Gary Liu, together with his colleague Rocky from the tech world, founded Sineaptic. With a wealth of experience in the internet and gaming industries, and inspired by a love for digital hardware and audio, they created a piece of digital equipment with excellent sound quality, designed for the everyday person and not just audiophiles. This product is the SE-1 wireless Bluetooth headphone.
The name Sineaptic is a fusion of “Sine” as in sine wave, and “Haptic” referring to the physical connection with a piece of equipment. Together they sound like “Synaptic” which refers to the connection between neurons in the brain, which also alludes to the Bluetooth connectivity.
The Packaging
The SE-1 comes in a very large cube shaped box. Images of the product and specifications are printed on the sides. Within, the earphones are stored in a hard zipped case suspended on four elastic strings. This “AirGuard” design protects the delicate ribbon drivers from damage during transit. Inside the case you will find:
● Sineaptic SE-1 Headphones
● USB-C to USB-C charging cable
● 3.5mm to 3 5mm audio cable
● Soft carry bag
● Quick Start guide
● Instruction Manual
The supplied audio cable is 3 metres long, which is ideal for domestic use but a little cumbersome for when on the move. Perhaps a second shorter cable could be provided for this purpose. The USB-C charging cable would have been more convenient if it had a USB-A termination on one end as most wall chargers and power banks have a USB-A port.
Build and Design
The SE-1 is quite a large headphone. The earpieces measure 4 inches by 2.5 inches and are made from a solid grey plastic material. The SE-1 is an open backed design and the rear of the earpiece is decorated with a series of concentric circles and eight radiating spokes with a shiny oval grey boss in the centre.
The ear pads are made from faux leather with a soft fabric covering and are soft and comfortable. The earpieces weigh around 410 grams but this weight is relieved by the two hinged pads which are fixed below the headband and result in a light and comfortable fit although there is no scope for adjustment. The headband itself has Sineaptic branding just above where it joins the earpieces.
The controls are mounted on the left earpiece. These include the button to activate Bluetooth, two buttons for volume and track control and the USB-C charging socket. There are two small LEDs to indicate Bluetooth operation and charge status. There is no physical on/off switch and when using a wired connection there is no indication of power status.
The SE-1 utilises a full-range dual array ribbon driver which is internally amplified. The ribbon transducer was first produced in 1924 for use in a microphone and was later developed into a high frequency speaker driver by Stanley Kelly in the 1950s. Classic UK hi-fi brands such as Quad and Decca famously employed and developed this technology for use in domestic speakers.
In contrast to conventional dynamic drivers, which use a magnet, voice coil and diaphragm, ribbon drivers utilise a thin folded metal ribbon held in a strong magnetic field. When energised by an electrical signal, the ribbon moves, generating sound. These drivers are very sensitive and, like electrostatic headphones, need amplification to function.
Bluetooth is version 5.3 and the supported codecs are AAC and SBC. A playtime of up to 13 hours on one 3 hour charge is specified and the quoted frequency response is 15Hz to 20KHz.
I did have some issues with Bluetooth connection. The SE-1 would not connect with my Sony NWZ-A15 or an Xduoo X20 DAP. I managed a playtime of 10 hours via Bluetooth which was at a high volume level. I also found that the Bluetooth activation switch could not be switched off, the only way to deactivate Bluetooth was to insert a 3.5mm cable into the wired input.
Sound Impressions
Tonality
The SE-1 was tested primarily with a Hidizs AP80 Pro X DAP. A Ruark digital radio and Samsung smartphone were also used. A “burn in” period of 100 hours was performed during which I was able to verify the play time.
The SE-1 sounded different from any transducer I have heard before. There was an ethereal open quality to the reproduction which combined delicacy of tone and a notable sense of space. Detail retrieval and soundstage were top class and the unforced nature of the delivery drew me into the music. I did not hear the typical mid bass colouration of dynamic drivers or the metallic sheen sometimes displayed by balanced armatures.
The SE-1’s delivery was relaxing and atmospheric and frequently recalled the experience of listening to music in the open air. The sound profile was essentially neutral with a slight emphasis in the upper frequencies.
In general, I found there to be a reduced volume level both via the wired input and Bluetooth and it was necessary to use a near maximum setting on my source devices. I added a Fiio A5 amplifier to provide more power but this led to some distortion at higher volume on more dynamic material, but this effect was restricted to the bass region. In less energetic recordings, this did not occur.
Bass
The SE-1 displayed a nicely tuned bass with good definition and detail although I did find a sense of authority wanting. This tended to diminish the impact in large scale classical works and the reproduction of recorded ambience suffered due to a slight lack of extension. These issues were most likely due to the restricted power and volume avaiable. Sub bass was present but at a lower level whereas the mid bass possessed a neutral and accurate timbre.
Jennifer Galatis’s score to the film “Io” contains some powerful and deep sub bass. “Interstellar Journey” presents the main theme in a dynamic style right from the beginning, with powerful sub bass accents underpinning the smooth string synth patches. Set against a soaring melody line, the SE-1 reproduced the bass elements in a balanced manner but the somewhat lightweight presentation did reduce the drama of the piece.
Holst’s “Uranus” from “The Planets” is a dramatic representation of the enigmatic world dubbed “The Magician”. After an introduction characterised by snarling brass chords, a sprightly rhythm enters with prominent percussion, including a orchestral bass drum.
In the wonderful 1974 version by the London Symphony Orchestra under Andre Previn’s baton, there is an urgent sense of forward motion and the SE-1 captured this very well with excellent pace and timing. The bass drum’s natural timbre and decay were realistically portrayed with only a little more weight required to provide the necessary drama, whilst the rich breathy sound of the tuba displayed an incisive edge and a full-bodied tonality. The powerful organ glissando in the climax lost just a little of its impact with the lower octaves suffering some roll-off.
