Audio-Technica ATH-WP900SE review

Headphones, quite literally, come in all shapes and sizes, and are made in an equally broad range of materials. Alongside the usual plastics and metals, Audio-Technica has been making wooden headphones for three decades. Wood is not uncommon in the headphone world, and it is easy to see why: it brings visual warmth and individuality, but it can also play a structural and acoustic role. Each tree species has its own density, stiffness, grain structure and resonant behaviour, all of which become part of the enclosure surrounding the driver.

Audio-Technica’s approach has long been material led rather than one-size-fits-all. Since the ATH-W10VTG of 1996 — the first model in its W-series wooden-headphone line — the company has explored different timbers and finishes across its catalogue.

The limited-edition ATH-WP900SE is its most recent wooden-headphone release, based on the existing ATH-WP900 portable closed-back design. Aside from the visual and internal changes — which I will come to shortly — the most significant departure is the move from maple to solid ash. It is the first time Audio-Technica has used ash in one of its headphones, selected in part for its longstanding association with guitars. That connection is made explicit through the involvement of Japanese guitar maker Fujigen, which applies the three-tone sunburst lacquer to the earcups.

Build & design

I admit, I wasn’t familiar with the Fujigen name before this review, but I have of course seen countless guitars from other brands rocking attractive finishes. In the case of the Fujigen sunburst lacquer on the WP-900SE, it’s quite remarkable to see in person. The three-tone finish gives the solid-ash housings a depth and richness that is difficult to convey in product photography, while the grain ensures each pair will look slightly different. These really are a thing of beauty, and you would be hard-pressed to find a noticeable seam across the outer earcup enclosures.

The move to solid ash for the housings isn’t just for cosmetic purposes either. In a closed-back design such as this, the earcup forms part of the acoustic chamber around the driver — its material, internal volume, shape and damping can all influence resonance, airflow and, ultimately, the sound you hear.

Inside, Audio-Technica has made more substantial changes over the standard WP900 than the exterior suggests. The WP900SE uses a newly developed 53mm dynamic driver, paired with a revised voice coil, reworked ventilation behind the driver and a redesigned acoustic port. The driver is also set at an angle towards the ear, a configuration intended to improve the relationship between driver, ear and earcup seal.

Audio-Technica says the changes improve linearity, reduce asymmetric diaphragm movement and unwanted resonance, and give bass notes greater control. The new headphone has also been tuned with the attack, texture and sustain of stringed instruments — particularly guitar — in mind.

The frequency range of the WP-900SE is quoted as 5Hz–50kHh, with a 37 ohm impedance, 98dB/mW sensitivity and 1,000mW maximum power input. It is therefore not difficult to drive in the traditional high-impedance sense, though it will still benefit from a capable source. I primarily used a MacBook Pro feeding a Chord Mojo DAC/headphone amplifier, which provided a clean, controlled starting point. I also listened via the headphone output of Marantz’s CD 50n network CD player.

Elsewhere, the WP900SE’s construction is predominantly plastic, so there is some expected creaking as the earcups swivel. And while this does help to keep the headphones light — they come in at approximately 235g — it can mean they don’t necessarily feel their $1,199 price tag. I certainly didn’t from my first impression alone. I have handled less expensive models that feel more overtly premium before a note is played.

The clamping force is well judged, while the combination of memory foam and synthetic leather on both the headband and the earcups keeps the WP900SE comfortable over extended listening sessions. What I also appreciate is the size of the earcup opening, as it completely enveloped my ears. Too often have I worn over-ear headphones where the ear cups either still slightly push down on my ears, or the cut out is a little too small and so squishes my ears from the sides. Hats off to the Audio-Technica design team, then, for producing a genuinely comfortable set of cans.

There is also a generous range of headband adjustment, with clearly stepped increments on each side making it easy to match the fit precisely. The closed-back earcups and generous pads provide a worthwhile amount of passive isolation, helping to reduce the distraction of nearby household noise. There is no active noise cancellation, however, so don’t expect the WP900SE to completely block out the world around you.

Indeed, in my testing, whilst listening at my desk at home, I could still hear my partner talking on a call. I couldn’t always make out the exact words being said, but noise did still creep through. The Audio-Technica cans are therefore best considered a portable audiophile headphone rather than a direct rival to dedicated travel models from Bose, Sony or Sennheiser.

The swivelling earcups make the WP900SE slightly easier to travel with, although considering only a soft case is supplied, you’ll definitely want to be careful throwing them into a bag. Given the delicacy of the lacquered ash housings, a fitted hard case would likely offer greater protection.

