The 007mk1, or Omega 2 as some people call it, is somewhat of a legend in the audiophile community. Many people have claimed it to be one of, if not the, greatest headphones ever made. That’s quite the claim, especially since this headphone is no spring chicken. The original 007 came out around 1998. As of writing, that makes this headphone about 27 years old—older than me! After all these years, do the claims of it being “the best” really hold up?

The 007mk1 was the first time that Stax really decided to make a well-built and classy-looking headphone. One could argue the original Omega should hold that claim, but I would argue that, given the terrible plastic headband look, it has to go to the 007mk1. The original has a brown theme going on, while all the new and modern 007s have a black tone to them. I far prefer the brown and wish they would at least offer a choice between the two.

The headband design is great when new, but after all these years, the headbands have worn out. That’s the downside of using an elastic headband mechanism.

The carrying case that comes with the 007mk1 really inspired a lot of companies to do the same decades later. I would argue that Audeze’s cases were inspired by the 007’s carrying case. It’s a great box and makes moving the headphone around a breeze.

As far as comfort is concerned, the 007mk1 is not the best unless you swap the pads for new ones and change the headband. By now, the pads have lost their fluff and the headband is far too stretched. I’ve tried the modern 007s, and they are super comfortable, so I would imagine this one is no different given a change in parts. Don’t get me wrong, the comfort isn’t bad—it just isn’t great compared to what I know it could be after all these years.

As far as headphones go, the 007mk1 may be one of the most influential on the headphone market. It’s said that Audeze’s house sound was inspired by this headphone—meaning the company not only took inspiration for the box design, but also for the sound. I wouldn’t say they fully succeeded in that goal with the LCD-2, but it’s still really cool to know that one of the most famous companies in audio today was heavily inspired by the 007mk1.

The 007mk1 uses a pair of 70 mm electrostatic drivers. Let’s break down some of the details:

Diaphragm – Ultra-thin PET (Mylar) film with a gold conductive layer, tensioned for balanced bass and speed. At ~1.35 µm, it’s thicker than the 009/X9000, trading a bit of speed for richer body.

Electrodes (Stators) – Perforated stainless-steel plates with smaller open-area ratios than newer Stax, smoothing treble but slightly reducing top-end sparkle.

Bias & Drive – +580 V DC bias with push-pull signal applied to the stators.

Housing – Deep, sealed aluminum enclosure with acoustic porting and heavier rear damping than the Mk2, giving deeper bass and a more relaxed treble.

This is known as the “bassy” estat, and I understand why. The 007mk1 has a really good sense of body that something like the L700, for example, just doesn’t have. It has a bass texture that feels so natural compared to almost any other electrostatic headphone. The CRBN is known to be a step above—although I’ve never enjoyed its sound in show demos.

The crown jewel of this headphone is the vocals. I would go as far as to say that the 007mk1 probably has the best-sounding vocals I have ever heard out of any headphone or IEM. They just sound correct. 

That’s the best way I can put it—it sounds exactly how it should to my ears. Vocals are more forward than something like an L700 or your average HiFiMAN headphone, but nothing I’d call shouty. If you prefer a far wider presentation, you may find the vocals a tad too close. Some complex tracks can come off as slightly claustrophobic for some, while others may find them perfect.

The treble on this headphone may be a slight shock to people used to other electrostatics. Yes, in the air regions this would still be considered bright by some. But the lower treble is recessed. To my ears, this isn’t as much of a problem as I expected. It’s a darker headphone, no doubt, but nothing I would call muddy or undetailed. All the details you want are there—just presented more gently than on something like the 009. The main issue you may find is past 10k; on some tracks, it can get a bit spicy, as Stax headphones tend to emphasize these regions. This can lead to some fatigue over time. That said, I’d call these the least fatiguing Stax headphones I’ve tried, outside of the Sigma (which is far too dark).

The soundstage is much smaller compared to something like the 009, X9000, or even L700. It’s not very wide, but it has great depth. The best way I can describe it is that you feel like you’re in your own personal room—it’s more “in your head.” The L700, on the other hand, offers a much more open and airy experience. There are pros and cons to both. Some argue the 007mk1 is more “correct” because it avoids an unnaturally diffuse sound. I think it comes down to personal preference and your music choices.

After spending time with the 007mk1, I can confidently say I understand why so many people call this headphone legendary. For its age, it sounds amazing. The bass competes more closely with planars than with other electrostatics, and it has some of the best vocals I’ve heard on any headphone. Without EQ, it may be one of the best I’ve ever heard. The frequency response graph might suggest otherwise, but to my ears, it’s fantastic. If you can pick these up for under $1,500, you should—you’ll be treated to a wonderful experience.

Aside from the sound, another thing that makes these legendary is their infamous power requirement. I’ve tested mine on the 252S, 323S, and a modified T1S from Birgir. The extra power from the T1S made a difference, which surprised me—I usually don’t believe most amplifier or DAC changes, but here it was noticeable. The 252S just didn’t cut it, and the 323S sounded too dull to my ears. I’ve been told that big-name amps like the Blue Hawaii, KGSSHV, or Carbon really make them sing, but I currently have no interest in spending that kind of money for what I imagine would be minor improvements. If I ever get to compare directly and find a major difference, I’ll consider it.

Both share a “7” in the name—albeit flipped—and they feel like opposite headphones from the same company. The 007 is more up-close and personal, hitting harder, while the L700 is wide and airy, often called “ethereal.” Many people initially prefer the L700’s unique presentation, but after ten minutes or so, they start to prefer what the 007mk1 offers. It may not wow you instantly, but given time, you’ll see why it’s more legendary. Still, if you prefer a wide, open, airy sound, the L700 may be the better fit. For anything else, the 007mk1 feels like the better headphone.

Winner: Stax 007mk1

Audeze was heavily inspired by the 007mk1, though the LCD-X and 007 sound quite different. The 007mk1 has a better-tuned stock sound in my opinion, though I also love the LCD-X stock tuning (many don’t). More people seem to prefer the 007mk1’s stock tuning in A/B tests. The LCD-X takes EQ better than the 007mk1—it can slam extremely hard—whereas the 007mk1 either needs a much bigger amp or is limited by the electrostatic driver’s air-moving capability. Still, I’ve gotten the 007mk1 to slam as hard as I’d realistically want.

Winner: Stax 007mk1

The Sigma is another legendary headphone, and one I find fun to use and photograph. Its unique driver positioning gives it a special presentation. That said, for most music, the 007mk1 is more impactful and resolving, with better bass, vocals, and detail retrieval. The Sigma does have a wider and more interesting stage for certain ambient tracks, and I’ll give it credit there. Still, as a daily driver, the 007mk1 is the clear winner.

Winner: Stax 007mk1

Type: Push–pull open-back electrostatic “earspeaker”
Driver Diameter: ~70 mm
Diaphragm: ~1.35 µm PET (Mylar) film, gold-sputtered
Stators: Symmetrical perforated stainless-steel plates
Bias Voltage: 580 V DC (Pro bias)
Capacitance: ~110 pF (including cable)
Impedance: ~170 kΩ @ 10 kHz
Frequency Response: 6 Hz – 41 kHz
Sensitivity: ~100 dB / 100 Vrms @ 1 kHz
Housing: Machined aluminum, deep sealed cup with acoustic porting
Cable: Fixed, 2.5 m, low-capacitance PC-OCC copper, 5-pin Stax Pro connector
Weight: ~365 g (without cable)
Production Years: ~1998 – 2007