ZMF Bokeh Closed

A compact closed-back with unmistakable ZMF character

I’ve been a long-time admirer of ZMF headphones from afar—mostly at CanJam and other audio shows. The beautiful wooden cups, the legendary comfort from those plush earpads, and yes, even the heft that comes with artisan-built headphones have always caught my attention. But admiring at a show and living with a pair at home are very different experiences. So when ZMF kindly offered to send me a Bokeh Closed on loan for a few months, I jumped at the chance.

This has been one of the most interesting headphone experiences I’ve had in the past year. The tuning kit alone, with its three different earpads, two mesh filter options, and tuning ring, provided the kind of sound-shaping flexibility that almost rivals parametric EQ for practicality, but physical changes are always a lot more fun to experience. As someone who champions the pragmatic audio approach, having this level of physical tunability was genuinely interesting.

But beyond the tweaking, the Bokeh Closed also passed what I call the “coffee table test”. So, If you want a closed-back audiophile headphone that your “significant other” is happy to see left out on display. And one that impresses friends and neighbours with both its looks and its comfort, the Bokeh Closed is definitely worth a look.

What I like with this little test usually is if the headphone looks good on the table, it often tempts people to just try it, and I get more impressions for free. And almost everyone that tried it was very impressed, it was genuinely a conversation starter; the only negatives I got from this test were that it was comments about it being a bit heavy.

Previously, only a few Meze headphones had this level of interest. I feel it sits right alongside the Meze 109 Pro as one of those rare sub-$1,500 headphones that meets everything I would expect for an audiophile ‘coffee table headphone’ one that looks good, is very comfortable but also sounds great but with its own unique personality.

But before I get into the details, let’s have a look at the ZMF unboxing experience:

Unboxing and Build Quality

The delivery box arrived well-protected:

Note: Each order is personalised, so depending on your order, you might just get the headphone case and not the tuning kit.

Earpads bag removed:	Box visible underneath:

Removing the top layer with the protective box with the hard case underneath, I imagine if you don’t order the Tuning kit, this will be what you see when you open the delivery box:

Inside we see a very nice hard case: |

Opening this case, and we are finally greeted by the Bokeh Closed nestled securely inside, along with some accessories:

Accessories

Here’s a look at Tuning kit accessories, a cleaning cloth, and some of the documentation provided:

There was also an installation guide, very useful for installation of the ‘ring’ as you will see later:

Note: While there is some great information, it also talks about a long burn-in period which I personally don’t think is required.

Craftsmanship and Details

The wood finish and overall presentation are classic ZMF—warm, tactile, and premium.

The handle and latches on the case also feel excellent:

But the star of the show is definitely the wooden earcups. ZMF change the wooden finish every so often, as I have seen slightly more ‘red’ colour in other reviews, but these light wooden finishes look great in my home:

It is definitely a headphone which you can sit back and enjoy an evening listening session maybe with some Irish Whiskey or on your desk:

Having a closer look at the baffle, you see a nice pattern to the stock mesh ( you will see the solid mesh later on in the review):

As a coincidental aside, I’ve been reading “Geometry in Music,” which explores how geometric structures map to musical practice. This podcast has a good introduction to the book: geometric patterns in music.

Looking at the intricate patterns in the Bokeh’s baffle, and thinking back to the ornate cutouts on many ZMF open‑backs, it’s hard not to wonder whether this design language’s natural geometry quietly aligns with the kinds of music we enjoy.

Removing this stock mesh reveals the driver:

Fit and Comfort

The Caldera-style stock pads on this unit were plush and very comfortable, with a seal that’s easy to achieve:

In practice, I found the Bokeh Closed easy to wear with any of the 3 pads included with the tuning kit, with clamp that’s secure but not fatiguing.

Swapping Pads is straightforward, but a minor criticism is the lip on the baffle is not the easiest to catch the earpads as securely as I would like:

Though I do love the level of detail in having layers of different wooden to add rigidity to the ear cups.

But, if you are swapping earcups make sure you check the seal fully each time you swap pads.

Ultimately, I mainly used the Caldera Suede pads for my listening impressions.

The Tuning Kit

The tuning kit is $150, but as someone who enjoys experimenting with audio, it adds a huge amount of flexibility and value to the overall experience, so lets see what you get:

Earpads:

The Bokeh Closed ships with Caldera-style pads as the default, but this review unit came with two additional pad types that fundamentally change the headphone’s character:

Caldera Pads (Stock): The most balanced option, with plush hybrid construction (protein leather contact surface, velour inner face). These provide a gentle sub-bass shelf, relaxed upper-mids, and excellent long-session comfort. The seal is easy to achieve and consistent. This is my go-to for most genres.

