Hifiman Edition XV review: not quite the XS successor, but in a good way?

Intro:

Hifiman has been known for a characteristic tuning that can be divisive at times. Treble‑sensitive listeners often find some of the brand’s planar headphones a bit bright. This has been especially true for parts of the “Stealth” model era, where certain models carried extra upper‑treble energy.

When the Edition XS launched in 2021, I was excited by the value it offered, and it went on to become one of the brand’s most talked-about models. Now we have the new Edition XV, officially positioned as its successor. It features an updated headband with improved ergonomics and a sleeker aesthetic. Hifiman also claims the diaphragm is “60% thinner” than that of the XS and that the magnets have been revised to use “rare-earth-free materials”.

But does the Edition XV really follow the XS in sound? Let’s dive in.

For those who want to jump right into detailed measurements, check out the final section of this article.

Disclaimer: This unit was purchased for testing and review purposes.

Specs & Comfort

Price: $399 USD / $749 AUD
Driver size: 130*95 mm (frame); 80*50 mm (effective)
Driver type: Planar Magnetic
Sensitivity: 92 dB/mW @1kHz
Impedance: 13 Ω at 1kHz
Connector: dual 3.5 mm TRS
Weight: 453 grams (excl. cable)
Clamping force: medium
Comfort: 6.5/10 (slightly weighty; tiny bit clampy)

As shown in the last photo, the new headband now has cup swivel. The range is somewhat limited though (around 10 to 15 degrees) but it still improves fit and comfort compared to previous designs.

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Measurement & Sound

For more comparisons, visit my squiglink database.

Tonal balance:

Overall, the Edition XV sounds smooth, liquid, and full-bodied — probably not what I would call the typical Hifiman sound signature. My first impression was simply that, wow, this is unusually smooth, almost reminiscent of a Meze planar or even a Sennheiser, particularly in the treble balance.

Bass
The Edition XV’s bass is flat and linear in the planar tradition, but slightly elevated as a whole. It leans toward the thick, meaty side rather than the leaner, tighter character found in many other Hifiman models. In that way, it reminds me somewhat of Audeze’s approach, though not quite as dense or tactile.

Compared to models like the Ananda Stealth or Arya Organic, which exemplify tight, punchy bass, the XV takes a different path. The bass has a slightly looser, more relaxed quality, though it still reaches effortlessly down to 20 Hz. In terms of quantity, it delivers a satisfying, robust foundation that supports the rest of the spectrum. Fundamentals feel rich and full-bodied, giving music extra note weight without sounding bloated.


Midrange
The mids on the Edition XV are smooth yet remaining articulate. Looking at the relationship between midrange fundamentals and harmonics, the XV reverses the style found in many earlier Hifiman planars. Here, the midrange fundamentals are slightly elevated while harmonics are gently toned down — both shifts are modest (around 1.5-2 dB), but together they create a noticeably fuller, more polished presentation compared to its predecessor, the Edition XS.

As a result, vocals and instruments carry more body and warmth. Listeners who found older Hifiman tunings too “analytical” may find this easier on the ear. That said, the classic “Hifiman dip” in the 1-2 kHz region is still present, which pushes vocals and some midrange instruments a bit further back in the mix. A milder dip could bring more liveliness and presence, but even so, the XV still handles vocal-centric genres like country and pop with ease and enjoyment.


Treble
The Edition XV continues the smooth, almost lush tuning into the treble. Gone is the spicy, sometimes edgy treble of earlier models like the Edition XS or Arya Organic. Instead, the XV delivers a top end that almost reminds me of the Sennheiser HD6X0 series, with its very linear, refined rise and a gentle, natural roll-off beyond about 5 kHz.

This is immediately visible in measurements, but also clear in listening. Cymbals sound clean and well-shaped without splashing into excessive brightness. There’s no hint of harsh vocal sibilance, and upper treble energy is carefully controlled — more in line with something like the FiiO FT1 Pro than traditional Hifiman planars. As a result, the XV trades some of the brand’s trademark air and brilliance for a softer, more forgiving presentation.

While this tuning broadens its appeal to listeners who prefer an easygoing treble, it may leave some long-time Hifiman fans wanting more treble detail and sparkle. This is a classic example of the trade-off between tonal balance and perceived technical performance — in many cases, what listeners interpret as “resolution” is the product of targeted treble energy rather than a true increase in driver capability.

