SENDY Audio Apollo PRO Review

 

Introduction:

SENDY Audio sits as the premium-tier brand above SIVGA, sharing the same Dongguan factory and parent company but taking on a higher engineering and material ambition with each model. The original Apollo, released in 2023, established the brand in the mid-tier open-back planar market with a 68mm QUAD-Former driver built around dual magnets, two-sided coils, and a warm, musical character that leaned toward tonal engagement over strict measurement neutrality. The Apollo PRO, launched on 2 June 2026, is a substantially different headphone rather than a simple revision of that first model, carrying a completely redesigned driver, a new materials approach to the diaphragm itself, and a noticeably lighter chassis despite using a larger 78mm driver.

At the core of the PRO’s upgrade is a change to how the diaphragm is built. Where the original Apollo used a conventional planar diaphragm construction, the Apollo PRO applies Electron Beam Evaporation Deposition technology to coat its aluminum conductor traces directly onto the nano-scale composite diaphragm surface at atomic-level precision, rather than using photolithography or adhesive bonding. SENDY Audio’s stated goal with this process is greater conductor uniformity across the full diaphragm surface, which translates in theory to better vibration control, more consistent frequency response, and reduced driver distortion under complex signal conditions. Whether that engineering distinction holds up in listening is what this review sets out to explore across two sources that represent different points on the desktop and portable spectrum.

 

Disclaimer:

I would like to thank SENDY Audio for providing the Apolo PRO headphone for review purposes. I am not affiliated with either company beyond this review, and these words reflect my true, unaltered opinions about the product.

 

Price & Availability:

The SENDY Audio Apollo PRO is priced at $449 / €499 / £449. More information can be found through the link below:

• SENDY Audio Apollo PRO Open-Back Planar Magnetic Headphones

 

Package & Accessories:

The Apollo PRO ships in a retail box that reflects SENDY Audio’s premium positioning rather than the larger, more theatrical presentation some competitors use at this price. Inside, a leather carrying case houses the headphone, and the accessories are arranged alongside it in a hemp drawstring bag that has become a recognizable element of SENDY and SIVGA packaging across several models.

The full package includes:

• 1 pair x SENDY Audio Apollo PRO open-back headphones
• 1 x leather carrying case
• 1 x hemp accessory bag
• 1 x detachable 4.4mm balanced cable, triple-composite Furukawa OFC + silver-plated + gold-plated copper, graphene-reinforced PVC shielding
• 1 x Adaptor A: 3.5mm single-ended to 4.4mm balanced
• 1 x Adaptor B: 6.35mm to 3.5mm

The cable is the standout accessory here. The triple-composite construction, combining Furukawa oxygen-free copper for body and weight, silver-plated copper for transmission speed, and gold-plated copper for oxidation resistance, is a specification normally seen on separately purchased aftermarket cables rather than bundled in with a $449 headphone.

The graphene-reinforced PVC jacket handles both insulation and electromagnetic interference shielding simultaneously, and the cable’s build quality in hand matches its specification on paper. It is on the heavier and longer side for desktop use, which is appropriate for the headphone’s character, though listeners planning portable use will want to source a shorter alternative.

The leather carrying case is solid and compact, fitting the headphone and the cable bag without wasted space. Between the case and the two adapters, the Apollo PRO covers desktop, portable DAP, and home amplifier connections without requiring any additional accessories.

 

Design & Build Quality:

The Apollo PRO’s most immediately striking design element is the zebrawood earcup, a natural wood material with bold, parallel grain striping that makes each individual pair visually unique in a way that uniformly finished plastic or metal cups simply cannot replicate. The wood is paired with a sunburst-pattern laser-etched aluminum mesh covering the open-back section of each cup, a detail that reinforces the premium visual identity without adding bulk. CNC-machined aviation-grade aluminum handles the yoke, frame, and structural components, while the headband is lined in lambskin leather and the earpads are upholstered in breathable velvet. The combination of warm zebrawood tones, silver aluminum, and soft velvet gives the Apollo PRO a visual and tactile character that competes favorably with considerably more expensive open-back headphones.