Audio-Technica supplies two detachable 1.2m cables: a conventional 3.5mm stereo lead and a 4.4mm five-pole balanced lead, both terminated at the headphone end with the company’s A2DC connector. The latter will be particularly useful for owners of compatible digital audio players and balanced headphone amplifiers, while the 1.2m length means the WP900SE can be used as a genuinely portable set of headphones. A pouch, Fujigen cleaning cloth and handwritten serial-number card complete the limited-edition presentation.

Both supplied cables are sensibly chosen for the WP900SE’s intended use. The 1.2m 3.5mm lead is the obvious everyday option for a laptop, portable DAC or conventional headphone output — and indeed, the 3.5mm option was the one I used most with the Chord Mojo and MacBook Pro — while the 4.4mm balanced cable is a welcome inclusion for owners of compatible digital audio players and headphone amplifiers. Neither cable is overly stiff or unwieldy, and I heard no appreciable cable noise during listening. The A2DC connectors attach securely too, although their proprietary nature may make replacement options less straightforward than with the more widespread 3.5mm or dual-mini-XLR systems.

The real question however, is does the Audio-Technica WP900SE sound as good as they look? Let’s find out.

Listening sessions

The WP900SE were an absolute joy to use, not least because they prompted me to spend more time with artists that should already have been fixtures in my everyday rotation. Dolly Parton, Elvis Presley, The Who and plenty more all found their way into the listening queue.

On several occasions, I actually had to remind myself I was reviewing the headphones, because I was getting so lost in what I was listening to. I’m no stranger to using headphones, but using the Audio-Technica pair was the first time I can immediately remember paying much closer attention to the music, rather than simply using a familiar track to isolate myself from the outside world.

Whilst I was shuffling through the aforementioned artists, the immediate observation I made was that the presentation consistently sounded clean, detailed and nicely weighted. The WP900SE also served up an inviting openness for a closed-back design, giving instruments room to breathe, while retaining enough rhythmic snap to keep the performances moving.

Take Elvis’ gorgeous ‘Can’t Help Falling In Love’ and his sultry vocal is given real body and intimacy, with enough texture to hear the subtle shifts in breath, phrasing and resonance behind each line.

There is enough weight behind each pluck of the double-bass strings to make it feel as though the headphones themselves are vibrating, which in turn lends the performance a more lifelike, ‘you are there’ quality. The backing singers can clearly be placed to the left, while the light taps on the snare drum and guitar occupy the right; Elvis himself remains solidly centred between the ears.

Naturally, I had to turn to home turf and spend some time rocking out with the WP900SE, so on went AC/DC’s ‘Hells Bells’. Brian Johnson’s vocals — or, perhaps more accurately, his screeches — cut through with just the right amount of bite. The Audio-Technica headphones handle the upper frequencies well, allowing that edge to come through without becoming overly harsh or fatiguing.

The reverb around the guitars is easy to hear, while Phil Rudd’s drums and Cliff Williams’ bass lines keep the track anchored, maintaining a clear sense of rhythm and layering beneath the vocal and guitar work

It is not quite the same story when the genre switches to dance. Listening to ‘Danceteria’ — arguably the best track on Madonna’s Confessions II, even if it lacks some of the je ne sais quoi of ‘Hung Up’ and ‘Sorry’ — the WP900SE reveals a slight reluctance to fully let go as the tempo rises. Madonna’s voice remains clear as day, and there is enough bass weight to give the track some physical presence, but the headphones stop short of delivering the sense of drive and excitement that makes this kind of music properly take off. There is rhythm here; it just feels a little too restrained to make you want to get down and boogie.

Conclusion

If the bulk of your music listening is vocal-led and rich in real instruments, the Audio-Technica ATH-WP900SE are a wonderful companion to have. They are capable of revealing subtle details in recordings and place an excellent emphasis on the midrange in particular. They can show signs of weakness if you stray too far from that formula, such as with bass-heavy dance tracks, but are, on the whole, an enjoyable listen.

They also look fantastic, with the Fujigen-applied sunburst finish making them feel genuinely special, even if the largely plastic construction does not immediately scream $1,199. Comfort is excellent, the supplied 3.5mm and 4.4mm cables are welcome, and the compact closed-back design makes them practical beyond the listening room — provided you can live without ANC and a proper hard case.

The WP900SE will not be the obvious choice for someone seeking maximum bass slam, wireless convenience or a true travel headphone. But for listeners who value vocals, guitars and well-recorded instruments — and want a portable wired headphone with real personality — the WP900SE is much more than a beautiful limited edition. It is a pair that makes you want to keep listening.