The 1000X The ColleXion is Sony’s 10th‑anniversary product line for the 1000X series. I never imagined that it has already been ten years since I chatted with fellow audio enthusiasts about the MDR‑1000X… As Sony’s most successful audio product line in recent years, the 1000X can be said to have ended the era of a single dominant player in noise‑cancelling headphones, ushering in a new era of diversity and fierce competition for ANC headphones. Personally, I have no issue with Sony releasing a 10th‑anniversary edition of the 1000X; however, this news comes against the backdrop of various Sony product lines being discontinued or outsourced to joint ventures, which makes it somewhat bittersweet — rest assured, the personal audio business is not affected. Coupled with the recent silence of the Walkman product line, it’s hard not to feel a bit concerned. Fortunately, the WH‑1000XX, as this 10th‑anniversary product, delivers a result that I personally find very satisfying. It is positioned at a higher tier, but not with an inflated premium — it indeed offers significant breakthroughs in both sound quality and build quality.
Package & Accessories
Like the WH‑1000XM6, the packaging of the WH‑1000XX (hereafter referred to as the 1000XX) also makes extensive use of eco‑friendly materials. The sleeve is a single‑use adhesive wrap that encircles the box. Inside, the accessories include a carrying pouch, a USB‑C charging cable, and a 3.5mm to 3.5mm audio cable.
The new carrying pouch features a magnetic snap fastening similar to the one included with the XM6, but the case structure itself is completely different. The surface is made of a fabric material, and the case offers decent crush resistance. The overall size is compact, with the handle integrated into the case design. Inside, the fit is snug and precise, with a delicate velvety lining to protect the headphones. This case strikes a good balance between portability and premium feel. On the XM6’s carrying pouch, the lanyard ring had the documentation attached — you had to remove it yourself upon first unboxing. With the 1000XX, however, these materials are secured to the case body itself, which is a much more sensible arrangement.
Design, Fit & Acoustic Structure
The 1000XX comes in two colour options, black and white, and we chose the white version. At first glance, its design language is quite similar to that of the WH-1000XM5 and XM6, but the structure is entirely different. Starting with the headband, the XM5/XM6 feature a plastic bracket inserted into the main headband — essentially a refined version of the two-piece headband design. The 1000XX, however, adopts a new structure with an integrated main headband, where the side brackets connect to the main headband via sliding channels. The advantage of this design is that when adjusting the extension length on both sides, the centre of the headband does not sag even if extended too far. This provides better adaptability for the top of the head and theoretically improves durability as well.
The main headband is a one‑piece metal band with an anodised sandblasted finish, and the inside features a leather‑covered section with thick padding. The side brackets are made of metal with an oxidised outer layer and polished finishes on the sides and the Sony logo. After this period of use, no noticeable wear marks have appeared, and the overall premium feel is significantly higher than that of the WH‑1000XM5 / XM6. The connection between the brackets and the earcups also incorporates a tilt angle to accommodate different head shapes. Each side offers approximately 3.5cm of extension, providing decent compatibility for larger head sizes. The damping feel when adjusting the extension is just right.
The earcup shape follows the classic 1000X elliptical design, conforming to the natural angle of the ear. The surface is made of a leatherette‑like material that feels very close to genuine lambskin, while being slightly firmer than standard leather to resist wear. All buttons and ports feature an anodised sandblasted finish, and the LED indicators and microphone openings are seamlessly integrated into the leather covering, giving the whole unit a cohesive look. The earcups are relatively thin, so they don’t appear bulky, yet the internal volume is still generous enough to avoid contact even with prominent ears. The driver tilt is also retained. The ear cushions are made of a slow‑recovery foam material, offering excellent compatibility with glasses — soft and conforming, without worrying about air leakage.
In actual wear, the pressure on the top of the head is well distributed, so even those with a slightly pointed crown won’t experience noticeable head pressure. The clamping force on the sides is noticeably lighter than that of the XM6. Although the swivel joint has been removed, the 1000XX still maintains excellent conformability, and with the reduced pressure, the ear cushions feel more evenly distributed around the head and face. We happened to receive the unit just before boarding a flight, and wore it continuously throughout the journey — from home to the airport, during the wait, and throughout the entire medium‑haul flight — for a total of about 8 hours, without any significant discomfort from pressure. The overall weight is around 320g, but it never feels cumbersome during wear.