At 354 grams, the Apollo PRO is meaningfully lighter than the original Apollo’s 395 grams and lighter than most competing planar headphones with drivers of comparable size, which is a real achievement given that a 78mm planar driver requires a proportionally larger magnetic structure and housing to function. The lower weight comes in part from the aviation-grade aluminum frame, which is stronger and stiffer per gram than the alloys used in many headphone chassis, and in part from the optimized cup geometry that keeps the housing compact around the larger driver without the flared, visually heavy cups some 80 to 90mm planar designs end up with.

The headband mechanism uses a spring-tension self-adjusting arc rather than a notched slider, distributing clamping force broadly across the top of the head without requiring manual adjustment between sessions.

The lambskin leather that lines the underside of the headband arc is soft and supple, staying comfortable against the scalp for extended sessions without the progressive stiffness that cheaper synthetic headband materials develop over time. Cup swivel is present in both axes and generous enough to accommodate most head geometries without pressure points.

The cable connection uses dual 3.5mm plugs on the headphone side, with a dedicated socket on each earcup to distribute the channels independently.

The bundled premium cable is terminated in a 4.4mm balanced plug for source connection, making it ready for balanced desktop amplifiers and high-end DAPs right out of the box.

This dual-entry 3.5mm system is an excellent and widely adopted standard in the planar market, keeping channel separation optimal and making aftermarket cable upgrades exceptionally straightforward.

The plugs seat securely into the wooden earcups with no looseness or signal loss during testing. The overall build quality remains outstanding, featuring tight tolerances on all wood and metal joints alongside smooth slider mechanisms that adjust with satisfying precision.

 

Fit, Comfort & Isolation:

The velvet earpads are the single largest contributor to the Apollo PRO’s comfort, combining a deep inner cavity that keeps the ear clear of the driver mesh with a breathable surface that resists heat buildup during longer sessions. The pad depth is generous enough to accommodate a wide range of ear shapes without the edge of the pad resting against the pinna, and the memory foam fill conforms gradually over the first several minutes of wear rather than requiring aggressive break-in or pad rolling to reach a comfortable state.

The self-adjusting headband and the 354 gram weight keep listener fatigue at bay during sessions that extend well beyond an hour, and the clamping force is secure without being noticeably firm against the temples or the jaw. As an open-back design, passive isolation is nonexistent: environmental sounds pass in freely, and the Apollo PRO’s own output is clearly audible to anyone within a few meters. This is an expected characteristic of the open-back design class rather than a particular limitation of this model, and listeners choosing the Apollo PRO for quiet home or desktop listening will find the trade-off worthwhile.

 

Technical Specifications:

• Driver: Custom 78mm Planar Magnetic
• Diaphragm: Nano-Scale Composite, under 800nm Thickness
• Conductor Technology: Electron Beam Evaporation Deposition (EB Deposition), Aluminium on Diaphragm Surface
• Impedance: 27Ω (+/-15%)
• Sensitivity: 93dB (+/-3dB)
• Frequency Response: 20Hz – 40kHz
• Weight: 354g
• Earcups: Zebrawood with Sunburst Aluminium Mesh
• Frame: CNC-Machined Aviation-Grade Aluminium
• Headband: Lambskin Leather
• Ear Pads: Breathable Velvet
• Cable: Detachable Triple-Composite, Furukawa OFC + Silver-Plated + Gold-Plated Copper, Graphene-Reinforced PVC Shielding
• Termination: 4.4mm Balanced
• Headphone-Side Connector: 4.4mm, Single-Entry Left Earcup
• Adapters Included: 3.5mm SE to 4.4mm BAL, 6.35mm to 3.5mm

 

Drivability & Pairing:

At 27 ohms and 93dB sensitivity, the Apollo PRO sits in a more easily driven position than many full-size planars. It does not require dedicated high-power amplification to reach comfortable listening levels, and it responds well to a wider range of sources than the original Apollo’s 16-ohm load, which made some sources’ output impedance audible in the bass. Two sources with very different characters were used for this review to explore how the Apollo PRO’s presentation shifts between a clean, neutral desktop amplification chain and a portable DAP.

