Thousands of attendees packed the halls for CanJam NYC 2026, filling the main ballroom and side rooms from open to close across both days. What makes the show so compelling is its simplicity: one massive room, a handful of overflow spaces, and an entire industry focused on one thing personal audio. No sprawling hotel maze. No wandering three floors to find a demo that may or may not still be running. If other hi-fi shows are paying attention, this is the benchmark. The past three shows have been the punch in the face that the old guard needed. Not everyone got the memo apparently.

That said, there is one unavoidable downside. Unless you arrived early or managed to audition gear in the quieter side rooms, most listening sessions were little more than introductions to the products. The main ballroom gets really loud and the constant chatter and crowd noise make it difficult to judge how something will actually sound at home or on a train. Unless you were using ANC headphones, the environment simply wasn’t representative of real-world listening conditions.

With hundreds of headphones, IEMs, DACs, and amps on display, CanJam NYC 2026 made one thing clear: a few standout designs quickly became the gear everyone wanted to hear.

Before anyone gets all bitchy about what didn’t make the list, a little context is probably in order. Chris Boylan and I spent a good portion of the show actually listening, but we were also busy filming interviews with manufacturers, which meant we didn’t get to spend as much time as we would have liked with every product. There were roughly three dozen IEM tables alone. At some point you have to make choices.

We’ve also covered a lot of this gear already at the previous two events; CanJam SoCal 2025 and CanJam London 2025, and many of those products have already been reviewed by myself, Will Jennings, James Fiorucci, Aaron Sigal, and Chris Boylan. On top of that, we have at least two dozen headphone related reviews scheduled over the next two to three months.

So no kvetching will be allowed. We came. We listened. And then we sat on NJ Transit with the bums for far longer than any human should have to.

Best in Show – Headphones

We listened to a lot of headphones over the two days at CanJam NYC. Some we already knew well from previous shows. Some didn’t do much for us at all. And a handful were genuinely special. Was there anything truly new or groundbreaking? Not really. The reality is that the headphone world already offers hundreds of wired and wireless options, and while choice is usually a good thing, there’s a point where it becomes a bit overwhelming.

That probably explains why so many in the Head-Fi crowd own multiple pairs. Different headphones excel with different genres, some image better than others, and the eternal debate continues: dynamic, planar, or electrostatic. As for high-end wireless models catching up to the best wired designs? They’re getting closer. Maybe. But we’re not quite there yet.

Audeze CRBN2 Electrostatic Headphones

Audeze CRBN2 Electrostatic Headphones were one of those moments at CanJam where I sat down, hit play, and almost immediately understood that these were not just a minor revision of the original. I had heard the first CRBN before, but this was my first time with the CRBN2, and it left a very different impression. The bass was the giveaway. Electrostatic headphones are not supposed to hit with that kind of weight and authority, yet the CRBN2 delivered real sub bass presence while still sounding fast, open, and eerily intimate with vocals. It did not have the kind of dynamic slam some listeners may still crave, but it came closer than I expected from an electrostatic design and made a very strong case for itself as one of the most memorable headphones at the show.

Yes, $6,000 is an insane amount of money for a pair of headphones. But compared with the rest of high end audio, where people will calmly justify spending $10K, $20K, $50K, $200K, or even $1 million on a single pair of loudspeakers, these do not feel quite as unhinged. If this is the top of the mountain and for me it probably would be, I can live with that. I knew people in college in late 1980s D.C. who spent that much per week on drugs chasing a very different kind of high. These might be my version of cocaine if I were ever into that sort of thing, which I was not. But as far as expensive habits go, this one at least plays Amy Winehouse back like she is standing right in front of you, which is a hell of a lot more useful than a trip to the emergency room.

Read our in-depth review here.

Audeze Maxwell 2 Wireless Gaming Headphones

The Audeze Maxwell 2 Wireless Gaming Headset shows how seriously high-end audio companies are taking the gaming market, which has become one of the largest segments of the global headphone industry. The original Maxwell quickly became Audeze’s best selling headphone, proving that planar magnetic technology could succeed outside the traditional audiophile category. The Maxwell 2 builds on that success with a technically sophisticated platform centered around the company’s large 90 mm planar magnetic drivers, a scale rarely seen in gaming headsets and one that allows for extremely low distortion and wide bandwidth performance. The design supports low latency wireless connectivity for gaming, along with Bluetooth, USB digital audio, and analog options, allowing it to function as both a competitive gaming headset and a serious listening device.

