SKU: 84563524850

Cypher

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Description

CypherTHIEAUDIO Cypher Open back referentie met lef Soms zie je een product aankomen en weet je: dit wordt interessant. THIEAUDIO is in korte tijd uitgegroeid tot een vaste waarde in de IEM wereld. Wat ze uitbrengen, klopt. Wat ze tunen, verkoopt. En nu zetten ze de stap naar een open back over ear hoofdtelefoon in het serieuze segment. De Cypher is geen experiment. Dit is hun flagship dynamic driver hoofdtelefoon. Open back. Referentie gericht. Warm

THIEAUDIO Cypher – Open-back referentie met lef

Soms zie je een product aankomen en weet je: dit wordt interessant. THIEAUDIO is in korte tijd uitgegroeid tot een vaste waarde in de IEM-wereld. Wat ze uitbrengen, klopt. Wat ze tunen, verkoopt. En nu zetten ze de stap naar een open-back over-ear hoofdtelefoon in het serieuze segment.

De Cypher is geen experiment. Dit is hun flagship dynamic driver hoofdtelefoon. Open-back. Referentie-gericht. Warm-neutraal afgestemd. En gebouwd om het op te nemen tegen gevestigde namen in het HD600-territorium.

Wat is de THIEAUDIO Cypher?

De Cypher is een open-back over-ear hoofdtelefoon met een volledig nieuw ontwikkelde 50 mm dynamic driver. Geen standaard off-the-shelf oplossing, maar een 20-core N45 magnet array gecombineerd met een semicrystalline polymer en rubber composiet diafragma.

De voice coil is opgebouwd uit een high-tension koper-aluminium legering voor maximale controle en responsiviteit. Met een impedantie van 32 Ohm en een gevoeligheid van 96 dB is hij relatief makkelijk aan te sturen, maar duidelijk ontworpen voor serieuze desktop setups.

Dit is een hoofdtelefoon voor wie luistert — niet voor wie alleen volume zoekt.

Voor wie is de Cypher bedoeld?

Voor muziekliefhebbers die houden van een referentie-achtige tuning met body. Voor engineers en producers die een open, gebalanceerde weergave zoeken zonder klinisch te worden. Voor gamers die ruimtelijkheid en positionele precisie willen zonder overdreven V-shape.

Maar ook voor iedereen die een alternatief zoekt voor de gevestigde klassiekers in dit segment en nieuwsgierig is naar wat THIEAUDIO kan in full-size formaat.

Reference tuning – warm, neutraal en gecontroleerd

De Cypher volgt THIEAUDIO’s eigen reference target, ontwikkeld na jaren analyse van luisteronderzoek en iconische hoofdtelefoons.

De klankbalans kenmerkt zich door:

– Een subtiele 5 dB bass shelf van 20 Hz tot 300 Hz voor diepte en fundament
– Een volledig vlak middengebied voor neutrale vocalen en instrumenten
– Een nauwkeurige pinna gain voor natuurlijke perceptie
– Een luchtige, gecontroleerde treble met realistische decay

Het resultaat is een warm-neutrale signatuur met controle. Geen overdreven subbass. Geen scherpe bovenkant. Gewoon balans met energie.

50mm flagship dynamic driver – snelheid en resolutie

De kern van de Cypher is zijn nieuw ontwikkelde 50 mm dynamic driver. Dankzij de 20-core N45 magnet array levert hij sterke magnetische controle en snelle transiënten.

Het semicrystalline polymer diafragma is ontworpen voor stijfheid en lage vervorming, terwijl de voice coil optimale warmteafvoer en stabiliteit biedt.

Wat je hoort is een snelle attack, gecontroleerde bas en een middengebied dat niet dichtloopt wanneer de mix complex wordt. Dit is een driver die ontworpen is voor detail zonder vermoeiend te worden.

Klankkarakter – ruimtelijk en volwassen

De open-back constructie zorgt voor een natuurlijke soundstage met breedte en lucht. Instrumenten staan los van elkaar, zonder geforceerd effect.