The SONCOZ QXA1 served as the primary desktop source, paired with the brand’s companion LA-QXD1 DAC for a fully balanced signal path from USB to headphone output. The QXA1 is a compact fully balanced headphone amplifier built around four OPA1642 operational amplifiers per channel, a MUSES72320 electronic volume chip for low-noise precise volume control, large ELNA capacitors, and a four-layer gold-plated PCB. Output is rated at 550mW at 33 ohms balanced from its 4-pin XLR output, which drives the Apollo PRO with a measured, unhurried composure rather than the effortful urgency some lower-power amplifiers show on full-size planars. The QXA1’s own sonic character is clean and revealing with a touch of analog warmth in the lower midrange that translates to a slightly fuller, more textured presentation than a strictly measurement-neutral amplifier would deliver, and it proved an unusually good match for the Apollo PRO’s own musical character.

The MUSE HiFi M3 Ultra represented the portable, highly efficient dongle-DAC side of testing. Powered by its dual ESS ES9038Q2M architecture and capable of delivering up to 300mW per channel from its 4.4mm balanced output, the M3 Ultra drove the SENDY Audio Apollo Pro with surprisingly authoritative control for its compact footprint. Relative to the QXA1’s warmer, more organic amplification, the M3 Ultra brought a cleaner, more articulate sonic profile to the Apollo Pro’s planar magnetic drivers, emphasizing micro-detail and micro-dynamic shifts. Its ESS-driven signature imparted a crisp, highly transparent treble extension that lifted the Apollo Pro’s naturally relaxed upper-range response, while maintaining a tightly controlled, punchy bass attack. While this pairing traded a bit of the QXA1’s lush midrange body and romantic decay for a more energetic, technically resolving presentation, it never crossed into harshness or glare. Ultimately, the choice between the two setups came down to whether the listener preferred the QXA1’s rich, cohesive warmth or the M3 Ultra’s nimble, transparent, and spacious delivery on the move.

The iBasso DX340 in its standard amplifier module configuration represented the portable side of testing. Running off its discrete PWM-DAC architecture and capable of up to 1200mW per channel balanced from the 4.4mm port, the DX340 drove the Apollo PRO with considerably more headroom than the QXA1 and produced a more expansive, more dynamically alive presentation at higher listening levels, particularly on orchestral and complex rock material. The DX340’s flatter, more analytically neutral character relative to the QXA1’s warmer amplification made the Apollo PRO sound more open and detailed in the treble region, while the QXA1 pairing produced a fuller, more cohesive midrange and a more relaxed but still well-defined upper end. Both pairings were musically satisfying; the choice between them came down to whether warmth and body or transparency and detail were the priority for a given session.

 

 

Equipment Used for This Review:

• Headphones:                          SENDY Audio Apollo PRO, FiiO FT5, MOONDROP Para
• Sources:                                 SONCOZ QXA1 (+ LA-QXD1 DAC), MUSE Hifi M3 Ultra, iBasso DX340

 

Albums & Tracks Used for This Review:

Vocal Jazz / Smooth Jazz

• Norah Jones – Come Away With Me (Flac 24bit/96kHz)
• Diana Krall – So Wonderful (DSF)
• Barry White – Just The Way You Are (Flac 24bit/48kHz)
• Isaac Hayes – Walk On By (Flac 16bit/44.1kHz)
• Sting – Englishman in New York (Flac 24bit/48kHz)
• Otto Liebert & Luna Negra – The River (Flac 24bit/192kHz)
• Ferit Odman – Look, Stop & Listen (Flac 24bit/192kHz)
• Charly Antolini – Duwadjuwandadu (Flac 24bit/192kHz)

Soul / R&B

• Aretha Franklin – I Say A Little Prayer (Flac 24bit/96kHz)
• Adele – My Little Love (Apple Lossless)
• George Michael – Don’t Let the Sun Go Down on Me (Flac 24bit/192kHz)
• Eric Clapton – Wonderful Tonight (Flac 24bit/96kHz)