During our time with the Maxwell 2 at CanJam NYC 2026, the technical improvements over the original model were immediately noticeable. Bass response is deeper and more authoritative, with better control and impact during gaming and music playback. Spatial performance also appears improved, delivering more precise positional cues that should benefit competitive gamers who rely on accurate directional audio. Audeze is also introducing customizable earcups (expected soon), allowing users to personalize the headset without affecting the underlying acoustic design. With a price around $329, the Maxwell 2 remains one of the more technically advanced gaming headsets available while still sitting well below the cost of most planar magnetic audiophile headphones.

For more information read here.

Audio-Technica ATH-ADX7000

Audio-Technica ATH-ADX7000 were one of the more technically impressive headphones we spent time with during the show. Built around a magnesium alloy frame, the ADX7000 keeps weight down to roughly 257 grams (about 9 ounces), which makes them extremely comfortable for extended listening sessions despite their very serious engineering. The open back dynamic design delivers a very clean and controlled presentation with excellent midrange clarity and precise imaging. They do not try to overwhelm with exaggerated bass or artificial sparkle on top. Instead, they focus on speed, tonal balance, and openness, which worked particularly well with jazz, acoustic recordings, and well produced rock.

These are also not casual plug into your phone headphones. With a rated impedance of 490 ohms and sensitivity of 100 dB/mW, the ATH-ADX7000 clearly expects a proper amplifier. The very high impedance means they benefit from an amplifier capable of delivering strong voltage swing, while the sensitivity ensures they can still reach healthy listening levels once properly driven. The result is excellent control, very low distortion, and a refined presentation when paired with capable electronics. At $3,500, the ATH-ADX7000 sits firmly in summit-fi territory, but the materials, engineering, and sonic performance make it clear that Audio-Technica built these as a serious reference headphone rather than a show floor novelty.

Read our full review here or watch our video on YouTube with Audio-Technica at CanJam

Grado Signature S550

The Grado Signature S550 was one of the more enjoyable headphone launches at CanJam NYC 2026 and a smart move for listeners who like the Grado house sound but want something a little less caffeinated. Built around a 50mm S2 dynamic driver and housed in Brazilian walnut, the S550 leans warmer and calmer than some of the other models in the range, which made it an easy listen with rock, jazz, and electronic music. Bass was controlled, passive isolation was better than expected, vocals were smooth, and the top end stayed free of the hardness that has tripped up some Grado models in the past. It also helps that the S550 weighs only 335 grams without the cable, which keeps it manageable for longer sessions. The new headband design did its job. 

From a practical standpoint, Grado finally got serious about usability here. The S550 ships with the company’s Signature Silver detachable cable, using 4 pin balanced mini XLR connectors at the earcups and a 3.5mm termination with a 6.3mm adapter for source gear. With 38 ohms impedance and 112 dB sensitivity, these are also relatively easy to drive from portable DAC/amps or desktop gear. At $995, the Signature S550 is not cheap, but it offers a more relaxed and forgiving take on the Brooklyn formula without losing the immediacy that makes Grado appealing in the first place.

Read our first take here.

Grell Audio OAE2

The Grell OAE2 might not carry the five figure price tag of some of the other headphones shown at CanJam NYC 2026, but it represents one of the more thoughtful attempts to rethink how headphones present space. Designed by veteran engineer Axel Grell, whose work helped define many of Sennheiser’s most successful high end headphones before launching his own brand, the $599 OAE2 takes a different approach to driver placement and acoustic architecture. Instead of firing the driver directly into the ear canal like most open back headphones, the 40 mm dynamic driver is positioned toward the front of the earcup and angled back toward the ear. The goal is to allow the outer ear to contribute more naturally to spatial cues, helping create a presentation that moves sound slightly forward rather than locking it inside your head.

This concept isn’t entirely new to us. We first heard an early version of this design at CanJam SoCal in 2023 when Grell was demonstrating a prototype that immediately stood out for its forward projecting soundstage. The production OAE2 builds on that idea with a more refined acoustic structure, modular metal construction, and a tuning approach focused on tonal balance and long term listening comfort. At 38 ohms with a sensitivity of 100 dB, it should be relatively easy to drive with a wide range of headphone amplifiers and portable sources, although it will likely benefit from a capable desktop setup. Listeners who prioritize imaging accuracy, natural tonal balance, and a more speaker like listening perspective may find the OAE2 particularly compelling. Expect our review by the end of March.

Read our first take here or watch our video on YouTube with Axel Grell.

