Beyerdynamics Xelento Remote Generation 2
Introduction
Coming off the heels of their excellent first TWS effort the Free Byrd, along with a stellar reputation from the first-generation models, the Xelento Remote G2 and Xelento Wireless G2 are here. Senior Headphone Editor W. Jennings has glowing recommendations of the marque’s headphones for their superb detailed sound, along with the studio models, which are highly sought in the sound industry as well. Widely acclaimed for a crisp, clear top end, many of their top headphones mimic this signature for the consumer. The two models will be Beyerdynamics last new models for the year, and from the look are gems in the making.
Beyerdynamic has a long history of making headphones. Since the DT48 (Dynamic Telephone) was launched in 1937, Beyer has been at the forefront of innovative headphones, and the DT label still stands with many of their studio models representing history, heritage and quality sound offerings. It is no coincidence then that the DT 900 Pro X makes our list as one of the best models for studio work. The Xelento first generations were quite good from the reviews and based upon history alone, have a tough act to follow, but just might be worthy of inclusion in Beyer’s long vaunted history.
Specs:
TECHNICAL SPECIFICATIONS
Transducers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-way, dynamic (Beyerdynamic TESLA.11)
Acoustic design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Closed
Frequency range . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 – 50,000 Hz
Sound coupling to the ear . . . . . . . . . . . . . . . . . . . . . . . . . . . In-ear
Ambient noise attenuation . . . . . . . . . . . . . . . . . 22 dBA at 1 kHz
Nominal impedance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Ω
Nominal sound pressure level . . . . . . . . . . . . . . . 114 dB at 1 mW
Nominal power handling capacity . . . . . . . . . . . . . . . . 200 mW
Max. sound pressure level . . . . . . . . . . . . . . . . . . . . . . . 134 dB SPL
T.H.D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . < 0.02% at 1 kHz
Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MMCX (female)
Protection class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IPX4
Weight (without cable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 g
Hi-Res Audio certified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Yes
Connecting cable, jack balanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .None
Connection (player) . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.4 mm jack, 5-pole (Pentaconn)
Connecting cable, jack unbalanced
Cable length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1.30 m
Conductor material . . . . . . . . . . . . . . . . . Copper, silver-plated
Connection (earphone) . . . . . . . . . . . . . . . . . . . . . .MMCX (male)
Remote control . . . . . . 3-button, universal* with microphone
Microphone type . . . . . . . MEMS analogue, omnidirectional
Connection (player) . . . . . . . . . . . . . . . . . . . . . mini jack (3.5 mm), 4-pole (CTIA pinouts)
Hard case
Dimensions W x H x D . . . . . . . . . . . . . . . . . . . . . . 70 x 134 x 24 mm
Unboxing:
Marketed as audible jewelry, the Xelento models are made right at the company headquarters in Heilbronn. Hand made in part, as well as hand finished, the Xelento sports Beyers latest Tesla driver, the Tesla.11; an 11.2 mm dynamic driver certified for Hi-Res Audio. High efficiency is achieved by a powerful neodymium ring magnet and the Tesla technology, making for a very fast responding driver. Limits of many dynamic drivers are the speed at which they can respond to sound inputs, limiting overall dynamism. The use of the ring magnet, and Tesla technology overcome this, but without making the character dry or analytical.
Coming in a rather unique package, with two diagonal opening flaps, the Xelento “jewelry” is presented front and center. Underneath you will find a glossy information sheet, with a larger than life image of the Xelento. Below that is the long front opening case, tips and the two cables, both in 1.3m length. One pentaconn 4.4bal cable is included along with a single-ended 3.5mm cable plus a microphone for use on the go. As a move towards additional strength, the connection is MMCX, which can also be used to accommodate Beyer’s Bluetooth module, making the Xelento Remote G2 a veritable option for use with your Smartphone. With CODEC’s of Qualcomm® aptX™ HD, Qualcomm®aptX™ Adaptive and LHDC as well as the integrated digital and analogue converter with amplifier from the AKM specialist ensure that wireless sound enjoyment is possible on all devices. This does of course put it into the price point of the higher model BT TWS models (or above them in price) but may just outperform those due to the wired technology as a first option. The module is a $299 option or one can get the Xelento Wireless G2 with it included for $1199, as opposed to the $999 here.
There is no getting around that the earbuds are small. Ornamentally small. A pear-shaped teardrop has a shiny metal faceplate laden with the “Y” on both in gold of the 24k variety. Yes, the logo is in solid gold inlay. The shiny surface then adds a bit of look to it, much like a mirror might make a room look bigger. Also, in real gold is the “Xelento” on both buds, along with a vent hole under said logo. The inside carries a black “L” or “R” for each bud along with “beyerdynamic,” also in black on the left and “made in Germany” on the right along with the unit’s serial number. The oblong nozzle also carries a black lip, with a screen attached. There is no denying the small size of the bud, but I did find the nozzle shape a bit odd. Comply T500 foam tips (s, m, l) are included along with seven, yes SEVEN sizes of oblong silicon tips (xs, s, m, l, xl, xxl, 3xl).
Some reviewers have complained about the small size of the Xelento G2, but I find it fits well, and is nearly flush when inserted; even with Comply’s attached. The cable does not come with any ear guides, making it a struggle to keep in place when using the cable as an over-ear on the front. There is a cable cinch, above the Y-splitter, so one could easily use the cable much like musicians do, routing it around back. For the audiophile though, this really isn’t an option, and ear guides would be appreciated. I was able to get the cables to stay in place, even with reading glasses on, but it took a concerted effort in doing. No microphonics were heard while using the silver-plated cable.