Pop / Rock Classics

• Michael Jackson – Billie Jean (Flac 24bit/96kHz)
• Elton John – Rocket Man (Flac 24bit/96kHz)
• David Bowie – Heroes (Flac 24bit/192kHz)
• U2 – Sunday Bloody Sunday (Flac 16bit/44.1kHz)
• Lorde – Royals (Flac 24bit/48kHz)
• Dave Gahan – Kingdom (Apple Lossless)

Electronic / Experimental

• Daft Punk – Instant Crush (Flac 24bit/96kHz)
• Daft Punk – Doin’ it Right (Flac 24bit/96kHz)
• Bro Safari, UFO! – Drama (Apple Lossless)
• Armin Van Buuren – Vini Vici (Flac 16bit/44.1kHz)
• Yosi Horikawa – Bubbles (Apple Lossless)
• Toutant – Rebirth (Apple Lossless)

Alternative / Indie / Art Rock

• Radiohead – Live in Berlin “Album” (Apple Lossless)
• Radiohead – Pyramid Song (Apple Lossless)
• Muse – Hysteria (Flac 24bit/96kHz)
• Red Hot Chili Peppers – Nobody Weird Like Me (Flac 24bit/48kHz)
• Lunatic Soul – The Passage (Flac 16bit/44.1kHz)
• Portishead – It Could Be Sweet (Apple Lossless)
• Gogo Penguin – Raven (Flac 24bit/192kHz)
• Gogo Penguin – Murmuration (Flac 24bit/192kHz)
• Massive Attack – Angel (Flac 24bit/48kHz)
• Bear McCreary – Valkyries (Apple Lossless)

Classical / Orchestral

• Max Richter – On the Nature of Daylight (Flac 24bit/96kHz)
• Chopin – Nocturne No. 20 in C-Sharp Minor (Flac 16bit/44.1kHz)
• Clair de Lune – Claude Debussy (Apple Lossless)
• Tchaikovsky – Symphony No. 5 (Flac 16bit/44.1kHz)
• Vivaldi – Le Quattro Stagioni “The Four Seasons” (Apple Lossless)
• Fazıl Say – Nazım Oratoryosu (Live) (Flac 16bit/44.1kHz)

Jazz / Instrumental

• Miles Davis – So What (Apple Lossless)

World / Traditional

• Sertap Erener – Aşk (Flac 16bit/44.1kHz)
• Edith Piaf – Non Je Ne Regrette Rien (Flac 16bit/44.1kHz)

Metal / Progressive Rock

• Metallica – Dyers Eve (Flac 24bit/96kHz)
• Metallica – Sad but True (Flac 24bit/96kHz)
• Megadeth – Sweating Bullets (Apple Lossless)
• Opeth – Windowpane (Flac 16bit/44.1kHz)
• Deftones – My Own Summer (Shove It) (Flac 16bit/44.1kHz)
• Rush – Tom Sawyer (Flac 16bit/44.1kHz)
• Slayer – Angel of Death (Apple Lossless)

 

 

The Sound:

The Apollo PRO presents a clear and deliberate step away from the warm, tonally thick character the original Apollo was known for. The nano-diaphragm driver and EB Deposition conductor process deliver a presentation that is more open, more spacious, and more technically controlled than its predecessor, with a tuning that sits closer to neutral-musical than to the lush, bottom-heavy signature some listeners specifically sought out in the first model. Bass is present and extended without dominating, the midrange is forward and detailed rather than withdrawn or veiled, and the treble extends with genuine air and shimmer rather than the more guarded, smoothed-over top end the original Apollo could produce. The overall impression is of a headphone that has grown up technically without sacrificing the approachable, engaging character that made the Sendy Audio lineup worth paying attention to in the first place.

 

Bass:

Bass through the Apollo PRO extends cleanly into sub-bass territory and maintains good control through the mid-bass range without the warmth or bloom the original Apollo occasionally introduced in that region. The EB Deposition conductor process appears to contribute to this tightness: the aluminum traces deposited directly onto the diaphragm surface keep the conductive layer rigidly aligned with the diaphragm’s movement rather than allowing the slight mechanical decoupling that can occur when conductors are bonded or printed separately, and the practical result is a bass that starts and stops with a precision more typical of larger or more expensive planars than of a $449 headphone.