As a whole, this is why I find it odd that Hifiman markets the XV as a successor to the Edition XS — the two follow very different tuning directions. In fact, the XV is much closer in character to the Edition X V2, a headphone often remembered as the smooth, mellow outlier of the egg-shaped family and one that developed a loyal following for exactly that reason. Interestingly, my measurement align closely with Hangout Audio’s measurements of the Edition X V2 (both on the GRAS 43AG platform, coupler differences aside). So in many ways, the XV feels less like an XS sequel and more like a modern update of that Edition X V2 sound.

Other qualities:

• Soundstage
  The Edition XV’s soundstage is competent but not especially expansive. It doesn’t have quite the same sense of width or openness that some of the egg-shaped Hifiman models are known for. That said, it avoids sounding closed-in or claustrophobic, maintaining a generally natural spatial impression when the music calls for it.
  
  Imaging is a touch softer and more diffuse than I’ve heard from other models in this family as well. Instead of sharply etched positional cues, the XV leans toward a more blended, though cohesive presentation. This works well for relaxed listening but sacrifices a bit of the pinpoint accuracy that some listeners seek for gaming or complex orchestral work.
  
  Where the XV works well is in depth projection. Layering between front-to-back elements is handled naturally, with a convincing sense of distance and separation between instruments. While not a stage-width champion, it offers a comfortable and immersive space that works well across most genres.

• Clarity
  Clarity on the Edition XV is good for its price bracket, though it doesn’t quite push into the higher tiers among planars. Its tonal balance is generally linear across the spectrum, so you don’t feel like any frequency range is missing.
  
  That said, in this case the upper-midrange dip has a noticeable impact on perceived resolution. Because that 1-2 kHz region is slightly recessed and the midrange fundamentals are fuller, the presentation is smoother but also less revealing. Micro-details in vocals or the fine texture of strings don’t stand out quite as much as they do on a more forward-tuned headphones. It’s often a trade-off between tonal balance and what’s perceived as technical performance — much of which is shaped by frequency-response quirks and, to a lesser extent, measurable factors like THD and driver matching.
  
  In practice, I would rank the XV’s clarity significantly higher than the Sennheiser HD6XX, slightly above the FiiO FT1 Pro, but behind the Ananda Stealth. It strikes a nice balance between detail and fatigue-free listening, but it’s not chasing pure analytical performance.
  

• Dynamics
  Dynamics on the Edition XV are decent, but not class-leading. In terms of microdynamics — small-scale shifts and nuances in quieter passages — it outperforms most dynamic-driver headphones in its price range. Subtle changes in vocal expression, the decay of piano notes, or the gentle rise of a cymbal swell are rendered with a sense of gradation rather than feeling flat. Compared to other planars, however, it’s not as finely shaded as models like the Moondrop Para 2 or the Ananda Stealth. In very busy passages, the presentation can blur slightly, with finer details losing some definition.
  
  On the other hand, macrodynamics — slam, impact, and large-scale swings — are satisfying. The XV has no signs of compression even when pushed to high levels around 100 dB, which speaks to the driver’s excursion capabilities. When the music calls for big bass drops or dramatic hits, it delivers with authority and weight.

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Conclusion and value:

At $399 USD/ $749 AUD, the Hifiman Edition XV offers a sound that is both easy to enjoy and largely balanced straight out of the box. Its tonal profile stands apart from much of Hifiman’s recent lineup, harking back to the smoother, fuller presentation of the Edition X V2 rather than following the brighter, more analytical path of the Edition XS. For listners who have found past Hifiman models a bit too sharp in the treble or lean in the mids, the XV will likely be a welcome change.

Does the new XV edge out the XS? Not necessarily. The Edition XS remains relevant, and even highly competitive, thanks to its different tuning and its current aggressive price of around $239 USD.

I’m glad to see Hifiman broadening its tuning range. The XV’s sound profile could appeal to a wider audience, especially those coming from dynamic headphones who want to explore planars without the fatigue that sometimes comes with extra treble energy. The updated headband, with its added cup swivel, improves comfort and fit, and the new silver finish gives it a modern, more premium look compared to the XS.

In short, the Edition XV is not a direct sonic successor to the Edition XS, but a different flavour within the egg-shaped family — one that blends smoothness, warmth, and enough technical ability to stay competitive in its class. It’s a reminder that technical performance isn’t always about chasing every last detail — sometimes the right tonal balance delivers a more enjoyable listening experience.