Control &APP
The physical controls of the 1000XX still rely on a combination of physical buttons and a touch panel, but with a few additional functions this time. On the left earcup, from back to front, there are: the 360 Upmix button, the noise cancellation mode toggle button, the power button, and the 3.5mm jack. The touch panel on the right earcup follows the same logic as before, so I won’t go over it again — it can be turned off independently, and its sensitivity is high enough. The physical buttons have a short travel distance and a slightly soft tactile response. You can still customise the controls in the Sound Connect app. The noise cancellation button can also support additional definitions for double‑tap and triple‑tap gestures, corresponding to Quick Access services — supporting Amazon Music, Spotify Tap, YouTube Music, and Endel for overseas versions. You can also assign the double‑tap gesture on the noise cancellation button to toggle the microphone on and off.
The wear detection performance is better than ever, with good sensitivity and accuracy. Head gesture recognition is also retained, allowing you to answer calls and control certain smart features by nodding or shaking your head. In practice, both sensitivity and accuracy are consistently high. The quick response feature triggered by covering the right earcup is also at its most refined — response time is extremely fast, virtually achieving “instant on, instant off.”
Let’s also go over some smart features. The new Scene‑based Listening is a feature that automatically plays music based on different activity scenarios — essentially the same as the previous Auto Play. Compared to the older Auto Play, it now adds “Play upon wear” (though I’m not sure why this is separated from the regular wear detection). Adaptive Sound Control still relies on the accelerometer for detection, and enabling it prompts you to pair a new Bluetooth device. When you start running, it automatically plays your preset playlist. It can also learn your commuting routes and times to trigger automatic playback. On the first wear of the day, it announces the date, and it can also provide hourly chimes. The operation prompts are loud enough in non‑noisy environments, and you can adjust the voice volume and language. The clarity of voice announcements and notification read‑outs is also sufficiently good.
In addition to summoning the built‑in voice assistant via the wake‑word, it can also recognise basic word commands to trigger essential functions. Through the voice assistant portal, you can conveniently manage calls, information read‑outs, and feature activations. If you switch to the overseas region, you can also enable Sound AR to integrate with the game Ingress Prime.
ANC, Transparency & Call
The overall noise cancellation performance of the 1000XX remains at a level comparable to the XM6, rather than representing a significant breakthrough. In fact, the XM6 is already one of the best ANC headphones currently available in terms of real‑world noise cancellation perception. So even though the 1000XX carries a noticeably higher price tag, the lack of a major leap in noise cancellation performance is, to me, within expectations. However, this does not mean that the 1000XX has stood still when it comes to subjective experience.
First, passive isolation. When we discussed the XM6 earlier, we noted that part of its improved passive isolation was due to the more pronounced clamping pressure on both sides. The 1000XX, however, has removed the swivel joint mechanism found on the XM6, which significantly reduces the clamping pressure and allows for longer wearing sessions. At the same time, the passive isolation has been maintained at a level similar to the XM6 — which is already among the best in the ANC headphone category — and this is where the structural refinements come into play.
In terms of active noise cancellation, Sony has equipped the 1000XX with the same QN3 noise‑cancelling chip found in the XM6, along with an upgraded integrated processor V3. The QN3 core and the twelve‑microphone hardware configuration remain unchanged. With ANC engaged, it still maintains very pronounced low‑frequency noise cancellation depth — similar to the XM6, though its ultimate depth still falls slightly short of the AirPods Max 2 — effectively suppressing most steady‑state low‑frequency noise. Its attenuation of the lower midrange of vocal frequencies is excellent, and the attack of vocals is also softened. The frequency bandwidth coverage of the ANC appears to be improved compared to the XM6, but it still covers fewer bands than the AirPods Max 2, placing it in the top tier of the Skyline Level. However, when passive isolation is combined with ANC, the effective bandwidth difference between the two is significantly reduced.
One of Sony’s major advantages over most brands is its adaptive performance, once the overall perceived noise cancellation has reached a top‑tier baseline. Compared to the XM6, its pressure equalisation control is among the best in current ANC headphones. In scenarios such as long‑haul flights or high‑speed trains passing through tunnels — where the ear may experience pressure imbalance — wearing the 1000XX presents no noticeable issues. The ear pressure sensation is also better controlled than on the XM6, placing it among the most comfortable options in the flagship ANC headphone category.
In terms of wind noise resistance, this generation still does not feature a dedicated wind noise reduction mode, but all microphones incorporate wind noise suppression structures. In our comparison tests with ANC engaged, its wind noise resistance is slightly more effective than that of the XM6, with almost no wind noise affecting the listening experience when facing directly toward or away from a typical wind source. Only when exposed to side‑on wind is there a slight perceptible wind noise. The transparency mode behaves similarly in this regard.