On the QXA1 pairing, the bass picked up a fractional amount of added warmth from the amplifier’s lower-midrange character, which rounded the edges of kick drum attacks very slightly and gave bass guitar lines a fuller, more physical presence that suited blues, jazz, and rock material particularly well. Through the DX340, the bass was leaner and faster by comparison, with tighter attack and better separation between simultaneous bass instruments in complex arrangements, which suited more analytically recorded material and electronic music where bass clarity matters more than physical weight.

In absolute terms, the Apollo PRO’s bass does not carry the visceral, physical presence of the FiiO FT5’s 90mm driver or the MOONDROP Para’s 100mm full-drive diaphragm at their respective price points. What it does instead is maintain very consistent bass character across a wide range of material types, without the occasional over-emphasis in the mid-bass that larger planar drivers can introduce on genres not specifically designed to flatter a bass-heavy presentation.

 

Midrange:

The midrange is where the Apollo PRO makes its most impressive case, and it is where the EB Deposition technology’s stated goal of more consistent frequency response across the diaphragm surface is most clearly audible. Vocals across both male and female registers are rendered with a presence and clarity that sits further forward than the original Apollo’s more withdrawn midrange delivery, without tipping into the shoutiness or upper-midrange fatigue that some planar headphones introduce in the 2 to 4kHz region when they try to achieve the same sense of presence. Male vocals carry natural chest weight and warmth, and female vocals come through with a clear, well-articulated quality that keeps consonants precise without hardening them into brittleness.

Instrument timbre in the midrange is natural and well-differentiated, with acoustic guitar, piano, and orchestral strings each maintaining a recognizable timbral identity rather than blending into a generalized planar-driver texture. This is partly a consequence of the larger 78mm driver operating in a more linear range of its excursion envelope on complex midrange passages, and partly a product of the EB conductor uniformity keeping channel-to-channel timing differences small enough to preserve instrument imaging stability across a dense midrange.

The QXA1 pairing’s lower-midrange warmth made the Apollo PRO’s vocal and instrumental midrange feel the most three-dimensional and texturally satisfying of the two sources, adding body without retreating into the warmth-over-clarity tradeoff. The DX340 pairing produced a slightly leaner, more analytically honest midrange that suited material where detail retrieval and instrument separation mattered more than tonal richness.

 

Treble:

Treble is the region where the Apollo PRO most clearly separates itself from the original Apollo’s more restrained, darker-leaning character. The 78mm nano-diaphragm and EB Deposition conductor produce an upper-frequency presentation with real air and shimmer, with cymbal decay and the harmonics of strings and brass extending into the upper registers with a sense of completeness rather than being gently rolled off before they reach full extension. This is an open, clean treble that adds dimensionality to the overall presentation and makes the Apollo PRO feel more technically capable than its price point often delivers.

Sibilance control is well-handled rather than achieved through early treble attenuation: on recordings that contain genuinely bright or sibilant material, the Apollo PRO communicates the brightness that is present in the source without exaggerating it into harshness, which is a more demanding engineering outcome than simply smoothing the top end to avoid the problem entirely. Extended listening sessions through this review produced no listener fatigue from the treble, and no consistent sibilance issue appeared on any of the diverse test material used.

The two sources produced noticeable treble differences. The DX340’s flatter, more extended character paired with the Apollo PRO’s already open top end to produce the most detailed and extended-feeling treble of the review, which suited highly resolved recordings where every cymbal shimmer and breath in a vocal performance added to the listening experience. The QXA1 tempered that slightly, rounding the very top of the upper registers into a smoother, more polished finish that proved the more comfortable pairing for longer sessions with already bright recordings.

 

Soundstage and Imaging:

Soundstage is one of the Apollo PRO’s clearest strengths, and the 78mm planar driver’s large radiating surface contributes directly to the sense of scale it produces. Width is generous and stable, placing instruments well outside the head at both the left and right extremes without smearing or collapsing the stereo image under the pressure of complex arrangements. Depth is a particular highlight: front-to-back layering is clearly resolved, with a sense of distance between a lead vocal and supporting instruments behind it that is convincing rather than approximated, and the transition from near to far within a mix reads as a smooth gradient rather than a stepped, artificial arrangement.

