Fit and Comfort

Seen above is the Dan Clark Audio NOIRE X placed on a mannequin head to help show how these headphones would look on the human head. Note that the head is slightly under average sized, so account for the discrepancies accordingly. As with all headphones, getting a good fit and seal is crucial, so make sure to properly use the various pivot points, and the height adjustability of the headband and ear cups. This section is mostly a summary of the points expanded upon in more detail on the previous page, but I will point out that the NOIRE X weighs ~385 g, which is actually on the lower side for closed-back planar magnetic headphones. Part of this is due to the use of relatively smaller drives and smaller, single-sided magnets, in addition to the smaller ear cups and pads here compared to DCA's own E3 and STEALTH. The use of lightweight materials in the form of the Nitinol wire headband and the aluminium/glass ear cups also helps. We saw on the previous page how the NOIRE X has been designed with comfort in mind and the end result is a set of headphones that meets these expectations quite well. Note that the clamp force is slightly higher than on the E3 and STEALTH, and the smaller ear cups + pads also makes for a slightly less roomy interior for the ears. However, it's large enough to accommodate even those blessed with larger ears. If anything, I'd say these pads are even better from a seal perspective, with the more controlled ventilation also helping prevent pressure build-up. The suspension band also does the job well in sizing the headband properly for my ears without adding any unwanted upward pressure on them, and it also helps distribute the mass nicely. Isolation was on par with some last-gen ANC headphones in the mids, which says something, and I saw Dan mention he used the NOIRE X on long haul flights before too. Obviously it won't best good ANC headphones in the lower frequencies, yet I do want to emphasize the NOIRE X can be an excellent set to use in a shared work space to help cut down ambient chatter.

Audio Performance

Audio Hardware

I recommend going through this page to better understand the base technologies developed by Dan Clark Audio and how they were implemented in its other planar magnetic headphones. The NOIRE X uses an updated version of the AEON series driver with a 62 x 34 mm diaphragm that the brand says is stiffer and more consistent than before, offering a smoother frequency response and lower distortion. While still using single-sided magnets, this is not the same driver as what we see in the DCA E3, let alone the flagship STEALTH, which gets the latest 5th gen DCA planar magnetic driver that is also larger with a 76 x 51 mm diaphragm. However, different from the AEON series is that the NOIRE X has ditched the tuning and damping filters for the acoustic metamaterials tuning system (AMTS), which is a 3D-printed device that combines waveguides, resonators of multiple design, and diffusion elements. It's customized to the NOIRE X so the AMTS implementation here is different from that in the E3 and STEALTH, for example. The diffusion elements help reduce standing wave formation whereas the resonators act as both precision and broadband filters to smoothen and shape the transducer frequency response from the mids through the highs. The goal here is that AMTS offers finer control over the tuning of the drivers, in turn also making for a far smoother yet airy treble than was possible with the tuning filters before. The NOIRE X is also more sensitive than the E3 and STEALTH, making it more conducive for use with portable sources. Indeed, while DCA doesn't share these specs, the NOIRE X has a flat impedance of 13 Ω across the entire 20 Hz to 20 kHz range, and was measured to have a sensitivity of ~94 dB/mW. You can get away with a decent portable DAC/amp, even the tiny ones that have desktop modes provided they can output a decent Vrms at the lower impedance here, with the likes of the Chord Mojo 2 being a very good pairing on the go. At home, where I did end up using the NOIRE X most, I used the 4.4 mm cable with various sources and found even the likes of the Topping E70/L70 stack to work great. The FiiO K11 R2R worked well too, although I preferred a less warm chain here.

Frequency Response Measurement and Listening

I will mention that I have a general preference for a warm-neutral signature emphasizing a slightly elevated bass and smooth treble range with detailed mids and good tonal separation. I also generally prefer instrumental music over vocals, with favored genres including jazz and classical music.


