I feel like in the last few years we’ve been spoiled in this hobby. Back in 2007 you had a handful of solid wired options—and “wireless” basically meant a really long cable. It’s funny now how we audiophiles used to mock Beats by Dr. Dre. They did sound bad, sure, but they did convince regular folks to pay more than $100 for headphones. After Apple bought them, the market exploded and other headphone producers had to level up, but also benefited from a larger market. Mass adoption isn’t always pretty at first, but it moves the needle.
There’s a lesson here. From my personal and professional experience, it’s much easier to roast something—or fixate on what’s wrong—than to keep an open mind, find the good, and imagine how it could evolve. Take that approach and you’ll spot more opportunities—and you’ll probably be happier, too.
Coming back to the present, I’m impressed by how many good choices we have. I never suspected we’d carry such great sound with us at all times in our pockets, purses, or backpacks.
The Bowers & Wilkins PX8 S2 sits squarely in that category—one of the good ones—and it made me think about how far this industry has come in the past 18 years.
Intro
The first thing that hits you is the design and build. PX8 S2 looks and feels premium—no caveats. It’s leather and aluminum done right, not just for show but for comfort too. In terms of materials and finish, only the Mark Levinson No. 5909 really plays in the same league for me. If you’re into “plastic fantastic,” these will disappoint you—in the best possible way.
Specs
Size & weight
- Weight (Headphone)0.31 kg
- Dimensions (Carry Case)177mm (w) x 60mm (d) x 234mm (h)
Technical Details
- Drive units2 × ø 40mm dynamic full-range carbon driver
- Technical featuresHigh performance DSP with dedicated amplifier/DAC
True 24-bit audio connection
5 band customisable EQ + TrueSound™ mode
Bluetooth 5.3 with aptX™ Lossless technology
Multipoint connectivity
Active Noise Cancellation (ANC)
USB-C charging and audio interface
Fast charging support
Apple MFi Made For iPhone support
Google Fast Pair - Wearing styleOver-ear Noise-Cancelling Headphones
- Bluetooth codecsaptX™ Lossless
aptX™ Adaptive
aptX™ HD
aptX™ Classic
AAC
SBC - Microphones8 mics total
4 mics per earcup - Voice Call Quality AlgorithmADI Pure Voice
- Battery life & charging30 hours playback, 15-minute charge for 7 hours playback
- Accessories1.2m USB-C to 3.5mm stereo jack audio cable
1.2m USB-C to USB-C cable
Carry Case
Finishes
- FinishesOnyx Black
Warm Stone
Video Review
Sound Quality and Listening tests
Most test were done by using them with the usb-c to bypass any Bluetooth/streaming limitations. Also bare in mind that I haven’t used the eq and you can actually tune the sound to your liking. I did play around with the EQ from the iphone app and I can say that this helps a lot to tune the headphones to get the sound you prefer. In my case I quickly found something that I liked. Easy to play with and tune it to your liking.
I haven’t extensively tested the ANC performance, because I am not usually wearing the headphones in loud environments, but for my needs in an office environment, or at home the anc on the PX8S2 is doing a good job for me. Here where I think it sits compared to the others in ANC performance.
ANC: where PX8 S2 sits (practical tiers)
- Tier 1 (strongest overall): Sony WH-1000XM5
- Tier 2 (very good): Mark Levinson No. 5909.
- Tier 3 (good): Focal Bathys ≳ Bowers & Wilkins PX8 S2.
- Tier 4: Older PX8 (S1).
PX8 S2 is good at steady low-frequency noise (engines, HVAC) and daily office hum, but it won’t match the wideband hush and wind handling of Bose/Sony. Versus AirPods Max and 5909, S2 cancels a bit less overall; versus Bathys it’s similar or a touch behind depending on fit and environment. It’s a clear step up from the original PX8.
Stan Getz, Oscar Peterson Trio – I want to be happy
This track lives on space, timing, and that smooth sax tone. On the PX8 S2 the background is pitch-black, so every instrument stands out like stars on a clear night. Piano notes are clean and gentle, not sharp. Getz’s sax has air and life without turning hazy. Cymbals shine but don’t splash. The whole song feels open, natural, and effortless—like sitting in a small jazz club after closing time.