HiFiMAN HE1000 WiFi

The real problem HiFiMAN is trying to solve with the HE1000 WiFi is not convenience for its own sake, but the reality that most high end planar magnetic headphones still depend on a separate DAC, headphone amplifier, and source component to sound their best. HiFiMAN’s solution is to build that chain directly into the headphone. The HE1000 WiFi uses WiFi as its primary connection, with Bluetooth support via LDAC and aptX HD and USB Audio as backup options, but the core idea is higher bandwidth wireless playback that gets closer to what audiophiles expect from serious planar designs.

Inside the headphone is HiFiMAN’s Hymalaya R2R DAC, a low power ladder DAC architecture controlled by FPGA logic, paired with integrated amplification and battery powered electronics housed in the earcups and headband.

What separates the HE1000 WiFi from the less expensive Arya WiFi is the driver platform and overall ambition of the design. According to your report, the HE1000 WiFi is built on HiFiMAN’s more upscale Nano Diaphragm planar magnetic architecture and uses Stealth Magnet technology to reduce wave diffraction and preserve a cleaner path for the soundwave. It also adds protective grilles in front of the drivers, a practical change because these headphones are expected to be used in more real world environments than the purist wired models.

Just as important, HiFiMAN had to rethink the suspension headband, yoke structure, and internal cable routing so the extra DAC, amp, wireless, and battery hardware would not wreck comfort or weight distribution. At an expected price of $2,699, this is clearly not aimed at casual listeners or anyone looking for a cheap shortcut into wireless audio. It is aimed at headphone listeners who want much of the HE1000 experience without dragging around a full desktop chain. And for anyone waiting to see whether that gamble actually pays off, James Fiorucci will have one of the first full reviews later this month.

Read our first take here.

Best in Show – IEMs

The IEM category at CanJam NYC 2026 was, frankly, overwhelming. More than three dozen brands were showing new models, and the crowds around those tables made it clear that interest in personal audio remains incredibly strong. I’m genuinely thrilled to see the renewed enthusiasm for wired headphones and in-ear monitors among mainstream listeners, but I’ll admit something up front: IEMs have never really been my thing. I’ve never loved the idea of jamming things into my ears for long listening sessions.

That said, I still made the rounds with models from Sendy Audio, FiiO, Astell&Kern, Campfire Audio, APOS Audio x Community, and DUNU. Most were impressive, but only two actually made me consider opening the wallet—and they sit at very different ends of the price spectrum. Fortunately, our resident IEM expert Aaron Sigal covers this category exclusively for us and will certainly deliver a far deeper dive after CanJam SoCal 2026 later this summer.

Campfire Audio Andromeda 10

The Campfire Audio Andromeda 10 represents one of the most technically ambitious IEM designs we encountered at CanJam NYC 2026. Built around a ten-balanced-armature architecture—four drivers for bass, four for the midrange, and two for treble—organized through a three-way crossover, the Andromeda 10 is designed to deliver high resolution and controlled output across the spectrum while maintaining the tonal balance that made the original Andromeda series famous.

The design also incorporates a non-enclosed midrange chamber and Campfire’s Tuned Acoustic Expansion Chamber (TAEC) to manage high-frequency performance without relying on traditional dampers. With a frequency response rated from 5 Hz to 20 kHz, 8.5 ohm impedance, and sensitivity of 94 dB, it can be driven by a wide range of portable sources while still benefiting from higher-quality DAC/amp chains.

From a personal standpoint, while I’m unlikely to spend this kind of money on any IEMs, the Andromeda 10 would probably be the absolute ceiling for me. I was impressed by the industrial design, the relatively manageable weight, and how comfortable they felt compared with many other high-end IEMs I tried at the show. Sonically, the balance also worked in their favor: not overly bass-heavy and, importantly for my ears, not aggressive or fatiguing in the upper registers; both of which would be deal breakers. The overall presentation felt controlled and coherent rather than showy, which is likely why these stood out among dozens of IEMs I heard over the weekend.

Read our in-depth review here.

Meze Audio ASTRU

The Meze Audio ASTRU takes a very different approach from many flagship IEMs by relying on a single 10 mm dynamic driver rather than a complex multi-driver hybrid configuration. The driver uses a multilayer diaphragm structure with over 80 ultra-thin layers of gold applied to a titanium dome mounted on a PEEK base, a design intended to combine rigidity, speed, and controlled bass response while maintaining a smooth upper register. The housings are CNC-machined from solid titanium, contributing to both durability and acoustic stability. Specifications include a 5 Hz–35 kHz frequency range, 32-ohm impedance, and 111 dB sensitivity, suggesting the ASTRU should be relatively easy to drive from portable sources while still scaling with higher quality amplification.