Our current headphones test setup uses a set of two custom in-ear microphones for the two channels. These microphones closely adhere to the IEC711 class, but have been tweaked to be more reliable in the >10 kHz frequency range, the precise issue with my previous setup, that is otherwise still very good and will continue to be used for IEMs and earphones. Two soft silicone pinnae are installed on the sides, separated by a distance matching my head, and multiple "height" adapters have been 3D-printed for further customization based on fit, head size and shape. Each set of microphones has an XLR output I separately adapted to 3.5 mm. I used a transparent source—the FiiO K9 Pro ESS—for measurements after confirming it was not a bottleneck in any way. This artificial head simulator feeds the microphone lines into a reference USB sound card, which in turn goes to a laptop that has ARTA and REW running. I begin with an impulse measurement to test for signal fidelity, calibrate the sound card and channel output, account for floor noise, and finally test the frequency response of each channel separately. Octave smoothing is at the 1/12th setting, netting a good balance of detail and signal-to-noise ratio. The default tuning was used for testing, and no app or program-based EQ settings were chosen, unless specifically mentioned. Each sample of interest is measured at least thrice with separate mounts to account for any fit issues, and an average is taken of the individual measurements for statistical accuracy.


As before, you can find my headphone frequency response measurements on VSG.squig.link along with all the earphone measurements. Scroll to the bottom and choose different targets there, including two from Harman Kardon, developed after years of R&D. Those who have read my headphone reviews would have noted how I typically go for the "Harman Combined" target based off the Harman 2018 over-ear target but with the lower bass target from the Harman 2013 curve instead. I prefer this for open-back sets which it feels far more natural to me, but I refer to the full over-ear Harman target for closed-back sets owing to that bass shelf energy they tend to have. This target is also all the more relevant here given how Dan Clark Audio sees it as an ideal realization of headphone frequency response, but let's first briefly talk about the channel balance achieved here. I think a single look at the measurements above—taken after 100+ hours of testing—can confirm the excellent driver matching on my set, and this is all the more impressive when you realize this is a randomly chosen retail unit. This should not be surprising to anyone who has seen measurements of Dan Clark Audio headphones though, with even the far more affordable Aeon Closed X getting more attention to channel matching than many flagship headphones do. Indeed, this is the same brand that has gone to the extent of even matching ear pads on the CORINA, so I feel safe in saying you could pick up any random Dan Clark Audio set of headphones and expect to have no perceivable channel imbalance issues. For those wondering about the accuracy of this clone measurement system, I'll also mention that DCA has a far more accurate (and expensive) B&K 5128 on hand which is used as part of its QC/QA processes.

As mentioned before, a closed-back set tuned with the Harman over-ear target in mind can sound like a good set of speakers in a well-treated room. This is easier to say than actually achieve though, and the Dan Clark Audio STEALTH was really the first set of headphones that managed to convince me of this. DCA then continued this with the E3, and now we see the even more affordable NOIRE X aim to do the same. Broadly speaking, all three models are quite close to having a frequency response matching the Harman target, and in this regard DCA has met the expectations set by its own marketing about how the brand does not "de-feature a headphone at lower price points." If you saw all the positive reviews of the STEALTH, and especially the E3, then the NOIRE X is good enough to give you more than just a taste of what those more expensive headphones are capable of. I'd even argue the AMTS technology is the biggest contributor here, allowing for that smoother and more controller tuning too. Dig deeper, and there are some deviations here and there which add some character to the NOIRE X while also making it more fit for some music genres than others. Take the bass, for example, where this model foregoes the dual-mode bass port from the E3. We still get a bump in the sub-bass around 100 Hz which, coupled with the excellent bass extension, makes for a more lively and engaging set that what the price tag and some early DCA STEALTH impressions might suggest. It's not the most dynamic yet in being able to resolve trailing ends of tones fully—heavy synth tracks will show this more than others—yet has plenty of punch to add excitement while still being among the more detailed and clean sounding in the bass.

The smaller ear pads also help maintain this added sense of slam, especially combined with the controlled airflow through the ear pads and the minimal front volume leakage. What helps further is that the bass shelf is not overpowering and is contained well within the bass, with the most energy being in the sub-bass. This keeps the mids remaining accurate and with enough range for vocals and instruments alike. While the measurements may indicate the mids to be slightly recessed, I did not feel as much in the ears. In fact, there's a noticeable bump around 2 kHz that places female vocals prominently in the center and also emphasizes piano keys and acoustic guitars. This alone makes the NOIRE X a nice match for pop and jazz music, with precise imaging and a fairly wide—for closed-back sets—soundstage further helping you feel you are in a music club. The smaller ear pads also now means there is less leeway for you to position the ears with the pads for the AMTS insert to work as well as it can. For context, with the STEALTH and E3, I would have the top rear corner of the pads line up with the top rear of my ears. This means there's less positional variance with the NOIRE X too, allowing for a more uniform user experience, yet the chances of your HRTF not jiving with the AMTS here is also higher. The pronounced upper mids do take the attention away from this variable though, although I did end up finding the lower treble to be slightly less smooth here than on the larger DCA headphones with their own custom AMTS inserts. What also was immediately obvious was the smaller driver here not having as much weight behind the notes, especially for brass instruments. Still, for a set that handles passive isolation as well as it does, you don't lose out on layering and nuances of recordings. The NOIRE X can be an excellent set for gaming and general media consumption too. The mid/high treble is well executed overall, and the added air at ~12 kHz helps add a sense of space rather than be annoying or cause any ringing in the ears with, say, cymbal strikes. I will mention that the mid-treble seemed to get less peaky and bright over time, perhaps some of this is with the memory foam in the pads fitting around my ears better, and perhaps some of this has to do with the driver elements settling down.