De bas is diep maar gecontroleerd. Het middengebied is het hart van de presentatie: natuurlijk, licht warm en goed gedefinieerd. Het hoog is precies, zonder sibilantie of scherpe randjes.

Voor lange luistersessies is dit een veilige, muzikale tuning met voldoende resolutie om kritisch te blijven.

Integratie & aansturing

Met 32 Ohm impedantie en 96 dB gevoeligheid is de Cypher niet extreem veeleisend, maar hij schaalt duidelijk met betere DAC/AMP-combinaties.

Hij komt goed tot zijn recht op een desktop-setup, maar is ook prima inzetbaar met krachtige draagbare spelers of dongle-DAC’s.

De meegeleverde 3 meter gevlochten kabel wordt geleverd met 3.5 mm plug en 6.35 mm adapter, waardoor hij direct klaar is voor hifi-versterkers en hoofdtelefoon uitgangen.

Bouwkwaliteit – premium zonder overdaad

Als flagship-model is de Cypher gebouwd met hoogwaardige materialen. De oorschelpen zijn CNC-gefreesd uit aerospace aluminium voor betere resonantiecontrole en duurzaamheid.

De hoofdband combineert roestvrij staal met een carbon fiber-achtige afwerking en is gevoerd met echt lamsleer. De memory foam velour earpads zorgen voor comfort zonder drukpunten, zelfs tijdens lange sessies.

Dit is geen plastic tool. Dit is een volwassen product.

Lifestyle – studio én woonkamer

De Cypher voelt thuis in een studio, maar net zo goed naast je DAC op een strak bureau of in een minimalistische woonkamer.

Open-back betekent ventilatie, ruimte en ademend geluid. Geen afgesloten bubbel, maar natuurlijke presentatie.

Voor wie serieus naar muziek luistert en geen compromis wil tussen comfort, tuning en bouwkwaliteit.

Design – functioneel, technisch en volwassen

De Cypher is geen designobject dat om aandacht schreeuwt. Hij oogt technisch, strak en doelgericht. De open aluminium oorschelpen zijn CNC-gefreesd en laten subtiel zien dat dit een serieuze tool is, geen lifestyle-accessoire. Geen overbodige glans, geen extreme vormen — alles staat in dienst van akoestiek en duurzaamheid.

De combinatie van roestvrij staal in de hoofdband met een carbon fiber-achtige afwerking geeft hem een moderne, bijna industriële uitstraling. De voering van echt lamsleer en de velours memory foam oorkussens zorgen daarbij voor een zacht contrast in gevoel en comfort.

Dit is een hoofdtelefoon die je opzet om te luisteren, niet om te poseren. Minimalistisch, professioneel en gebouwd om jaren mee te gaan.