Presentation and build-wise, the Xelento Remote G2 is so far worthy of the price.
Sound
Coming off a custom IEM in the Campfire Audio Supermoon, with a higher price I found the fit of the Xelento G2 to be quite good, even with the large Comply tips. This afforded an excellent seal, and my incessant pecking of the MBP keyboard could not be heard at all. It might be that Beyerdynamic is onto something here.
Queueing Taylor Swift’s “Question…?” from her excellent Midnights album, the first impression was of typical dynamic driver deep reaching bass. But with the size, excellent rumble was had as well. The acoustic chamber design definitely plays a part here, but this has more of a rumble than many of late. That bass is controlled as well, with excellent decay (the magnet helps), allowing the bass to set the tone without encumbering the rest of the signature. A little bleed into the mids acted as a red-carpet treatment more than a hinderance to me, which leads to an uncharacteristic Beyerdynamic sound signature of which I will discuss below.
Swift’s vocals as a result came across as sublime, and dead center, with excellent definition to note and air between each note. That Tesla technology is playing a big part in the signature here, allowing a larger than life sound, but under excellent control. Support instruments here played their part, with easily defined location across the mids, and without stepping on each other’s toes. Often with dynamic drivers, the vocals are moved forward to accommodate the lack of energy, which can come about in a single driver. Not so here, and this adds to that uncharacterized sound listed below, almost mimicking a dual driver technology.
Voluminous comes to mind when describing the soundstage. But with excellent weight to the notes so that space is filled with high quality sound as opposed to a large expanse of vacant space as often occurs with large soundstages that do not meet the IEM’s sound signature. Monty Alexander’s “Spunky” defines that space with percussion clearly to the left, while the piano occupies center stage. The upright bass holds the right, and you can clearly define the placement on stage in the recording; which is by design to give that expansiveness of which I speak. The expansive stage is further defined on “La Vida Es Un Carnaval” by Celia Cruz. A large horn section gives the song a big noted sound, and her piercing vocals fill in the space nicely. The solid bass adds to the notes, and the excellent percussion instruments extend the high end along with the trumpet high notes. But not too much like some IEM’s I have heard of late.
That treble note is often used to help define Beyerdynamic’s sound characteristics as excellent for studio monitors and here the Xelento Remote G2 does not go quite as high but has excellent weight in the trumpet’s notes mentioned. Sometimes when the upper notes are rounded, they tend to have less sparkle. Not here as the reach provides excellent expansion but without becoming grating or too piercing. Compared to the Supermoon, there is better definition, and a more realistic treatment of the upper notes. But the Supermoon does extend a bit further, which helps give it an expansive sound as well. Both are excellent but front slightly different directions.
I mentioned earlier about an “uncharacteristic” sound coming out from the Xelento G2. Beyer’s headphones and studio headphones have a typical sound to me, which promotes excellent quality of notes all around, but especially in the upper end. With excellent definition and detail, they make for fabulous monitoring or even reference quality headphones. This really isn’t my flavor, and I subsequently sold a model I owned to Will, who took them without hesitation. But the Xelento Remote G2 are different. There is a smoothness to the signature, which pervades my senses across the sound spectrum using the 4.4 balanced cable (both, actually). This is not the “typical” Beyerdynamic sound to me, but I very much appreciate it. There is richness in the details presented no matter what I listened to, and that signature carried over into a warmer richness, which is my preferred signature. Even that bass carrying into the lower mids does not hinder the quality, offering up a platform for a smooth transfer into the mids and subsequent vocals; no matter the source. If this was by design (I never heard the G1 models), I very much approve.
That richness in character is still presented as a highly detailed sound, with excellent clarity of the notes. You can hear Taylor Swift take her breath’s ever so softly, and with a warmth you might not find on a more “clinically-driven” sound. That breath may come across as a bit harsh as opposed to sublime and sensuous. For giggles, I switched to the excellent DDHiFi BC130B 4.4 balanced cable in copper. Slightly better detail came about, and with an even richer tone. The Xelento Remote was showing that it could play well across many platforms. As easy as the Xelento is to drive, the DDHiFi cable made it easier yet. I had to turn the volume down on the Astell & Kern ACRO CA1000 by about 7-8 numbers on the volume scale for the same “perceived” sound level.
Switching to the microphone 3.5 single ended cable did not diminish the overall listening pleasure of the Xelento G2, either. Controls were easy, and when paired with a Smartphone (iPhone dongle for me), the call quality of the microphone made for a quite acceptable option. A lack of microphonics certainly helped as well.
Conclusion
Coming into this, we had high praise for the Free Byrd TWS from Beyer. As a first attempt at TWS technology in a higher priced bracket it is an excellent model, especially coming in at a lower price than some of its competitors. The Xelento Remote and Xelento Wireless may have had a part in that, with their excellent sound, build and technology. But the Xelento models stood on their own before the Free Byrd and based upon the Xelento Remote G2 can certainly do so with this iteration. We found it to be one of the best sounding models at this price, which is chock full of excellent sounding IEM’s.
From the warmth pervading, but without lacking in quality details, the Xelento G2 comes across as a smooth operator, with soundstage that should make others envious. But that expansive soundstage does not come at the detriment of the rest in the signature. Good rumble down low carries you into smooth mids, with real character, ending with enough sparkle to satiate my upper end tolerances. The overall sound signature of the Xelento Remote G2 is one that can definitely hold its own within this price, and on its own merits, making this one of the best to come across our desks in a good while.