A funky groove with horns and a strong bass line needs both power and control. The PX8 S2 gives deep, fast bass that hits hard and stops on time. Vocals stay clear even when the mix gets busy. Guitars and synths keep their shape and don’t blur. It’s energetic and tight—the kind of track where your head starts moving by itself.
Johnny Cash – The man that comes around
Late-era Cash is all about voice and room. Here his voice sounds full and natural, with texture you can almost touch. Consonants are clear but never harsh. The guitar has body, not only string sparkle. Some headphones add more “zing” to the plucks, but the PX8 S2 keeps things musical but still engaging, perfect for long sessions without fatigue.
This one clicked instantly. Hanne’s voice is natural, detailed, and soothing, like warm light on a winter afternoon. The bass is a little elevated by default, but it stays very clean, layered, and controlled, supporting the song without covering the midrange. Guitars have the right amount of bite to keep the rhythm alive. A beautiful, comfortable listen that invites you to stay.
Oh man…so much fun…. Yes, we have lots of bass, but lots of AWESOME bass. It hits hard, it pushes you and pulls you with each note, it drags you around in all directions. It’s very well controlled and detailed. The song was overall like a shot of energy.
In classical music, “sharp” treble isn’t always real detail—and it’s not what I’m after. I want a 3D, holographic stage, with instruments that sound alive and natural, so the whole performance feels like one musical picture. That’s exactly what the PX8 S2 delivers here. Violins have fine texture without turning thin, trumpets carry weight without glare, and the rest of the orchestra keeps its own color. The soundstage is wide and tall, and imaging is confident, so sections sit in clear places. It feels organized, vibrant, and musical—clarity without harshness.
Queen – We will rock you (2011 remaster)
The stomp-stomp-clap should feel physical, and here it does—like real floorboards moving. The layering is excellent: Freddie is clear in front, the choir sits behind him with believable space. It creates a small “I’m there” moment, and it does it without using extra brightness.
Summary
Bass
Deep reach with clean authority. Sub-bass extends low and stays composed even when pushed (think Infected Mushroom – “Spitfire”). Kicks and synth lines hit hard then stop cleanly, giving slam without smear (Muse – “Panic Station”). Weight is layered, not bloated—you feel the impact and the note shape. At higher volumes the low end remains tight and unfuzzy, preserving separation in busy passages.
Midrange
Natural body and lifelike presence. Voices sit forward in a believable way—full, textured, and calm (Johnny Cash – “The Man Comes Around”; Hanne Boel – “Holy Grail”). Guitars and piano carry wood and weight, not just edge, and phrasing comes through without shout. The overall midrange feels musical and humane, which supports long listening without fatigue.
Treble
Smooth yet still detailed. Cymbals shine but don’t splash, and string sheen stays clean, not glassy. There’s enough top-end air for detail retrieval, yet the PX8 S2 avoids the sharp treble “fake detail” trap you called out—clarity without harshness (evident on jazz rides and classical brass/strings).
Soundstage
Open and quietly holographic. For a closed-back wireless, the stage feels wider and deeper than expected, with convincing height. Orchestral works (Tchaikovsky – 1812) keep their layers organized rather than collapsing into a blob. Live/room cues create small “I’m there” moments (Queen – “We Will Rock You”).
Transients / Tactility / PRaT
Quick onsets, firm grip, and surefooted rhythm. Attacks are snappy and tactile—pluck, pick, and kick drums land with physicality—and decays clean up on time, so grooves lock in. That start/stop precision helps complex electronic lines stay readable while keeping head-nod energy.
Tonality
Euphonic and balanced, music-first. A touch of warmth down low anchors the presentation; mids sound natural, and treble stays clean and smooth. Nothing feels carved out or hyped. It’s the tuning that lets you play jazz trios one hour and electronic bangers the next without touching EQ.
Imaging
Stable placement and clear layering. Lead vocal, guitars, and rhythm section hold solid, repeatable positions. Inner parts stay distinct in dense mixes; section-to-section handoffs in orchestral pieces are easy to follow. The result is organized space rather than left/right piles.