Hybrid Leather Pads: Thicker and plusher than the Caldera pads, these add warmth and more sub-bass weight. The deeper cups push your ears farther from the driver, creating a slightly larger perceived soundstage with softer leading edges. Great for jazz and atmospheric electronic music where you want more immersion.

Here is a comparison between the hybrid (with leather and suede) and the leather only:

Perforated Leather Pads: Firmer and leaner with a shallower cup depth. These tighten the bass response, bring the presence region slightly forward, and sharpen transient attack. The result is a more “studio monitor” presentation with better clarity for complex mixes. If you’re mixing music or doing critical listening, these are worth trying.

You will see some measurements later in the review.

But this is not the only way to tune the sound, next let’s look at the mesh filters:

Mesh Filters:

The mesh filters screw into the baffle and control acoustic damping at the driver face.

This is a simple swap that takes about 30 seconds per cup once you have the earpads off:

Stock Mesh	Solid Mesh:

Additional views of the mesh options:

Default Mesh (Open): The more transparent option with a finer mesh pattern. This preserves treble air and extension, giving you the most “open” presentation a closed-back can offer. Cymbals shimmer, strings have natural decay, and there’s no sense of upper-frequency roll-off.

Solid Mesh (Dense): A tighter mesh pattern that provides slightly more damping. This smooths out the upper treble by a few dB, reducing any potential glare on bright recordings. It’s subtle but effective—if you find yourself reaching for the treble reduction on hot masters, try this mesh first. It pairs especially well with the perforated leather pads to keep things from getting too aggressive.

Rings:

Another option for tuning the sound is the tuning ring:

The tuning ring is the most subtle adjustment in the kit, but it’s the finishing touch that lets you fine-tune bass quantity and midrange contour after you’ve selected your pad and mesh combination.

It adds a small amount of internal volume damping that slightly reduces mid-bass bloom and tightens the lower midrange transition.

The difference is smaller than changing pads or mesh—maybe 1-2 dB in the 150-400 Hz region but it’s noticeable when you are listening critically. I found it most useful when using the Hybrid Leather pads, where the added bass warmth sometimes needed a bit of tightening.

Before we get into the measurements, I will share some of my subjective listening impressions:

Sound Impressions

The Bokeh Closed delivers a slightly warm, full-bodied sound with excellent tonal balance and exceptional control for a closed-back headphone. Closed-back designs are notoriously difficult to tune compared to open-backs—standing waves, resonances, and bass modes can easily muddy the presentation.

ZMF have done a masterful job taming these issues while maintaining a natural, musical character. The notes below reflect the stock Caldera Suede pads.

Note: these impressions where mainly captured with the Luxsin X9 headphone amplifier:

Note: I experimented with some of the Bokeh PEQ options on the Luxsin, but I actually preferred the sound without those ‘Bokeh Closed’ PEQ profiles. I suspect the profiles are not specific to the various tuning kit options.

But, I also used it with my Topping DX5 II, my FiiO K17 and even just powered it with my Macbook Pro. It never felt constrained with any of these options, so it will be perfect with any reasonable powered headphone amplifier.

Bass: Deep, Controlled, and Satisfying

The bass response extends impressively low with excellent control and minimal overhang. Sub-bass notes have proper weight and sustain without bleeding into the midrange, while mid-bass provides satisfying punch without boominess. This is bass you feel as much as hear, but it never overwhelms or masks detail.

On Pink Floyd’s “Time” from The Dark Side of the Moon, the intro’s layered clocks and ticking sounds have proper space and weight, while the bass drum hits around 2:18 land with satisfying impact and decay naturally. The low-frequency rumble has substance but doesn’t blur the midrange dialogue. Similarly, the bass line in Fleetwood Mac’s “The Chain” ( Rumours) maintains excellent definition during the famous crescendo—each note is articulated clearly even as the intensity builds.

Electronic bass is equally well-handled. Deep synthesizer tones remain tight and controlled at moderate to high volumes, never turning to mush or congesting the mix. The Bokeh Closed doesn’t exaggerate bass for wow-factor, but it doesn’t shortchange you either—it’s simply right.