The obvious comparison to make here is with the Dan Clark Audio E3. It costs twice as much as the NOIRE X and shares quite a lot in common as we have seen through the course of this review. The NOIRE X has a smaller driver though, and this comes with new ear pads and its own custom AMTS implementation too. There's no bass port on the ear cups either, and tonally there are minor differences here and there too. The E3 has warmer mids to my ears, whereas the NOIRE X has more forward female vocals. The E3 wins on bass impact and dynamics too, whereas the NOIRE X arguably has a less metallic timbre and more relaxed highs overall. There's also the part where the NOIRE X with its smaller cups and pads results in less positional variance with AMTS for your individual HRTF, although the E3 allows for some leeway to position the pads to better suit how the upper mids and treble sound to your ears. I'd say the E3 has the smoother FR while also having a more satisfying bass, yet the NOIRE X looks better, is easier to wear consistently, and doesn't have the cable connectors jutting out of the ear cups. If you can afford either, I'd still say go for the E3 though. But knowing that you can get the NOIRE X and a good source for less than what the E3 costs is certainly a compelling argument in favor of the newer product.

Stepping outside the Dan Clark Audio realm, which is getting harder to do now when it comes to premium closed-back headphones, there's Audeze with the LCD-XC which got a minor update in 2021 with new ear pads and revised drivers. This is also a planar magnetic set, albeit much heavier and bulkier to where there is no way I can recommend people use this on a train or plane, even if it is much easier to drive. I find the NOIRE X to be a lot more comfortable and with more ergonomic industrial design too. The NOIRE X is also tuned to be more appealing to a wider set of people, with the LCD-XC quite likely coming off lean in the bass while also overly forward in the mids for many. This is where EQ can help though, with the NOIRE X not really needing EQ whereas the LCD-XC heavily benefits from it. Add a bass shelf, tone down the ear gain, add some treble to help balance the newly-added bass, and you will find the LCD-XC not only take to EQ like a champ, but now showcasing its potential with tremendous impact, layering, and separation too. It does cost more than the NOIRE X, however, so this is less easy to recommend against the NOIRE X all things considered.

There are also some very good dynamic driver closed-back sets in this price range, especially from Focal, albeit I don't have one of those on hand for testing. Instead, ZMF comes to the rescue with its new and affordable closed-back set the BOKEH Closed. As with anything from ZMF, the BOKEH (not to be confused with the recently released BOKEH Open) comes in a variety of options, be it the wood used on the ear cups which you can get in stock wood options that change periodically, or one-off editions using rare/stabilized wood. There are also different materials, ear pads, and tuning meshes available to where it can be somewhat overwhelming for the average user. However, if you take the time to research the various options and read detailed reviews such as what you find here on TechPowerUp, there is a good chance you will find the winning combination of the ZMF BOKEH for you. In general, the BOKEH goes for a warm and relaxed tuning, with more emphasis in the mids and a less prominent ear gain. It's a very snappy set, perhaps a touch too light on note weight, and certainly not as wide or deep sounding as the NOIRE X. On the other hand, certain pads make the BOKEH bass go from balanced and detailed to extremely prominent, allowing you to easily change the tuning without EQ. The BOKEH is a heavier set no matter the wood and frame material used, yet personally I do find it comfortable—not as much as the NOIRE X. I'd say DCA has the safer option if you are unsure what your music preferences are, whereas the ZMF BOKEH can be more of a specialist even in this price range that is far from what typical flagships—which tend to go for a more specialist/focused tuning—end up costing.