Transparency / Background
Dark backdrop that lets detail breathe. Especially over USB-C, the background feels black and quiet, so low-level textures and room reverb tails emerge naturally (Stan Getz & Oscar Peterson – “I Want to Be Happy”). This low noise floor supports the sense of separation and the relaxed, unforced clarity you noted.
Details
High resolution without harsh edges. Fine nuances—breath on a vocal, guitar body resonance, reverb tails—come through clearly and calmly. Micro-textures (string scrape, cymbal shimmer, piano hammer noise) are resolved without turning brittle. The quick, tidy transients reveal inner lines while the smooth treble keeps long-term listening comfortable.
Measurements
Frequency Response (FR)
- Gentle sub-/mid-bass lift that should translate to deep, punchy, controlled bass rather than bloat.
- Smooth downward tilt through the mids with a presence rise around ~2–3 kHz—typically good for vocal clarity and guitar definition without sounding thin.
- Dips near ~3.5–4 kHz and ~6 kHz with peaks around ~5 kHz and ~8–10 kHz. This balance usually reduces glare while keeping edge and air, supporting long, low-fatigue listening with still-present detail.
Total Harmonic Distortion (THD)
- Roughly ~0.05–0.2% across most of the band at ~85 dB, with the usual rise in the deep bass (<40–50 Hz).
- Such values indicate clean mids/treble and tight bass impact without audible fuzz at normal listening levels.
Spectrogram / Decay
Slightly longer energy around ~2.5–3 kHz (presence) and ~8–10 kHz (air), matching the sense of clarity, texture, and sparkle without harshness. Quick, even decay across lows and mids; no broad, lingering resonances—consistent with a dark background and good separation.
Notes & Caveats
Graphs are a guide; the listening impressions remain the best indicator of how the tuning presents in music. Measurements were taken on miniDSP EARS, which is not a professionally certified measurement system (e.g., GRAS/Brüel & Kjær HATS) and isn’t the most accurate tool for absolute values—especially above ~8 kHz. Use these graphs for trends and comparisons, not lab-grade absolutes.
Seal, pad compression, and coupler compensation can alter the exact shape of the response; treble >8 kHz should be treated as indicative, not definitive.
Unit variation and DSP/ANC modes may shift results slightly.
Now, because the EQ from the app does not clearly specify what frequencies it will affect, I have measured each fr band at -6db, 0, + 6 db. I hope this will help you understand how to tune your sound in whatever direction you want, especially if you want to make it sound a bit more linear.
Short Sound Comparison to PX8
Objective Measurement interpretation
Frequency Response (miniDSP EARS)
- Bass (20–150 Hz): PX8 S2 (green) sits a few dB higher → slightly stronger sub/mid-bass with more weight and slam.
- Lower mids (200 Hz–1 kHz): S2 trends ~1–2 dB up → a touch fuller body without obvious bloom.
- Presence (≈2–3 kHz): S2 shows a clearer rise around ~2–2.5 kHz while PX8 dips more near ~3 kHz → clearer vocals and guitar definition on S2.
- Upper mids / lower treble (≈3.5–5 kHz): Both dip; S2’s notch ~3.8–4 kHz is deeper, followed by a small 5 kHz peak → glare control with preserved edge.
- Treble/air (≈7–10 kHz): S2 shows more energy → a bit more openness/air.
Note: EARS is less reliable above ~8 kHz; treat as trend, not absolute.
Total Harmonic Distortion (THD)
Both behave normally in the deep bass with THD showing better thd on the S2 below 50hz.
Takeaway: S2’s lower, flatter THD supports cleaner bass/mids/treble and the sense of tighter, more controlled impact.
Across most of the band at ~85 dB, PX8 S2 stays low and steady (~0.07–0.2%).
The older PX8 (blue) shows a notable THD rise around ~1.5–2 kHz (visible peak) and a broader lift through the upper mids/lower treble compared to S2.
Now to get to the sound, after listening to both headphones, I can clearly say that the PX8 S2 is a clear improvement in sound in almost all categories.
Sound Subjective Comparison:
- Bass: S2 hits harder and feels tighter and more detailed.
- Mids & vocals: S2 presents clearer textures and better layering; voices sit more naturally.