At CanJam NYC 2026, Meze had the ASTRU connected to a very expensive DAP that probably costs three or four times the price of the IEM itself. The pairing sounded good, but oddly enough the DAP seemed somewhat underpowered. I swapped it out for my iPhone and iFi GO bar Kensei, which were sitting in my pocket, and the result was far more engaging. Some listeners may question spending close to $1,000 on an IEM with only a single driver, but the payoff here is coherence. The sound felt lively, unified, and natural rather than divided across multiple driver bands, which is exactly what a well executed single-driver design should deliver.

For more information read here or watch our video on YouTube from CanJam

Apos x Community Rock Lobster

The Apos x Community Rock Lobster takes a refreshingly straightforward technical approach in a market filled with increasingly complex multi-driver designs. The IEM uses a single 10 mm dynamic driver housed in a resin shell, paired with a detachable two-pin cable and a tuning aimed squarely at listeners who prioritize impact and energy over strict neutrality. The design focuses on delivering strong sub-bass extension, forward upper mids, and a controlled but slightly restrained treble response that keeps fatigue in check during louder listening sessions. At $60, the Rock Lobster is positioned as an accessible enthusiast product rather than an attempt to compete with the four-figure segment dominating many CanJam tables.

What stood out immediately was the price and the overall build quality, although I do wonder how the resin shell will hold up after years of use. Sonically, the tuning makes its intentions clear. The top end is a bit polite, but if your playlists lean toward rock, metal, punk, pop, EDM, hip hop, or anything that benefits from real sub-bass presence and energetic upper mids, the Rock Lobster wakes up and starts having fun. The louder and heavier the track, the better it seems to respond. It’s built for impact, rhythm, and attitude, and it doesn’t pretend to be anything else. That specialization is also the limitation. If your evenings revolve around jazz trios, chamber music, or solo piano, where tonal neutrality and extended treble matter more than raw drive, this simply isn’t the right tool.

Read our in-depth review here.

Best in Show – DAC/Amps & Headphone Amplifiers

If one thing was clear walking the show floor at CanJam NYC 2026, it’s that headphone and IEM listeners have never had it better when it comes to DAC/amps and dedicated headphone amplifiers. Dozens of companies including FiiO, Topping, iFi, SMSL, Geshelli Labs, Schiit Audio, Feliks Audio, EarMen, Ferrum, STAX, HiFiMAN, Apos, and many others are offering solutions across every category imaginable—from tiny portable dongles to massive desktop amplifiers capable of driving the most demanding headphones on the planet. The range in pricing is just as wide: you can spend around $100 for a surprisingly capable DAC/amp or well over $100,000 for reference-level amplification systems, making this one of the most competitive and diverse segments in personal audio today.

Apos x Community Gremlin Tube Headphone Amplifier

The Apos x Community Gremlin is a compact fully balanced Class A hybrid headphone amplifier developed in partnership with Geshelli Labs, and it might be one of the most surprising value plays in personal audio right now. Starting at $120, the Gremlin ships with Apos Ray Core Series 12AU7 tubes and supports tube rolling with both 12AU7 and 6922 families, opening the door to decades of tube variants for those who want to experiment with different tonal flavors. The amp itself is almost comically small—5 inches wide, 3.25 inches deep, and 2.5 inches tall—with a minimalist design using clear Lexan plates and stainless standoffs instead of a traditional enclosure.

Connectivity is balanced only, with 4.4 mm and 4-pin XLR headphone outputs on the front and dual 3-pin XLR and 4.4 mm balanced inputs on the rear, which keeps the signal path simple but does limit plug-and-play compatibility for newcomers. Despite the tiny footprint, the Gremlin delivers 1.25 watts into 32 ohms and enough voltage swing to drive 600-ohm headphones comfortably, making it compatible with everything from sensitive IEMs to demanding dynamic headphones.

In listening at CanJam NYC 2026, it sounded remarkably good for the money, delivering the warmth, dimensionality, and harmonic richness tubes are known for without sacrificing control. It may run a touch warm with headphones like the Grado S550, but pair it with models such as the beyerdynamic line, Meze 109 Pro, high-impedance Audio-Technica dynamics, or Audeze MM-series and the result is a lively, engaging presentation. Add the option to pair it with the Apos Merlin DAC for a complete balanced system at a price many single-ended stacks can’t match, and the Gremlin starts to look like one of the best bargains in the room.