Midrange
Open, detailed and with excellent separation, the SE-1’s midrange was natural, expressive and articulate. Diction in vocals was particularly clear and the timbre of instruments was authentic. The tonality was just on the bright side of neutral with an attractive sparkly quality.
“Bring Him Home” by The Piano Guys, is a beautiful piece for cello and piano. The SE-1, with its natural and airy presentation, was the ideal device to listen to this piece with its natural timbre and detailed quality bringing out the emotion and perfectly executed phrasing of the performance.
The ambience of the recording venue, the playing of the musicians and the blending of the two instruments were all brought to life in an expressive way, producing a most rewarding experience. This was ideal material for the SE-1.
Prelude’s version of Neil Young’s “After the Goldrush” is an a capella piece from 1974. Multi-tracked vocals provide a support for Irene Hume’s soulful lead and the SE-1, with its excellent separation, really made the most of the track with the solo voice nicely projected above the accompaniment and the backing vocals perfectly balanced.
There was an excellent representation of the studio reverb which added a palpable sense of space. The diction here was especially clear with lip and breath sounds clearly delineated, producing a real sense of “being there”.
Treble
The SE-1’s treble was something special. There was a delicacy and natural airy quality which must be imputed to the use of the ribbon drivers. This was unlike the sound produced by dynamic or balanced armature units. There was good extension, copious detail and fine resolution.
“Brothers in Arms” by Dire Straits is perhaps their finest album. “Why Worry” features Mark Knopfler’s distinctive vocals supported by a collection of guitars. The SE-1 managed to reproduce these clearly with a lightness and delicacy allowing the sounds of the different instruments to be nicely differentiated and easily discernible behind the lead vocal. Clarity was the keyword here with Mark Knopfler’s sometimes subdued diction as well defined as I have heard.
Andreas Vollenweider is the master of the electric harp. His New Age recordings with their complex arrangements and a touch of World Music are always entertaining and full of interest. “The Glass Hall” from his album “White Winds” is a good example.
The track begins with wordless female vocals accompanied by intricate tinkling percussive sounds evoking crystals. These were reproduced wonderfully by the SE-1. A lively rhythm enters and Vollenweider’s harp makes its appearance. The transient attack on the strings of the harp were crisply rendered with a refreshing immediacy, propelling the music forwards with verve and injecting life into the performance.
Soundstage and Imaging
With its open, extended and detailed profile, the SE-1 displayed an expansive stage with accurate imaging. Separation and layering were well above average with movement very well reproduced. The representation of depth was also very good, helping to accurately display the relative positions of performers in orchestras.
Rachmaninov’s Symphonic Dance No.1 performed by the Minnesota Orchestra under Eiji Oue came to life impressively with the players spread across the stage in a most convincing way. The wonderful 88KHz edition by Reference Recordings was full of energy with an authentic portrayal of a symphony orchestra in full flight.
The extended melody in the central section was beautifully realised with the solo saxophone perfectly presented above the lush string accompaniment. A little more weight in the lower octaves would have been perfect and would have improved the effect of the hall ambience.
The lighter ensemble used in baroque music was more to the SE-1’s taste. Bach’s Brandenburg Concerto No.5, with the Saar Chamber Orchestra conducted by Karl Ristenpart was beautifully realised. The SE-1 with its excellent high frequency ability brought out the detail in the harpsichord continuo in the amazing 1960 recording. The lead violin and woodwind parts were projected clearly and effectively, confirming what an extraordinary performance this is.
Comparisons
Edifier WH950NB ($199)
The Edifier is a closed-back design with Bluetooth and wired capability and has a 50mm dynamic driver with a titanium diaphragm. The Bluetooth Version is 5.3 with LDAC and SBC codecs. It is well made and comfortable with some adjustment available on the earpieces.
The WH950NB has a well-balanced tonality suiting a wide range of genres. The timbre is impressive at both ends of the spectrum with solid, punchy bass and sparkling, airy treble. There is a gentle recession in the midrange and a smooth, relaxed presentation. Detail is well rendered and soundstage wide and spacious.
Via Bluetooth there is an increase in bass depth and a general attractive softness encouraging extended listening. It does not compete with the SE-1 in the midrange and treble but the bass power and increased volume capability are very much in its favour. The operation is also preferable with the power on/off and status LED working in a more intuitive way.
KEF M400 ($249)
The M400 is a wired headphone employing a 40mm dynamic driver. The earpieces and headband are metal and it is an on-ear closed back design. Fed by the Hidizs AP80 Pro X, there was plenty of volume on tap. The profile was somewhat V-shaped, resembling the Harman curve, and was gentle and relaxing in nature.
The treble displayed a little roll-off and the midrange was a little recessed although the timbre was natural. Compared to the SE-1 there was a lack of attack and incisiveness with the Sineaptic having a more extended treble and more open midrange. The KEF was preferable in the bass with more impact and authority and the scale of classical pieces was much larger but there was some colouration in the mid bass region which the SE-1 did not display.
Conclusion
Sineaptic must be applauded for bringing to market a new and untried technology which shows great promise. Creating the world’s first wireless headphone with a ribbon driver is an achievement.
Indeed, in terms of the midrange and treble, soundstage and timbre, it can be considered a success. If the volume level could be improved and the headroom of the internal amplifier could be enhanced, the bass performance would also be at the same level as the rest of the frequency range and we would have a giant killer in our hands.
The Bluetooth functionality could be improved and perhaps a high resolution codec could be included. I did also have connection issues with some devices failing to connect. Many other wireless headphones have an accompanying app so this could be included in future editions.
I understand that development is still ongoing and many of the above issues will be addressed. I look forward to seeing the next iteration of this innovative product.
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