Midrange: Natural, Open, and Expressive

The midrange is where the Bokeh Closed really shines. Lower mids are full and natural without boxiness, while the upper midrange is slightly relaxed to avoid any shoutiness or harshness. This tuning keeps dense mixes from becoming fatiguing while preserving timbral accuracy and emotional expression.

Male vocals have proper chest and weight. On Eagles’ “Hotel California” (Hell Freezes Over live version), Don Henley’s voice sits perfectly in the mix with natural body and articulation. The dual guitar introduction is rendered with beautiful texture and separation—each instrument occupies its own space without fighting for attention. When the percussion enters, it adds energy without crowding the vocals or guitars.

Female vocals are equally impressive. Stevie Nicks on “Dreams” (Rumours) has that signature breathy quality preserved, sitting naturally in the soundstage rather than being pushed forward or recessed. The slightly relaxed upper-mids mean you can listen for hours without fatigue, even on densely-layered tracks.

The Bokeh Closed handles complex midrange arrangements with grace. On Led Zeppelin’s “Ramble On” (Led Zeppelin II), Robert Plant’s multi-tracked vocals, John Paul Jones’ bass, and Jimmy Page’s layered guitars all remain distinct and clear. The acoustic guitar segments have natural warmth and texture, while the electric guitars have proper bite without harshness.

Treble: Smooth, Extended, and Refined

Treble is smoothly contoured with excellent extension and air, yet completely free of harshness or sibilance. This is one of the Bokeh Closed’s greatest achievements—delivering detail and sparkle without the treble peaks that plague many closed-back designs.

Cymbals have natural shimmer and decay. On Rush’s “Tom Sawyer” (Moving Pictures), Neil Peart’s hi-hat work is crisp and well-defined without becoming splashy or fatiguing. The ride cymbal has proper metallic texture, and the crash cymbals have realistic weight and extension. This is a headphone that lets you appreciate cymbal work without wincing.

String instruments benefit from the extended treble. The violin on David Gilmour’s “On an Island” has beautiful air and harmonic richness, while acoustic guitar strings on Crosby, Stills & Nash recordings have natural snap and decay. There’s no sense of the treble being rolled off or veiled—everything is there, just presented in a refined, musical way.

Hot or poorly-mastered recordings remain listenable without being sugar-coated. The Bokeh Closed doesn’t hide flaws, but it doesn’t exaggerate them either. You’ll hear the harshness on some 70s rock recordings, but it won’t make you reach for the volume knob.

Soundstage and Imaging: Impressive for Closed-Back

The Bokeh Closed’s soundstage is realistic and well-proportioned—not artificially wide, but certainly not cramped or “in your head” the way some closed-backs can sound. Lateral imaging is precise with excellent instrument separation, while front-to-back depth is better than average for a closed design.

On “Comfortably Numb” (The Wall), the spatial separation between David Gilmour’s guitar solos and the rest of the mix is clearly rendered. The second solo, recorded with multiple overdubs and effects, has proper width and depth without losing coherence. Each guitar line occupies its own space in the stereo field.

Live recordings are particularly impressive. On “Hotel California” (Hell Freezes Over), you can clearly place each instrument on stage, hear the room ambience, and feel the depth of the performance space. The audience applause has realistic width and distance. For a closed-back headphone, this is exceptional.

Imaging precision helps with complex arrangements. On Genesis’ “Firth of Fifth” (Selling England by the Pound), the intricate keyboard lines, bass, drums, and vocals all occupy distinct positions in the soundstage. Nothing smears or congests, even during the dense instrumental sections.

Dynamics: Excellent Contrast and Impact

The Bokeh Closed delivers excellent dynamic range with satisfying impact on crescendos and proper delicacy on quiet passages. Macro dynamics—large changes in volume and intensity—are rendered with visceral impact that makes music exciting without compression or limiting.

The quiet-to-loud build on Pink Floyd’s “Time” is thrilling—the gentle ticking and bells give way to explosive drums and guitar with genuine shock value. Similarly, the intensity ramps on Led Zeppelin’s “Stairway to Heaven” maintain proper scale and impact throughout the song’s evolution from delicate acoustic to hard-rocking finale.

Microdynamics—small volume changes and transient details—are equally well-handled. You can hear fingers sliding on guitar strings, the subtle attack of piano hammers, and the breath of vocalists. This micro-level detail aids instrument separation and adds realism to the presentation without sounding artificially etched or analytical.