If there are specific comparisons with other headphones you would like to see, let me know in the comments.

PROS:
+ Smooth, fatigue-free tuning across the spectrum
+ Full-bodied bass with linear extension
+ Decent depth and layering
+ Comfortable updated headband with swivel cups

CONS:
– Less sparkle than typical Hifiman tuning
– Soundstage width only average
– Slightly recessed upper mids affect clarity
– Imaging less precise than some competitors

Value Grade:

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Earpads and EQ

A quick heads-up on the earpads: the Edition XV, like other recent egg-shaped models since the Unveiled series, uses redesigned plastic mounting clips on the back. This means pads from older Hifiman models won’t fit. At the time of writing, there are no aftermarket options available, though hopefully that will change soon.

In terms of EQ, this headphone requires little adjustments to sound well-balanced. That said, there’s still room for fine-tuning.

The main direction here would be to give the treble a slight lift for clarity, while tightening the bass response and adding a bit more punch.

My EQ setting for this headphone (adjust first and last filters to taste):

Preamp: -4.0 dB
Filter 1: ON PK Fc 30 Hz Gain 4.0 dB Q 0.500
Filter 2: ON PK Fc 170 Hz Gain -2.5 dB Q 2.000
Filter 3: ON PK Fc 400 Hz Gain -1.0 dB Q 2.500
Filter 4: ON PK Fc 700 Hz Gain -1.5 dB Q 1.500
Filter 5: ON PK Fc 1700 Hz Gain 3.0 dB Q 1.600
Filter 6: ON PK Fc 16500 Hz Gain 3.0 dB Q 1.000

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 often significantly improve your listening experience.

If you’re new to EQ, I’d recommend checking out this video by Resolve from The Headphone Show — it’s a really solid intro and walks through the basics in a clear, no-nonsense way. Great place to start!

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MEASUREMENTS

Frequency Response:

The response is obtained by an average of 5-6 positional variations. The FR shown on the graph is unsmoothed.

Positional Variation:

This graph illustrates how headphone placement on the head affects perceived tonal balance: with the ear positioned at the front (blue), centre (purple), and back (red) of the headphone. The FRs shown on the graph are 1/48 octave smoothed.

Leakage Tolerance:

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

Comment: Like most open-back planars, this headphone can show a slight bass boost when the seal is compromised. This is partly due to its large driver size and relatively low diaphragm tension.

Linearity and Dynamic Compression:

Linearity and dynamic compression testing plots the headphone’s frequency response at two input levels to show how it reproduces signals as loudness changes. Any divergence between the high-level and low-level curves points to where the transducer’s dynamic range begins to compress or distort. Here, the measurements are superimposed to allow direct comparison.

Comment: This is excellent result. There’re no signs of compression at high SPLs.

Impulse Response:

The impulse response test measures the initial response, overshoot, and decay of a transducer upon receiving a signal. An initial upshoot indicates a normal polarity, vice versa.

HpTF Variations:

Headphone Transfer Function (HpTF) describes how sound is shaped by headphone design and ear anatomy before reaching the eardrum. Different measurement rigs (with varying pinnae designs) introduce unique reponses/resonances and potential deviations from actual human perception. Understanding HpTF helps translate measured data into real-world listening experiences.

Total Harmonic Distortion (THD% 2nd-9th) & Excess Group Delay (94 dB):

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.

Comment: 94dB distortion levels are slightly higher than ideal in 1.5kHz to 6kHz range are slightly higher than ideal. However, they should remain largely inaudible under normal listening conditions.

Channel Matching:

Channel matching graphs are intended for quality control checks and 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.

Comment: Channel matching on this particular unit is good, which may contribute to imaging precision and the clarity of spatial cues. The slight “wobble” in the mids is likely due to modal response of large planar drivers, which can vary between measurements or under different conditions.

Electric Phase & Impedance:

The above graph shows the measured impedance (green) and electric phase (grey), measured under free-air condition (minimal front volume coupling).

Comment: This headphone’s impedance curve is typical of a planar headphone – flat and low.

END OF THE ARTICLE

Disclaimer: This review is independent and was not sponsored or endorsed by any company or affiliated entity. All headphones reviewed are purchased for review unless otherwise stated. Any links or product references are provided for informational purposes only and are not associated with any financial compensation or affiliate arrangement.