder volumes or boost the bass with EQ, you may want to reconsider whether this is a risk you’re willing to take.

My personal EQ setting for this headphone:

Preamp: -2.5 dB
Filter 1: ON PK Fc 25 Hz Gain 2.5 dB Q 1.000
Filter 2: ON PK Fc 400 Hz Gain -0.5 dB Q 0.500
Filter 3: ON PK Fc 1650 Hz Gain 2.0 dB Q 2.100
Filter 4: ON PK Fc 5500 Hz Gain -1.5 dB Q 2.500

If your goal is to EQ the response to match the Harman Target, consider the AutoEQ function provided by Squiglink as a convenient starting point. I personally recommend customising the filters to better suit your own hearing, especially in the treble. While the AutoEQ provides a useful baseline, individual adjustments can opften significantly improve your listening experience.

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MEASUREMENTS

Frequency Response Average (unsmoothed):

The response is obtained by an average of 5-6 positional variations. The FR shown on the graph is unsmoothed.
Note: my unit seems to have some minor QC issues. There’s a resonance in the right channel around 3.8kHz that’s absent in the left. This does not come across as noticeable imbalance during regular listening, though.

Positional Variation:

This graph illustrates how headphone placement on the head affects perceived tonal balance. The FRs shown on the graph are unsmoothed.

Leakage Tolerance:

This graph demonstrates how leakages to the front volume can result in FR change with thin arm glasses (purple) and thick arm glasses (red). The FR shown on the graph is 1/12 octave smoothed.

Impulse Response:

The impulse response measures the initial response, overshoot, and decay that a transducer produces upon a signal.

Channel Matching:

Channel matching graphs do not relate to the perceived sound profile. A specialised configuration is used in this test to capture differences between channels, mitigating interference from positioning on the rig and the asymmetry in the GRAS pinnae design, a legacy of KEMAR. The left (blue) and right (red) channels are measured using a flat plate coupler with an IEC60318-4 ear simulator.

Total Harmonic Distortion & Group Delay:

Supplied per request. For Group Delay charts, peaks/dips around 9kHz and up should be ignored as they are generally caused by the pinna, not the headphone. Note that the IR function setting for the Group Delay charts have been modified and should not be compared to previous versions. These measurements are conducted in quiet, normal room conditions (as opposed to an anechoic chamber), meaning there may be some influence from ambient room and external noise. These results should be considered a preliminary assessment of performance, primarily for identifying major issues, and do not reflect the best-case performance scenario.

Electric Phase & Impedance:

The above graph shows the measured impedance (green) and electric phase (grey).

END OF THE ARTICLE

Disclaimer: This review is not sponsored or endorsed by any business or related entity. The headphones reviewed are my own unless stated otherwise. Any links or recommendations included are purely informational and do not involve any financial affiliation or endorsement on my part.

EDIT 02/12/24: updated to a full review

EDIT 03/01/25: there seem to be reports of these to have broken/dettached headband hinges upon arrival, so potential buyers be mindful as this can happen to your unit. If you want to buy a pair my advice would be to buy locally or through retailers with good return/customer service. This issue has been fixed by Fiio.

EDIT 05/02/25: More users have reported bass clipping and distortion issues at high SPLs on their units. If you tend to listen at louder volumes or boost the bass with EQ, you may want to reconsider whether this is a risk you’re willing to take.