The transparency mode / ambient sound mode still offers 20 levels of volume adjustment, along with an automatic ambient sound toggle with three sensitivity options. However, it only adjusts automatically when the ambient noise characteristics change significantly; if the environment remains unchanged, it will retain the previous ambient sound level. It also features adaptive response to high‑level noise.
We still consider the ambient sound performance of the 1000XX to be highly natural — especially in the lower midrange reproduction, with only a slight high‑frequency roll‑off. The sound feels most natural between levels 14 and 16, while setting it to the maximum level 20 introduces a slight sense of amplification. Enabling the “focus on voice” feature slightly reduces the lower midrange to bring the upper midrange forward. In a direct comparison, it still falls slightly short of the AirPods Max 2. For now, both the WH‑1000XX and the WF‑1000XM6 are just a step behind the current Apple flagships in ambient sound quality — but still comfortably above the rest.
For call quality, the 1000XX retains the twelve‑microphone array, six of which are used for voice pickup, along with the AI‑based call noise reduction algorithm developed with DNN and beamforming. In our tests under carrier network conditions, the microphone volume is moderate, with noise reduction set to a relatively high default level, and clarity remains good with only a slight sense of occlusion. Wind noise during calls is still present, mainly when wind hits the side or rear of the microphones.
Overall, the noise cancellation performance of the 1000XX remains at a similar level to the WH‑1000XM6, ranking among the top tier in terms of overall noise cancellation perception. The main improvements lie in wind noise reduction and a more comfortable ANC user experience, with no other major weak points. In terms of ultimate depth, it still lags slightly behind the AirPods Max 2, but it is essentially on par with the XM6 and the QC Ultra 2 — two other flagship ANC headphone contenders. The 1000XX deserves a place in the In‑Ear Skyline Level of the TDS Noise Cancellation Capability Pyramid, ranking near the top of that tier. The current “pinnacle” model remains the AirPods Max 2.
Connection & amp; Battery
In terms of signal stability, as a device equipped with LDAC, we conducted subjective signal tests in both modes.
With the Priority on Stable Connection / Best Effort mode enabled and connected to the standard test device, the Xperia 1 V, packet loss and dropouts were minimal regardless of whether WLAN was on or off. Even at a distance of 9 metres with a load‑bearing wall in between, there was no noticeable increase in stuttering. Packet loss and stuttering only became apparent when the distance exceeded 9.5 metres with a wall in between.
With the same device, we switched to Priority on Sound Quality mode at 990kbps. In signal‑dense areas, enabling LDAC sound quality priority occasionally resulted in stuttering, with no significant change when WLAN was turned on. When both a wall and WLAN were present, stuttering and packet loss began to affect playback beyond 7 metres.
After switching to AAC, the test results on the Xperia 1 V, iPad mini 7, and iPhone 14 were sufficiently stable, regardless of WLAN status, with smooth signal performance maintained at a considerable distance.
Overall, as an LDAC headphone, its baseline signal performance is nothing to worry about. For daily use or commuting in non‑signal‑dense areas, we recommend using the Adaptive Bit Rate / Priority on Stable Connection mode. For stable indoor use or in consistent environments like high‑speed trains or flights, you can also choose to enable sound quality priority mode when appropriate.
In terms of latency, as there is no dedicated game mode, we tested it in normal use — with LDAC codec in signal‑priority mode connected to the Xperia 1 V, for both streaming and local video playback. The latency was roughly within half a syllable of normal speech tempo, which is adequate for basic video viewing. When connected via LE Audio LC3 to the same device, latency was even better, and performance in non‑FPS and non‑rhythm game scenarios was also improved, though LC3 cannot be used simultaneously with many sound‑related features.
Multi‑point connection is still supported. We tested switching between the Xperia 1 V and iPad mini 7 — devices with different codecs and operating systems — and the transition was smooth, with no conflicts with LDAC. Sony’s own audio handover feature is also supported.
In terms of battery life, the rated continuous playback time is up to 24/32 hours (with ANC on/off). As this is an over‑ear headphone, we did not run our standard battery test. For charging, PD support works normally, with a stable charging rate of approximately 5.7W in our tests, which is quite fast. It also supports quick charging — 5 minutes of charging provides 1.5 hours of playback — and can be used in emergency mode with AAC codec while charging.
Spatial Audio & Background Effect
The WH‑1000XX naturally supports spatial audio content in the 360 Reality Audio format. When listening to 360RA sources after proper measurement, the soundstage is reproduced with good accuracy, with only an extremely mild sense of compression in the rear sound field — though this does require native support from the source content. Android spatial audio, however, conflicts with LDAC. The head‑tracking response is slightly more delayed compared to Apple’s ecosystem, but the accuracy is close to Apple’s level, though compatibility ultimately depends on the phone itself, as it relies on Android Head Tracking.