- Treble: S2 offers more usable detail (sparkle without grain) and lower fatigue.
- Speed & tactility: S2 handles transients with better grip; notes start/stop more cleanly.
- Stage & imaging: S2 sounds more open and holographic, aiding separation and “black background.”
Yes, S2 is a clear winner in my books and it’s not even subtle.
Short Comparison to Mark Levinson 5909
The purple line is the Mark Levinson, and green the PX8S2.
Measurements Objective Interpretation
Frequency Response (miniDSP EARS)
- Overall balance: The 5909 (purple) traces a smoother, more “studio-leaning” downward tilt. The PX8 S2 (green) shows a little more bass weight and a stronger presence bump ~2–2.5 kHz, plus a deeper notch ~3.8–4 kHz and energy again around ~5 kHz.
→ Expect 5909 to sound more linear/clean, and PX8 S2 to feel a bit fuller with more vocal presence. - Bass (20–150 Hz): 5909 sits a touch higher early on but slopes sooner; PX8 S2 holds a low-shelf feel longer.
→ PX8 S2 will read as meatier/weightier down low; 5909 keeps things tight and tidy. - Mids (200 Hz–1 kHz): Very similar, with 5909 slightly leaner/clearer.
→ 5909 tends toward clean separation; PX8 S2 keeps a touch more body. - Presence / lower treble (2–5 kHz): PX8 S2’s rise ~2–2.5 kHz aids vocal/guitar presence, the dip ~3.8–4 kHz reduces glare, and a 5 kHz bump restores edge. 5909 is smoother through here.
→ PX8 S2 = more forward, textured mids; 5909 = even, refined presence. - Upper treble / “air” (7–10 kHz): Both show activity; 5909 looks smoother; PX8 S2 shows sharper features.
→ 5909 = polished air; PX8 S2 = slightly more sparkle bite.
Note: EARS above ~8 kHz is trend only, not absolute.
THD (highlighted trace = 5909)
Both behave normally in the sub-bass with THD rising <40–50 Hz.
Takeaway: Both are clean; 5909 has the edge in measured cleanliness.
5909 holds consistently low THD (~0.07–0.18%) across most of the band at ~85 dB, with a very flat mid/treble profile.
PX8 S2 also measures low overall, but shows slightly higher distortion in parts of the mids/upper-mids compared to 5909.
Subjective Interpretation
Out of the box, the Mark Levinson 5909 is the more linear choice. It sounds balanced and clean, the kind of presentation many would call “correct.” It also pulls a touch more micro-detail and keeps the picture neat and controlled. If you prefer a reference-style sound, this is the one that sticks closest to the recording.
The PX8 S2 walks in with more charm. Bass has extra slam and better grip, so kicks feel anchored and synth lines have shape, not just rumble. Vocals step forward a touch—more natural color, a bit more chest and air—so singers sound present without shouting. Guitar plucks land with weight and a hint of tactility you can feel on the attack. The midrange carries more body and texture, which makes pianos, strings, and male voices feel a notch more “alive.” It’s still clean and detailed, just delivered with a little warmth and flow.
If I had to split hairs: the 5909 holds a small edge in technicalities—that last 5–10% of micro-detail and overall polish. The PX8 S2 is very close, but it’s also more euphonic to my ears: the kind of tuning that invites longer sessions and makes more of my library sound good without touching EQ.
Quick gut guide:
- Pick 5909 if you want the reference-leaning, tidy presentation—monitor vibes, no drama.
- Pick PX8 S2 if you want music-first enjoyment—a bit more slam, presence, and texture without losing clarity.
Both are excellent.
Compared to Focal Bathys
The focal bathys are represented by the red line.
Objective — What the measurements say
Frequency Response (miniDSP EARS)
- Bass / sub-bass (20–200 Hz):
PX8 S2 (green) sits a few dB higher and holds a shelf longer → expects deeper reach and more weight.
Bathys (red) tilts down earlier → tighter, leaner low end by comparison. - Lower mids (200 Hz–1 kHz):
Very close overall, with the PX8 S2 carrying a touch more body around the 300–600 Hz region. - Presence / upper mids (≈2–3 kHz):
Bathys shows a stronger rise peaking near ~3 kHz → clearer edge on vocals, guitars, and plucks, but can read as forward/bright for some listeners.