Specifications and Measurements

Item	Detail
Type	Closed‑back, over‑ear dynamic headphone
Driver	50 mm LCP (Liquid Crystal Polymer)
Impedance	80 Ohms
Sensitivity	~103 dB/mW
Weight	480 g ±30 g
Cup material	Solid hardwood; review unit shown in Black Limba
Connectors (cups)	Dual 3.5 mm mono
Cable	OFC cable ~1.8 m (5.5 ft) typical; user‑replaceable
Terminations	6.35 mm (1/4") single‑ended or 4‑pin XLR balanced options

It is easy to drive with 103 db/mW sensitivity, but that 480g weight might be a problem for some people especially if you are listening for long periods of time.

Measurements

Let’s start with the Suede/Caldera earpads:

It is an excellent stock frequency response for a closed back headphone. I highlight 2 areas which I are really just nitpicks, (1) there is a slight lower midrange bunmp (will give a very slight warm tonality to the sound) and (2) where there might be a peak for some people (Treble peaks vary with everyone’s ears - including measurement rigs ) so you cannot trust the peak values but I thought I would mention it.

But other than that, this frequency response is exceptionally good for a closed back headphone.

Looking at how the 3 different earpads change the sound:

I am just highlighting a few areas (1) and (2) above where you can see more bass and some extra tweaks to the treble depending on the earpad you choose.

Next, the mesh filter also changes the FR (default mesh vs solid mesh vs no mesh): The no mesh option tilts the sound by lowering the bass but increasing slightly the treble.

Finally, for tuning options, with differences using the tuning ring on/off:

Again this provides a subtle tilted change in the FR.

I feel these options are invaluable, as each option can be combined to really let the owner get the most from this headphone. I feel more companies should provide their customers with the abilities to tune the FR in such subtle but meaningful ways.

Frequency Response Comparisons

Building good sound closed back headphone is very difficult so I thought I would compare the Bokeh Closed to other closed backs I have in my collection:

As you can see you get a very varient FR from closed backs, but the Bokeh Closed with the Caldera Suede pads is the best of any of these.

Even zooming into a comparison with the FT1 and MDR‑M1 both excellent closed backs:

I highlighted a few areas (1) and (2) where the Bokeh is more neutral and (3) where it has less treble peaks (and therefore less chance of sibiliance) than these 2 other closed backs.

Distortion (THD)

Distortion remains low and well‑controlled across the spectrum at typical listening levels. Even when playing over 100 dbSPL there is minimal distortion:

Shown as a percentage there is nothign too significant:

Rating

Pragmatic Rating: 5/5 — This is probably the most pragmatic ZMF headphone you can buy. At its price point, the Bokeh Closed delivers an incredibly complete package: beautiful hardwood earcups with meticulous craftsmanship, supremely comfortable earpads that seal well and feel great for hours, a high-quality cable with standard connectors, a robust hard case, and most importantly, an exceptionally well-tuned closed-back sound signature that works across all genres.

While $1000 is not cheap, it does provide a premium headphone experience, so I feel it justifies its price. Most of all, I feel the Bokeh Closed provides that perfect combination of lovely build quality, comfort, and sound that you can be proud of owning. But for an audio nerd like me, the tuning kit especially elevates this from being a “good headphone” to being “exceptional”.

Who is this for?

Perfect for:

• Listeners who want a closed-back that sounds natural and balanced without feeling congested or claustrophobic
• Woodwork and craftsmanship enthusiasts who appreciate beautiful objects and serviceable design
• Anyone who shares living spaces and needs some closed back isolation without sacrificing sound quality
• Headphone tweakers who love experimenting with tuning options and finding their perfect sound
• Users who want one headphone that impresses their friends and family while still sound good

Conclusion

If you’re in the market for a premium closed-back headphone and want an overall quality experience in every dimension—build, comfort, aesthetics, sound, and versatility—the ZMF Bokeh Closed will meet and likely exceed your expectations.

Note: I had to get at least one photo with the ‘Bokeh’ effect into this review !!!

This is a closed back headphone that gets mostly everything right: it’s beautiful to look at, comfortable to wear, and should sound great with all genres of music. The tuning kit then also offers some meaningful tuning flexibility that lets you dial in your preferred sound signature without resorting to EQ.

The combination of artisan woodwork, plush earpads, excellent cable, protective case, and that remarkable tuning kit creates an ownership experience that justifies the premium pricing.