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4.1 ★★★★★
Based on 15 reviews
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Ruth
Port Orchard, US
★★★★★ 3
It’s okay
I use it for a month. I saw no difference. It does give you a glow for a few minutes and it does hydrate. No scent and it didn’t break me out.
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Reviewed in the United States on March 19, 2026
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Lana
Alexandria, US
★★★★★ 5
Good
Good
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Reviewed in the United States on January 22, 2026
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dra
Massapequa, US
★★★★★ 5
Fractured pop art masterpiece
Walker (Lee Marvin) and Mal Reese (John Vernon) stage a robbery, stealing a bag of cash from some crooks conducting a delivery by helicopter in deserted Alcatraz. Reese double crosses Walker and leaves him for dead, taking off with the cash and Walker's wife. Walker survives, escapes from the island, and comes after Reese, and all the rest of his criminal organisation, with the mantra, "I want my $93,000." On this third or fourth viewing, I was struck less by what an exemplary action film this is (Marvin, the hardest man in the history of the movies, was at least as mean and relentless in The Killers), and more by how deeply artiness is infused into its structure and design. The recurrent flashing back and forward in time, especially at the start between the planning - not in the traditional meticulous heist film set up, just a series of fractured, barely linked brief meetings and conversations - and the robbery, but also Walker's thoughts returning to his betrayal, feed the predominant critical interpretation that Walker was fatally wounded on Alcatraz, and the whole film is his trying to process this and his fantasy of revenge. Boorman addresses this directly in the commentary, to the extent that he refuses to commit and says it's intended to be ambiguous. I'm now firmly in the dying-flashback camp, because of Walker's almost magical powers. (On reflection, it's like the question of whether Deckard is a replicant - you can enjoy debating it and looking for clues, but in the end the answer is yes.) He appears in new scenes and locations with no evidence of having travelled, and generally in a spiffy new outfit (more of this later) despite carrying nothing but his revolver, and, particularly in the central sequence, he evades being apprehended either by coincidence (the lift he's in opens and closes while the baddies waiting for the same lift are distracted by a commotion) or by the sheer application of cool (waiting immobile but scarcely invisible in an underground car park while his pursuer is gunned down by police). He also has an advisor/mentor, played by Keenan Wynn, who pops up in scenes like a cartoon character (he looks like a sort of dome shaped, bristle headed man in a suit who might appear in Ren and Stimpy) and gives Walker his next mission, while the two of them assiduously avoid eye contact as if one or both aren't really there. From Walker's re-emergence in the first of a series of natty suits, Point Blank is constructed as a series of set pieces. The first is the oddest, continuing the flashbacks and playing with chronology. Walker is seen striding intently down a corridor, and we hear the sound of his footsteps over a series of scenes of his meeting his wife, and the two of them sharing innocent good times with Reese. He confronts his wife, fires six shots into her bed before realising Reese isn't there. A scene later, she's dead after an apparent overdose. A scene after that, the body is gone, the apartment is bare, and Walker has boarded himself inside. Did Walker even see his wife? Had she died already? A messenger arrives from whom Walker extracts a name, and he's off chasing the next link. Walker meets care dealer Big John, whose yard has enormous signs in a jazzy '50s font. He asks for a test drive, buckles his seatbelt, and smashes the car between pillars (c.f. The Driver) until John spills the next name. The most self-consciously art-directed scene follows, in which Walker visits a nightclub which features both a bikini-clad go-go dancer and a trio playing something between jazz and James Brown. Tipped off by a flirtatious waitress that he's being followed, he ducks behind the stage, and fights two baddies while giant faces are projected on a huge screen behind him. In a moment that suggests Tarantino watched this while writing Inglourious Basterds, Walker pulls down a rack of celluloid canisters to trap one pursuer, and then returns things to some kind of action movie orthodoxy by subduing the other one with a haymaker to the groin. In the centrepiece, Walker meets his sister-in-law Chris (Angie Dickinson). Grief and his mission of revenge don't mean he misses the chance to share her bed, and emerge, manhood serenely unthreatened, in her borrowed yellow shortie robe. The colour scheme gets turned up to 11 at this stage, with Walker in a mustard shirt-sports jacket combo (his outfits get truly creative whenever he's bedded Angie - later, he sports a shirt somewhere between salmon and ruby grapefruit - which I guess is the wardrobe equivalent of Joseph Gordon Levitt's post-coital dance routine in (500) Days of Summer), Angie in a rockin' yellow shift dress and matching '60s mid-length coat (let down soon after by wearing something striped like a bee), and Reese in a