Previously, in the audio settings of Xperia phones, you could find a feature called 360RA Upmix, which essentially performs a spatial audio rendering of stereo sources in line with the 360RA definition. This time, Sony has integrated this feature directly into the 1000XX headphones, and it has been given an unprecedentedly high priority — similar to the Extra Bass / ULT mode buttons on the bass‑focused series, now with a dedicated physical button located at the rear end of the left earcup.
The feature offers three modes. In Music mode, it does give stereo music a more spherical spatial presentation positioned in front of you, but it also blurs the clarity of imaging, adds more low‑frequency reverb, and slightly emphasises the upper midrange. The Movie and Game modes follow a similar tonal direction — Movie mode further thickens and pushes the sound further away — but with different spatial rendering approaches. Personally, I don’t recommend using the Upmix feature for long‑term music listening, but it can be quite interesting for certain movie or game scenarios. We also mentioned in an RKTALLK episode that we noticed a high‑engagement tweet on Japanese social media where someone found the 1000XX to sound “muffled” during an in‑store demo. My guess is that they had Music Upmix enabled — and that mode is not necessarily suited to traditional stereo music enjoyment. So, when you’re demoing the headphones, be sure to switch to the standard mode before forming your impression.
On a related note, the Background Effect feature, which was first introduced with the LinkBuds Open, is also present here with the same three levels. As before, we’d recommend trying the Café setting — its environmental realism is now very close to that of the LinkBuds Open.
Driver, Sound Modes & Codec
The 1000XX is equipped with a 30mm unidirectional carbon‑fibre diaphragm dynamic driver. It continues Sony’s recent practice of using slightly smaller diameter drivers in wireless over‑ear headphones, but introduces a new diaphragm dome material. This driver still features a flexible surround, and beneath the diaphragm, a perforated dynamic air pressure ring has been added. Supported codecs include SBC, AAC, LDAC, and LC3, with good support for DSEE Extreme as well.
In the app, in addition to the six standard presets, the custom equaliser has been upgraded. You can now adjust ±6dB across ten frequency points. This time, active listening descriptions have been added for the six presets, helping entry‑level users quickly find the option that best suits their needs. The “Find Your Equaliser” feature is also retained.
With an impedance of 48Ω and a sensitivity of 103dB/mW, the WH‑1000XX still requires the unit to be powered on for wired connections, as it relies on the internal amplifier circuitry and DSP. So there’s no need to worry about driving power — even when connected to a phone’s headphone jack, it delivers sufficient loudness and fullness. In wired mode, its sound quality outperforms that of LDAC wireless playback, with more detailed mid‑ and high‑frequency information. In my personal opinion, its wired performance is the most impressive of any 1000X series product to date. On the other hand, based on our comparisons across multiple listeners and devices, the 1000XX is also the Sony ANC headphone that shows the most noticeable difference between various LDAC source devices, and its driver performance is the only one that clearly sits a tier above the rest — rivalling many small‑diameter wired dynamic headphones at similar price points. We highly recommend 1000XX users to try wired connections to fully unlock its sound quality potential. If USB‑C direct digital input were added in the future, that would make it even more convenient.
Sound Description
Based on LDAC codec with sound quality priority, equaliser and spatial audio turned off, standard mode, DSEE set to auto, and noise cancellation off.
Based on LDAC codec with sound quality priority, equaliser and spatial audio turned off, standard mode, DSEE set to auto, and noise cancellation off.
Bass quantity is moderate, with thickness and fullness kept in check. Elasticity is good, and sub‑bass extension is decent. Attack and decay are moderate, with not much lingering reverb. The sense of bloom and richness in atmospheric rendering are both low. The bass on the WH‑1000XX is arguably the most restrained among all previous 1000X over‑ear headphones—almost at the level of the MV1 or M1 in terms of bass restraint. It maintains a fairly good amount of information and a relaxed texture, without being overly aggressive or leaning heavy and diffuse, which makes the overall sonic foundation healthier and more balanced compared to earlier 1000X models. Instruments with fundamentals in the lower midrange do not exhibit any noticeable forward projection.
