Adam Audio H200

Wearing comfort

The fit is tight for professional use. While the headband of the Adam Audio H200 is barely noticeable, the pressure around the ears can become noticeable, especially after prolonged use. However, the earcups are flexible enough to adapt to the shape of the head. The headband can also be adjusted to a wide range of sizes. However, we noticed that the grille on our test model regularly shifted when we put it down, and only remained stable when the headband extension was relatively far out for larger head sizes.

Double-sided connectivity

We were very pleased to see that the Adam Audio H200s do not have a fixed cable. Instead, there are 2.5mm jacks on both the left and right earcups for the cable, allowing flexible connection on both sides. Another clever solution is that the cable locks into place, but is not held in place, so it can come loose when pulled hard to avoid damage. This is a clear advantage over many competitors in this price range.

Features and optional accessories

The Adam Audio H200 headphones are supplied with memory foam ear pads covered in imitation leather, which can be replaced if necessary. With an internal diameter of 62 millimetres long and 38 millimetres wide, the cushions surround the ear flush rather than over a large area. A different fabric is also available, which we have found to be more breathable and more comfortable. The pre-mounted version, on the other hand, offers better shielding in noisy environments and greater attenuation when recording. The headband padding is also replaceable and is also covered in leatherette.

The Adam Audio H200 comes with a three metre long, smooth audio cable with a 3.5mm plug. A 6.3mm adapter is also included. Alternatively, a shorter 1.2 metre version is available for mobile use. There is also a coiled cable that can be extended up to three metres.

Adam Audio Headphone Utility Plugin

As a special bonus, the Headphone Utility Plugin has been developed for the Adam Audio H200 in collaboration with the audio software specialists at Sonnox. It is designed for use in the master track of a DAW. Versions in VST3 and AU formats are currently available for download, which requires product registration in the MyAdam user area.

One of the main features of the Headphone Utility plug-in is the so-called externalisation function, which is designed to make it easier to use headphones to evaluate mixes that were originally intended for loudspeaker output. Crossfeed technology is used to achieve a more natural stereo reproduction, similar to monitor speakers, by deliberately sending parts of the left channel through the right speaker and vice versa. This approach is used, for example, in SPL’s headphone amplifiers (see reviews) in the form of the analogue Phonitor Matrix.

This new listening experience with headphones may take some getting used to, but it comes a little closer to a monitoring situation with studio monitors. When the externalisation function is active, the virtual stage also moves deeper into the room, giving a more spacious impression. However, the usual differences to monitoring with open studio headphones remain.

Another feature of the Headphone Utility plug-in is the choice of two sound signatures: Pure and UNR (Uniform Natural Response). In addition to the ability to adjust the acoustics of the ear pads (leatherette or fabric) and the ability to compensate for volume differences using Gain Compensation, the H200’s sound reproduction can be optimised for specific situations. While ‘Pure’ has a more neutral character (see below) and a slightly brighter sound, and is recommended by the manufacturer for typical studio applications, ‘UNR’ sounds noticeably warmer, more fun and direct, which is said to support creative processes.

How the Adam Audio H200s sound

The Adam Audio H200s are equipped with 40mm polyetheretherketone (PEEK) and polyurethane (PU) dynamic drivers that deliver high SPL with low distortion and are easy to drive due to their low impedance of 32 ohms. The studio headphones can get really loud even on a MacBook Air, and there is definitely no lack of power reserves, even with a mobile headphone amplifier like the Apogee Groove (review) or a Linear from Lehmann Audio as a stationary solution. The output seems high even for a professional tool, which is why a wink and a nod follows: Please always check the volume setting on your audio interface, mixing desk or laptop before you start. Your ears will thank you!

In a direct listening comparison (basic sound without plug-ins) with the Beyerdynamic DT 770 Pro (review), it is clear that the established classics from Heilbronn offer a more spacious listening area, especially for live recordings, but also for studio productions. This is especially true of the width of the soundstage, which is also confirmed by the Focal Elegia, although this model is clearly in a different price bracket. Despite a more compact stereo image, the Adam Audio H200 does not sound flat or one-dimensional. On the contrary, the three-dimensionality is undoubtedly convincing.

The H200’s bass response is extremely powerful and can be a lot of fun for studio headphones. For club-oriented productions such as ‘Still Summer’ by Jamie xx, the over-ear pairing with the Apogee Groove really comes into its own. A rich, powerful and flawless performance, confidently flirting with the DJ booth. The interaction with the Linear, on the other hand, is not quite as enthusiastic, sounding a little more moderate and serious, but still impressive. The Elegia, on the other hand, is more slender and the low bass of the H200 is a little more substantial than that of the DT 770 Pro.

The midrange is agile, precise and full of energy. The up-tempo opener ‘True Nature’ from the 2023 album ‘In Between Thoughts…A New World’ by the virtuoso guitar duo Rodrigo y Gabriela does not unsettle the studio listener at all and is reproduced boldly but objectively, without any deliberate whitewashing. The same can be said of Thom Yorke’s vocals on ‘No Words’ from The Smile’s recent album ‘Cutouts’, which are arranged in increasingly complex ways and make generous use of the stereo panorama. Even when used with Apogee Groove, the increasing complexity and density is easy to follow, even though the panning seems rather extreme when amplified with a mobile device, revealing the limits of the listening space. This changes abruptly when switching to a fixed headphone amplifier such as the Linear, which the H200 responds to with a much more spacious and open presentation.

The studio headphones are a little relaxed in the high frequencies, but not at all reserved. While the DT 770 Pros are more committed and radiant in the high frequencies, the H200s are less demanding, but not without verve. Sibilants are reproduced a little more defensively, which can certainly add to the listening pleasure. However, the reproduction is not uncritical. This is illustrated by a comparison with the Elegia, which, in line with the price difference, resolves the upper frequency range more finely, but has a noticeably higher tolerance threshold for overdriving and is clearly more well-behaved. In this respect, the basic sound is well balanced, allowing both critical evaluation and relaxed listening.

The bottom line

The versatility of the Adam Audio H200s is hard to beat and makes these studio headphones a very interesting proposition in terms of price and performance. In particular, the Headphone Utility plug-in expands the range of applications thanks to the customisable sound characteristics and the externalisation function. Without the plug-in, the headphones deliver a powerful, clean sound with an exceptionally strong (low) bass response, making them ideal for DJing and everyday listening.