light tan, crushed velour t-shirt that might be the least flattering male garment in cinema until Borat's mankini. Walker even finds a sightseeing telescope painted lemon yellow, which he casually dislocates from its moorings to scope out Reese's penthouse lair. Once Reese is dealt with, the movie shifts into an early example of crime-as-big-business. Reese's boss is Carter, whose sleek Mad Men-style office and threads are matched by his resemblance to that series' Ted. According to IMDb, Lloyd Bochner, who plays Carter, was doing voice-over work from age eleven, and between him, Vernon's baritone (you know how it sounds - like Dean Wormer: "Fat, drunk and stupid is no way to go through life, son."), and Marvin's basso profundo, there's a meeting of male voices unmatched until, say, Brideshead Revisited. Around this point the architecture of LA attracts more and more focus, both modernist glass towers and the concrete culvert of the LA River, where a sniper lurks who might have inspired the climactic shooter in Get Carter. The commentary is conducted as a dialogue between Boorman and Soderbergh, who, if you've seen this, early Nic Roeg (Performance and Don't Look Now), and were already acquainted with the colour yellow, seems less original than he otherwise might. He has the decency to open by talking about how many times he's stolen from Point Blank. He's not the only one though. Point Blank deconstructs and toys with the action film as knowingly as anything in the 45+ years since, up to and including Archer and the entire oeuvre of Shane Black. Just when it's in danger of becoming too clever to be satisfying as a genre piece, it gets your attention with a pistol whipping, a punch to the groin, or the rarely-shown actual end result of the villain-takes-a-long-fall thing. And of course there's Marvin, who, whether dressed like a dandy, wearing a robe, or looking baffled when the next corporate criminal explains that they just don't have $93,000 to hand over, can't be beat. Seriously, you're not obliged to love it, but you have to see it at least once.
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Reviewed in the United States on May 3, 2014
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J. H. Haley
Los Angeles, US
★★★★★ 4
Lee Marvin's best
Finally it's in dvd. Been looking for it for years. Point Blank is Lee Marvin's best movie, the best character for him, and has his best tag line. I'll leave that for you to find. (It has to with seat belts.) The movie is aptly named. The plot is steam-roller direct, but the director uses some arty time-lapse devices that either distract by conflicting with the directness of the character and the plot, or enhance by providing depth and interest, I can't decide. But they do jarr a little and seem dated. I suppose I do like the uniqueness they add. It's a really good Lee Marvin movie, and Angie Dickinson to boot. Who remembers her answer when Johnny Carson asked her whether she dressed to please herself or others? Memorable.
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Reviewed in the United States on September 25, 2007
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mojo_navigator
Lowell, US
★★★★★ 5
Excellent Blu-Ray Transfer - Big Improvement to the DVD
I've been a big fan of this movie for many years, long before the advent of DVD let alone Blu-Ray. I used to go and see it at the repertory cinema often - the first time, I was stunned by the quasi-hallucinatory cinematography of it. A totally unique film that's never been replicated before or since (although The Limey was a good attempt) Frankly the story is incidental and not worth summarising or even paying much attention to. The cinematic style of it is what makes it so riveting both then and now - an excellent psychedelic time-capsule of late `60s LA punctuated by stunning performances from the likes of Marvin, Dickinson and others. The DVD was a huge let-down when released. Despite the accolades that it had at the time, it had a "watery" non-filmic quality which made it dull and tiresome to watch even once. Without capturing the garish color and mind-bending trippiness of the film, you were reduced to following the plot which, like I said, is the least interesting aspect of it. The Blu-Ray is MILES superior to the DVD. The integrity of every component in this movie that I've discussed above is perfectly captured; the emotional power of it is all there in bucketloads. The colors are strong and vivid and in true Blu-ray style you notice subtleties that you hadn't noticed before (e.g. the green chairs in the corporate offices, Angie Dickinson's expression after the "what's my last name" exchange). The overall quality is very filmic (no DNR etc) and good grain where appropriate. It looks like a strong 35 mm print that has been run a few times but has plenty of life left. So no Criterion day-it-was-released look but more than satisfactory. Ideally, I would like Criterion to get hold of this as I think they would clearly be able to make an improvement but this is a minor quibble. For fans of `60s cinema and experimental film-making, this Blu-Ray edition will thoroughly satisfy. I no longer feel the need to see this in a movie house anymore unless there's a full restoration of the original 35mm print (which does happen from time to time)
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Reviewed in the United States on September 26, 2014

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