In the midrange, vocal positioning is moderate, with a generally standard mouth size and sufficient refinement, without any unnatural emphasis. The presentation slightly prioritises vocal texture over definition of note outlines, with moderate thickness and a certain degree of definition of note outlines that is focused but not overly prominent. There is no strong bias toward male or female vocals, and it accommodates a relatively wide range of voice types, with a solid presentation that is not overly engaging. Grain is polished, and smoothness is excellent. The tonality has an extremely slight hint of warmth, remaining largely neutral—though still slightly more coloured than the MDR‑M1, it does not affect judgement, and it is indeed closer to the marketing claim of “faithfully reproducing the artist’s intent” than the XM6. Laryngeal placement is generally standard, and breath sounds come across as sufficiently rich. Mouth sounds are not overly forward, and sibilance is very minimal, polished smooth. The vocal frequency range is transparent without any artificial brightening.
For instruments, most lean slightly towards texture over definition of note outlines. Among string instruments, the violin, viola, and guitar have appropriate thickness, with the details of bowing and plucking rendered with much greater solidity than on the XM6—clear but not overly engaging. The cello has a full-bodied yet relatively taut imaging, occupying a moderate proportion of the soundstage. Brass instruments have a decent sense of presence, and instruments like trumpets that require brightness have a fitting, unconstrained brilliance. Woodwinds exhibit good airiness, with sufficient naturalness—never sounding strained despite the 30mm driver. The harmonics also offer first‑class naturalness among wireless headphones. Among percussion, the kick drum has a moderate presence, and the snare decays at a comfortable pace. Cymbals have appropriate brightness, with no harshness or metallic character spilling over.
Overall treble brightness is moderate, with a high degree of smoothness. It maintains the layering and treble quality expected of a product in this class, without being overly bright or dense. Treble extension has improved notably over the XM6, with roll‑off that is slightly fast but not premature.
The soundstage is quite well‑behaved—not particularly large in scale, but with similar width and depth, clearly defined boundaries, and no evident hollowness or the typical “barrel effect” of closed‑back headphones. Combined with a moderate sense of “height,” the 1000XX presents a near‑spherical space. Separation between vocals and instruments is good, though without being overly detached, and overall coherence is excellent. Resolution is among the best for a reasonably priced Bluetooth headphone, with a clear step up in information compared to previous 1000X models—yet without any excessive “analyticalness,” maintaining excellent long‑term listenability. Dynamics are moderate, and transient response is respectable.
In wired mode, the 1000XX sounds even more transparent, with a slight emphasis on definition of note outlines, and both dynamics and sub‑bass extension are better realised. Even when connected directly to the Xperia 1 V’s headphone jack, the improved driver performance is clearly noticeable. After direct comparison, we can confidently say this: the WH‑1000XX’s driver has considerable potential. Even though wired listening requires the internal amplifier and DSP to be active, it is still worth considering pairing it with a decent source. Under identical conditions—using the stock cable connected to the Xperia 1 V—it actually outperforms both the AirPods Max 2 and the Aonic 50 Gen 2, while still maintaining excellent tonal balance without sounding dull or lifeless.
Overall Impression
The WH‑1000XX is currently my personal favourite Sony wireless product, bar none. We generally don’t emphasise personal preferences in TDS REVIEWs, but its level of completeness does justice to the 1000X 10th‑anniversary legacy. From build quality, comfort, controls, signal performance, and smart features, to the core noise cancellation of the 1000X series, the WH‑1000XX has no significant weaknesses. Of course, its ultimate noise cancellation depth is no longer the absolute best on the market, but its overall ANC experience still places it comfortably near the top of the first tier.
What surprised us the most, however, is its sound quality. Under LDAC, it is extremely restrained and easy to listen to—no muddiness, no looseness, no overwhelming bass, and no “over‑processing.” In wired mode, the driver’s true quality becomes apparent. If the MV1 and M1 are proof that Sony hasn’t forgotten the monitoring series, and the WF‑1000XM6 and LinkBuds series are the pathfinders for Sony’s “new neutral” tuning, then the WH‑1000XX shows that the relatively balanced and faithful tonal direction we’ve observed in recent Sony headphone releases is no accident—it is the result of careful thought and planning. As a Sony fan, I’m genuinely glad to see the tuning team’s aesthetic getting back on track. However, whether the market will prefer this more faithful approach, which music creators might appreciate, or the bass‑heavy pop‑oriented sound Sony has leaned towards in recent years—I honestly don’t know.
Every time I pick up the WH‑1000XX and adjust the headband length, the tactile feedback takes me back to the afternoon over a decade ago when I first saw the A8, while the sound reminds me of the moment I first heard the MV1 a few years ago. The next question is whether the newly announced IER‑M500 can live up to the legacy of the EX800ST.
KingTsui, TDS Studio.
July 2026
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Source: TDS Audio Experience