Imaging precision is consistently strong, with instrument placement stable and clearly defined across the full stereo field. The EB Deposition conductor’s uniformity keeps channel matching tight, which helps the Apollo PRO maintain stable imaging positions under dynamic and volume changes rather than allowing instrument positions to wander during louder or more complex passages. Vertical placement is present but less defined than the horizontal and depth axes, which is the expected outcome for a planar driver design rather than a specific limitation of this model.

The DX340 produced the most spatially expansive presentation of the two sources, with the extra drive power and the DAP’s flatter character allowing the full scale of the Apollo PRO’s staging capability to come through without compression. The QXA1 produced a slightly more intimate, more densely textured stage that traded some outright width for a stronger sense of center image presence and a more physically engaging mid-stage picture.

 

Comparisons:

SENDY Audio Apollo PRO vs. MOONDROP Para:

The MOONDROP Para is built around a 100mm planar driver using MOONDROP ‘s Full Drive Technology diaphragm, a design philosophy that prioritizes maximum driver surface area, ultra-thin diaphragm mass, and a Harman-adjacent tuning curve over the Apollo PRO’s emphasis on EB conductor precision and natural zebrawood craftsmanship. Priced roughly $150 to $200 higher than the Apollo PRO depending on retailer and region, the Para positions itself as the more technically aspirational headphone rather than the more musical or aesthetically differentiated one.

In the bass, the 100mm Para driver produces a faster, flatter low end with more linear sub-bass extension and a tighter transient character than the Apollo PRO, consistent with MOONDROP ‘s commitment to the Harman target’s measured bass presentation. The Apollo PRO’s bass carries more perceived midbass warmth and a slightly more generous amount of physical weight on kick drums and bass guitar, which listeners coming from a dynamic driver background will likely find more immediately natural and engaging. The Para’s bass is more technically controlled; the Apollo PRO’s bass is more emotionally present.

The midrange is where the listening experience gap between the two headphones is most pronounced. The Para follows the Harman target’s upper-midrange forwardness, which delivers excellent vocal presence and a sense of clarity that suits a wide range of modern recordings, but can also read as slightly aggressive or fatiguing on brighter source chains or on material mixed with a forward upper midrange of its own. The Apollo PRO’s midrange sits further back in the upper registers, offering a more relaxed, natural vocal character that trades some of the Para’s immediacy for a presentation that holds up better across longer sessions and more diverse material.

Treble favors the Para in outright resolution and extension, with the 100mm Full Drive diaphragm maintaining a more detailed and extended upper-frequency response than the Apollo PRO’s 78mm driver. The Para’s treble is brighter and more energetic, which suits listeners who prize fine detail retrieval and maximum air above everything else, while the Apollo PRO’s more composed, less forward treble will suit listeners who want an open, airy top end that does not become fatiguing over extended sessions.

Soundstage is the comparison where the Apollo PRO makes the strongest case for itself relative to the price gap. The Para’s staging is respectably wide and open for a Harman-tuned headphone, but the Apollo PRO’s 78mm driver delivers a more three-dimensionally layered presentation with better front-to-back depth, which produces a more convincing illusion of space on orchestral and acoustic recordings. Listeners weighing the two headphones on soundstage character alone may find the Apollo PRO the more satisfying result at its lower price, even if the Para wins on outright technical resolution.

 

SENDY Audio Apollo PRO vs. FiiO FT5:

The FiiO FT5 uses a 90mm ultra-thin planar driver in an all-metal chassis that weighs around 456 to 467 grams, significantly heavier than the Apollo PRO’s 354 grams, and it positions itself with a warmer, more relaxed tuning that leans toward smoothness and midrange richness rather than extended treble detail. The FT5 launched at a similar price to the Apollo PRO’s current retail position, making the comparison a direct one rather than a tier-crossing exercise.