Read our in-depth review here.

Geshelli Labs Archel 3S Pro Headphone Amplifier

The Geshelli Labs Archel 3S Pro is a highly flexible desktop headphone amplifier starting at $369 that blends strong measurements with a surprising amount of customization. It uses a socketed, buffered op-amp design that supports TI OPA1655, Sparkos SS3601, or Sparkos SS2590 options, allowing users to tailor the sound. The amp includes balanced XLR and RCA inputs, RCA preamp outputs, and a ¼-inch headphone output, so it can function as both a headphone amplifier and a small preamp. Internally it features a low-noise power supply, Alps A10K potentiometer, and relay-controlled Baxandall bass and treble tone controls that can be fully bypassed. Performance is impressive for the price with over 2 watts per channel into 16 ohms, making it capable of driving a wide range of headphones cleanly.

Cosmetically, the Archel 3S Pro stands out with its retro aesthetic and interchangeable wood trim options, with 15 finishes ranging from $49 to $99 for more exotic woods like Zebra or Canary. Paired with Geshelli’s JNOG2 Socketed (J2S) or JNOG3 (J3) DACs, it forms a compact but powerful desktop stack. At CanJam NYC 2026, the amp delivered excellent tone and musicality, though the combination with the Grado S550 leaned a bit warm when paired with Geshelli’s own DAC. It sounded far more balanced with the HP100 SE, and I suspect it would be a great match for more analytical headphones that benefit from added warmth and body.

Digital input is handled through Schiit’s Unison USB interface, supporting sample rates up to 384 kHz. No DSD. No MQA.

Schiit Asgard X Headphone Amplifier

The Schiit Asgard X brings trickle-down technology from the company’s higher-end designs into a powerful desktop headphone amplifier priced under $550. At its core is Schiit’s new Continuity A output stage, derived from the Mjolnir platform, designed to deliver Class A-like linearity with greater efficiency and power. An optional internal DAC card adds Schiit’s Mesh digital architecture, a custom filter approach optimized in both the time and frequency domains, along with integration for the Forkbeard control app, which allows users to adjust volume, balance, loudness, phase, NOS mode, and a three-band parametric EQ directly from a mobile device. Output power is substantial for a compact desktop amp, rated at 3.4 W into 16 ohms, 2.8 W into 32 ohms, 1.9 W into 50 ohms, 380 mW into 300 ohms, and 200 mW into 600 ohms, making it suitable for a wide range of headphones.

At CanJam NYC 2026, the Asgard X had no trouble controlling the Grado HP100 SE, delivering strong bass weight and lower-midrange authority without pushing the top end into brightness. Rock and electronic tracks showed excellent drive and rhythmic pacing, with percussion landing with real impact. The treble could use a bit more air on some recordings, but the overall presentation leaned toward smooth, listenable, and engaging rather than overly analytical—exactly the kind of balance that makes you stop dissecting the gear and just enjoy the music.

For more information read here.

iFi Audio iDSD PHANTOM DAC/Streamer/Headphone Amplifier

The iFi Audio iDSD PHANTOM is a $4,499 flagship DAC, network streamer, and headphone amplifier designed to act as the central digital hub of a high-end headphone or two-channel system. It supports streaming via Qobuz Connect, TIDAL Connect, Spotify Connect, and AirPlay 2, with native playback up to 768 kHz PCM and DSD512. The DAC stage uses a quad Burr-Brown architecture, while the headphone amplifier delivers up to 7,747 mW of Class A power. Users can switch between three output modes: a fast, controlled solid-state J-FET stage, a smoother GE5670 tube stage, or Tube+, which adds additional harmonic richness. Processing options include DSD remastering up to DSD2048 and K2HD processing, while the PHANTOM’s extensive inputs and outputs allow it to function as a full streamer/DAC/amp in one chassis.

In person, the PHANTOM looks like nothing else on the market—large, beautifully built, and unapologetically complex. I tried it with headphones from ZMF, Audeze, and Meze Audio. It didn’t quite gel with the ZMF models I heard, but it absolutely shined with the Audeze LCD-MX4 and Meze STRADA, Empyrean II, and 109 Pro, where the Class A power and spacious presentation were obvious. There are honestly far too many options and features to explore in a quick show demo, and some listeners may find it almost too complicated. But what you’re getting is an extremely capable streamer, DAC, and headphone amplifier in one beautifully built chassis, with enormous power and one of the most flexible connectivity suites on the show floor.

For more information read here.

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