Don them and comfort can be found easily, with the 320 gram cans a little heavier than the headphones we’re used to seeing here, but a design that encompasses most ears without putting too much stress or weight on them, which is always a good thing.
Oppo is also relying on a standard cable type with the PM-3, and that delights us considerably, with 3.5mm replaceable cable here, of which two can be found in the box: one measuring a fairly comfortable pocket to headphone length of 1.2 metres, and one that goes the extra distance when you’re at a desk or near an amp with 3 metres offered.
We didn’t find a microphone on the cable that was supplied to us, but thanks to Oppo keeping the 3.5mm jacks standard on each end, we were easily able to replace it with one of our own with no problems, meaning if you have a cable with a microphone and remote, it wil likely work here, too. Fantastic.
With the cable good to go, it’s time to check out some music, which allowed us to switch to our 2016 playlist a little earlier, and this has us starting with a bit of electronic music.
Imogen Heap’s “Headlock” was clear and bright, detailed as every beep and book was made by the electronic keyboard on a repeating pattern in the end, bringing to a full crescendo as the chorus kicked in, revealing a full and detailed recreation of the electronic pop track.
Bass wasn’t on full here with the mids and highs taking point, but through to the wordless chorus, you could still feel a punch from the bass, though it isn’t the strongest element.
Demi Lovato’s “Cool For The Summer” was next, and the more modern club track provided more punch, as it’s engineered for today, and again the mids and highs took control, though the bass was still there, with enough sharp attack from the low end to still be enjoyable.
The same dominance from the treble sounds could be heard on The Weeknd’s “Can’t Feel My Face”, just as it could on the club track “Get Lucky” from Daft Punk, though in each of these there was more push to the bass, with rounded sounds that you could just feel.
Already at this point, we have the feeling that the Oppo PM-3 are bright cans, but still detailed and well spaced, while providing a level of comfort and design that won’t make you look like an idiot as you walk down the street, as can be the case with large headphones.
R&B and soul were next, starting with Mark Ronson’s “Uptown Funk” which revealed separated instruments and vocals with clear detail, and again, just enough thwack to feel the bass drum and electric bass line as it was being pushed out.
In fact, the lack of heavy bass was something we continued to pick up in Michael Jackson’s “Billie Jean” and Marvin Gaye’s “Ain’t No Mountain”, both of which sounded excellent and well reproduced through the PM-3 cans, but lacked immense strength in the bottom end.
Instead of overwhelming bass, however, Oppo seems more intent on recreating a strong balance in the upper end of the spectrum, and that’s fine by us, with a spatial awareness that was throwing us in the centre of the music, not bombarding us with low sounds or decibels, both of which are fine by us.