In the bass, both headphones deliver a satisfying low-end presentation, but they do it differently. The FT5’s warm tuning gives its bass a fuller, rounder quality with more prominent midbass weight, which suits hip-hop, electronic, and bass-heavy rock very well but can occasionally blur the separation between bass notes on more densely arranged material. The Apollo PRO’s bass is tighter and more linearly extended, with better note-to-note separation and a cleaner transition from the mid-bass up into the lower midrange, at the cost of some of the FT5’s immediate physical impact.

The midrange comparison exposes the most significant character difference between the two headphones. The FT5’s warm tuning and 90mm driver produce a particularly rich, full-bodied midrange on male vocals and lower-register instruments, a quality that listeners coming from a preference for warm, musical listening will find immediately attractive. The Apollo PRO’s midrange is leaner and more forward by comparison, with a clearer, more articulate vocal presentation that suits listeners who want their headphone to communicate the full character of a recording rather than adding warmth on top of it. The choice between the two in the midrange is an unusually clear preference question rather than a quality one.

Treble is where the Apollo PRO pulls ahead most consistently. The FT5’s warmer tuning rolls the treble back earlier than the Apollo PRO’s more extended upper-frequency presentation, which makes the FT5 easier to listen to on already bright recordings but limits its sense of air and detail retrieval on well-recorded material where the top end carries important harmonic information. The Apollo PRO’s treble extends further with more shimmer and a more convincing sense of air, which suits a wider range of recording quality and genres rather than specifically flattering material mixed for a warm, smoothed-over presentation.

Soundstage is broadly similar between the two headphones, with both delivering good width and a respectable sense of depth on open-back planar-appropriate material. The Apollo PRO’s imaging precision is slightly more accurate under complex arrangements, while the FT5’s staging has a slightly more enveloping, immersive quality that is driven partly by its warmth filling in the sense of space rather than purely by geometric accuracy. Practically, the 100 gram weight saving the Apollo PRO offers over the FT5 is a real and meaningful comfort advantage for long listening sessions, and that difference alone may be decisive for listeners who prioritize all-day wearability.

 

Conclusion:

The SENDY Audio Apollo PRO arrives as a substantially more capable headphone than the model it follows, rather than an incremental revision of a familiar formula. The 78mm nano-diaphragm driver with EB Deposition conductor technology delivers a measurably more open, more detailed, and more spatially resolved presentation than the original Apollo, while the lighter 354 gram chassis, zebrawood earcup aesthetic, and premium triple-composite cable make a strong case that SENDY Audio has closed the gap between its price point and its aspirations in this generation.

The Apollo PRO is best suited to listeners who want a musically engaging, open-sounding planar headphone with a natural midrange character and genuine treble extension, and who are not specifically chasing the maximum technical resolution or the Harman-target neutrality that some competing headphones at and above this price prioritize. For the right listener with the right source pairing, it is one of the more satisfying open-back experiences available at $449.

 

Pros & Cons:

• + 78mm nano-diaphragm with EB Deposition conductor delivers a detailed and spatially resolved sound performance
• + Treble extends with genuine air and detail without tipping into fatigue on sensitive recordings
• + Fast decay control in the bass region keeps rapid drum sequences and bass guitar lines perfectly separated without muddying the lower midrange
• + Pretty natural vocal and instrument timbre that avoids the artificial metallic sheen common in average planar magnetic drivers
• + At 354g, lighter than most competing full-size planars with drivers of comparable size
• + Premium triple-composite Furukawa OFC cable included rather than a basic accessory cable
• + Zebrawood earcups with lambskin headband and velvet pads deliver a premium material experience at this price
• + All three termination options covered by the included adapters

 

• – Bass weight is more controlled than warm, which will not suit listeners specifically seeking the physical impact some larger planars provide
• – The included cable is heavy and long, better suited to desktop use than portable listening
• – Open-back design offers no passive isolation and leaks sound noticeably in both directions
• – At 93dB sensitivity, the Apollo PRO benefits meaningfully from a capable source and sounds most complete from a clean, well-powered amplifier rather than from a basic dongle or laptop output

 

Thank you for the Read!