PX8 S2 has a softer rise and a dip around ~3.8–4 kHz, then a small ~5 kHz bump → presence without glare. - Treble & “air” (≈5–10 kHz):
Bathys has more energy with notable features around ~5 kHz and ~8–10 kHz → extra sparkle/attack.
PX8 S2 is smoother through this range.
Note: On miniDSP EARS, >8 kHz is trend-only, not absolute.
THD
- At ~85 dB, both are low overall through the mids/treble.
- Below ~50 Hz, PX8 S2 shows materially lower THD than Bathys on this rig. The S2’s sub-bass distortion rise is shallower, while Bathys lifts more noticeably. Subjectively, the low-end slam feels tighter and less fuzzy at higher volumes, especially on tracks with real sub content (electronic, modern pop, cinematic).
- From roughly 200 Hz–2 kHz, Bathys holds a slightly flatter/lower THD plateau than S2.
- Usual deep-bass rise applies to both; the degree of rise is smaller on S2.
Takeaway:
- Sub-bass advantage → PX8 S2 (cleaner, tighter very-low-frequency hits).
- Mid/upper-band uniformity → Bathys (a hair flatter THD through much of the mids/treble).
Subjective Interpretation
I haven’t heard the Bathys MG yet, but I still own the original Bathys. It’s a fast, clear, exciting headphone—especially good with guitars and plucked sounds. Riffs jump out, transients snap, and the presentation feels lively. For shorter sessions it’s great fun. For longer listening, though, it can become a bit much for me—likely because of that ~3 kHz push and the ~8 kHz energy, which add bite and sparkle but also raise fatigue over time.
The PX8 S2 feels more natural overall, especially with vocals. Voices sit forward in a believable way—present, not shouty—and the midrange has more body and texture. The bass is deeper and more layered, so it carries more weight and shape; it also holds together better at higher volumes. That makes the PX8 S2 my pick for electronic music and any track with real sub-bass content—impact without blur. It stays clean and euphonic, which makes it easier to listen to for hours.
So, my preference is PX8 S2 for its natural tone, deeper, weightier bass, and long-session comfort. The Bathys still has its charm if you want speed, edge, and a brighter, front-row feel. They’re voiced quite differently, so it’s easy to see some listeners choosing the Bathys’ excitement while others—like me—will lean toward the PX8 S2’s musical, long-wear presentation.
Conclusion
I didn’t expect this sound ten years ago—I didn’t even dare to hope for it. The PX8 S2 is the kind of wireless that makes you forget it’s wireless: premium build, easy comfort, and a tuning that blends slam, clarity, and a natural midrange without pushing the treble too hard. Over USB-C it scales nicely, showing that dark background and the extra texture I kept hearing in voices and strings.
Compared to the original PX8, the S2 is simply more capable: deeper, tighter bass; clearer, weightier mids; faster transients; and a stage that feels more open and holographic. Against the Mark Levinson 5909 it gives up a hair of clinical micro-detail, but answers with more body and musical flow. Versus the Focal Bathys it trades a bit of bright, front-row bite for long-session ease and deeper, more layered low end.
As a side note here, from my perspective the original PX8 was not holding a candle to Bathys or Mark Levinson 5909. This should clear up how big of an upgrade PX8S2 feels to my ears compared to the original PX8.
It won’t beat Sony/Bose on raw ANC, and the app/EQ is basic—but the core tuning and the technical foundation are so strong that I rarely feel the need to tweak. And when I do, the PX8 S2 responds beautifully to small EQ moves: you can nudge bass weight, mid presence, or top-end air a dB or two and it tracks cleanly, without weird artifacts. If you value sound and materials first, PX8 S2 deserves a top spot; if your priorities are maximum ANC, feature-heavy apps, or best value, there are better fits. For me, it’s the set I reach for when I just want to press play—from jazz trios to Infected Mushroom—no sliders, no second-guessing.
Thank you to AVstore.ro, Romania’s best store for headphone enthusiasts, for the chance to discover the new PX8 S2.
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