Sony Electronics announced the MDR-MV1 Reference Monitor Headphones, designed for professional sound engineers and music creators. The headphones combine sound quality with long-lasting wear and reliability. Their open back design enables accurate reproduction of a wide sound field, making them a suitable option for mixing and mastering immersive spatial sound, such as 360 Reality Audio, as well as stereo sound with hi-resolution capability.
“With the rise in spatial sound and high quality streaming music services, we are seeing a professional demand for headphones that can adaptably address and enrich all of these immersive production needs,” said Andy Munitz, Sr. Product Manager, Sony Electronics. “Sony’s deep heritage in audio is on display with the introduction of the MDR-MV1, a flexible and stylish new option for studio or home use. The headphones prioritize comfort, showcase Sony’s craftsmanship and provide long-term durability while offering sound engineers the ability to accurately reproduce sounds, as the artist intended them to be heard.”
Sound Characteristics
The MDR-MV1 offers extended spatial sound reproducibility and accurate sound object positioning within a 360-degree space, as well as clear, hi-resolution, nuanced sound with a super-wide frequency range and accurate soundstage. The headphones’ uniquely developed driver units provide ultra-wideband playback (5Hz – 80 kHz) with natural high frequencies. This makes it easier for professionals to capture localization, spaciousness and detailed changes in sound processing. The open back structure of the headphones reduces internally reflected sounds and eliminates acoustic resonances while accurately reproducing natural, rich spatial information and sounds. These robust features support their use in professional mixing and mastering environments while accommodating audio engineers’ highest standards.
Comfort and Design
Engineered with comfort in mind, the MDR-MV1 feature breathable earpads and are intentionally lightweight, soft and fitted to provide a pleasant wearing experience, even after hours of use. The MDR-MV1 includes a high quality replaceable, detachable cable with machined aluminum connectors and a stereo mini-jack adapter for ease of use in a professional setting.
“To create great listening experiences for streaming and immersive audio, it’s important for artists and studio professionals to have sound equipment tuned for these technologies,” said Mike Piacentini, Mastering Engineer, Battery Studio, Sony Music Entertainment. “The MDR-MV1, developed by Sony’s Headphone Engineering team in collaboration with Sony’s Music engineers, provides creators mixing both in studios and at home with a new reliable reference point for modern sound design needs.”
The MDR-MV1 will also work seamlessly alongside Sony’s just announced 360 Virtual Mixing Environment (360VME) service to free creators from space constraints and heighten reproduction abilities from virtually anywhere. The open back headphones are planned to be available in April 2023. See the new model showcased at NAMM 2023 in Anaheim, CA in Sony’s booth, #15721, in the Pro Audio Hall.
Sony’s On Again – Off Again Support of the Audiophile Community
Sony is one of the most recognized and influential consumer electronics brands in the world, with a history that spans everything from transistor radios and televisions to gaming consoles and film studios. In the world of audio, Sony has long had the engineering talent, the R&D muscle, and the brand equity to be a dominant player in the audiophile market. And at times, it has been. But Sony’s relationship with the audiophile community has always been inconsistent—marked by moments of innovation and engagement followed by long stretches of retreat or indifference.In the 1960s and 1970s, Sony helped define what home hi-fi meant for an entire generation. With components like the TA series amplifiers and ES (Elevated Standard) line, the company built integrated amps, tuners, and receivers that competed favorably with more traditional hi-fi brands. These products weren’t boutique, but they were solid, musical, and built with an attention to detail that earned them a spot in serious listening rooms.By the late 1970s and into the early 1980s, Sony doubled down on its commitment to the high end with its ES (Elevated Standard) line. Components like the TA-N77ES amplifier and the matching preamps and CD players gave the company real credibility with audiophiles who typically shied away from big-box brands. Sony ES gear had excellent build quality, real copper chassis, and a sonic presentation that leaned toward clean and accurate rather than overly warm or colored. For a while, Sony was spoken of in the same breath as names like Yamaha, Denon, and even Luxman.Then came Sony’s biggest move into the digital world: the Compact Disc. Sony, alongside Philips, co-developed the CD format, and the 1982 launch of the CDP-101—the world’s first consumer CD player—was a major milestone. The audiophile community was skeptical at first, citing coldness or sterility in early digital playback, but Sony stayed the course. Over time, their digital products got better and better. High-end CD players like the CDP-X707ES and later models from the ES line became benchmarks for digital playback.But just when Sony seemed poised to solidify its role in the audiophile market, it often backed away. As the ’90s progressed, Sony began chasing mass-market appeal, and the ES line became less prominent outside of Japan. Newer products often leaned more toward home theater or “lifestyle” features, and serious two-channel listening began to feel like an afterthought. Audiophiles moved on to smaller, more focused companies that still prioritized analog circuitry, low-noise design, and component-level detail.In the early 2000s, Sony tried once again to win back the audiophile crowd with the introduction of SACD (Super Audio CD), a high-resolution format that promised better fidelity than standard CDs. Technically superior in many ways, SACD never gained widespread traction—partly due to lack of content, partly due to DRM restrictions, and partly because of Sony’s own inconsistent messaging. While some of Sony’s SACD players were excellent—like the SCD-1 and SCD-XA777ES—they were released into a market that was already beginning to shift toward computer-based audio. Once again, Sony was early, but not in sync with where the enthusiast community was heading.Sony also ventured into high-resolution portable players, most notably with the return of the Walkman brand in the form of high-end digital audio players like the NW-ZX2, NW-WM1Z, and NW-WM1A. These devices were built with audiophiles in mind: solid metal chassis, discrete analog sections, and support for formats like FLAC and DSD. In Japan and select overseas markets, they did well. But outside of niche communities, the idea of a dedicated music player struggled to regain traction in the era of smartphones. Sony’s commitment to these products fluctuated year to year, and while new models still appear, they often arrive with little fanfare in the West.More recently, Sony has leaned into headphones, where it has found commercial success but again an uncertain standing with audiophiles. The WH-1000XM series is lauded for its noise cancelling and convenience, but it’s not targeted at the high-end listener. Meanwhile, more expensive models like the MDR-Z1R aimed for audiophile credibility, but divided the community with their voicing and price-to-performance ratio. Sony has also produced impressive DAC/amp combos and desktop components under its Signature Series line, but these remain relatively obscure compared to brands with deeper ties to the audiophile customer base.The issue has never been Sony’s engineering. They have the resources, the talent, and the technical ability to compete with or surpass many boutique high-end brands. But the company’s audiophile efforts often feel like isolated projects rather than part of a coherent, long-term strategy. Products come and go, lines are discontinued, and support can be uneven depending on the region.Sony’s support of the audiophile community has always been a bit like its music itself—at times thrilling, at other times frustratingly elusive. For listeners who care about sound quality, Sony remains a company to watch, but never one to count on for consistency in the high-end space.Whether Sony will reengage more seriously with the audiophile world in the future remains to be seen. But if history is any guide, they’ll be back—eventually. Just maybe not for long.
