A deeper dive
Let’s take a closer look at the various software-driven controls that set Gold Note’s HP-10 Deluxe apart from many other ‘conventional’ headphone amps.
Studio – inside the control room
Gold Note’s ‘Studio’ suite gives you complete control over the various analogue domain DSP functionality of this very unique amplifier, letting you shape the sound to your liking, and even save your combinations as ‘presets’ for different headphones or IEMs.
Configured on screen, Studio settings can be saved as one of three user profiles (PROFILE 1–3) or turned off for when you want to keep the sound untouched. Profiles can be renamed (max 8 characters) and recalled from the front panel or with the remote. The different settings are laid out as a series of tiles, with active tiles turning yellow when pressed.
With the exception of Crossfeed (pick one of four), the different Studio options can be combined for a more robust cumulative effect.
Since Studio functions activate discrete analogue circuits, sonic changes are rendered without the digital, superficial sheen that DSP contouring often introduces. Adjustments subtly change the sense of space and the shape of the sound, not its identity.
Crossfeed: This is the process of blending the left and right channels of a stereo audio recording to make headphone listening sound more like listening to speakers. Unlike other Studio settings, only one crossfeed option can be active at a time.
Setting 1 recentres the phantom image with the lightest touch; 2–3 progressively glue hard-panned material and bring the image a fraction forward, and 4 is the most speaker-like.
In my experience, with any of these settings active, you trade a sliver of width for a more continuous stage. Again, because this circuit is analogue, tonal colour stays put while spatial cues evolve.
Harman curve equalisation: This setting uses analogue “target-curve” contouring closely aligned to the widely-referenced Harman curve, which Gold Note labels as Harman Balance (H), Clarity (M), and Depth (L).
Think of this a smooth tilt rather than “EQ points.” H (Balance) fills low-end/low-mid body and tidies the top; M (Clarity) lifts presence/air just enough to open darker voicings; L (Depth) underpins with sub-bass support and a slightly duskier tone.
Used with restraint, I find these settings – which can be combined for greater or lesser effect – turn fussy pairings into refined listens without blunting transients.
Damping Factor: This setting alters output behaviour (effective output impedance/current delivery) to better match the load of the connected headphone. In doing so, this can have varied – and often positive – effects on headphones, with different characteristics to those prescribed.
‘High’ increases grip and start/stop speed, a setting that planar magnetics typically love, yielding tauter bass and crisper attacks. ‘Low’ relaxes the envelope and adds bloom and body that high-impedance dynamics respond particularly well to.
That said, I sometimes find that setting a high damping factor positively boosts bass response to my liking, so I encourage experimentation with this setting regardless of the headphones or IEMs you’re using.
Gain: The HP-10 Deluxe features two analogue gain settings, low and high, which as the name suggests, is mostly used to increase headroom and (if needed) decrease noise floor.
Use ‘low’ for sensitive IEMs to keep hiss out, and to power sensitive headphones; use ‘high’ for insensitive planars and hard-to-drive dynamic headphones to keep the volume range sensible. I recommend trying out different gain settings, as higher gain may deliver a more dynamic sound from your headphones, even when it’s not absolutely necessary.
Phase: In cases where you feel your headphones or IEMs might be slightly out of phase, or if you’re simply feeling experimental and wondering what this setting does, give the phase function a go.
It’s basically an absolute-phase flip (0°/180°), which is sometimes inaudible, and sometimes activates with a small, satisfying “click” to give the music a tighter image focus with snappier leading edges on close-miked material. Like all the other Studio settings, it’s easy to test, easy to undo.
Superflat: This setting essentially bypasses all the other contouring settings to give the sound a purist linearisation. If you want to hear exactly and only what your headphone is giving you, switch this on.
Personally, I find it often results in leaner, quicker edges, and cleaner decays, which isn’t really to my preference but might be to yours. I consider this a mastering-style reference that flatters neutral headphones and exposes mix choices, maximising transducer transparency for sound engineers and objectivist listeners. On already-bright voicings it can read a touch dry, but that’s usually the trade for precision.
Mix and match
Gold Note publishes an HP-10 Optimal Settings guide that lists recommended Studio setups for well over 120 headphones. For each model, it specifies Crossfeed (1–4), Damping Factor (Low/High), and which Harman variants – Balance (H), Clarity (M), Depth (L) – they suggest enabling. It’s an invaluable on-ramp that removes most trial-and-error.
Outside the Studio settings you also get Balance and Mode on the main screen (Stereo, Stereo Reverse, Mono L+R, Mono L, Mono R). Proper analogue balance lets you centre the image without resolution loss; Mono modes (L+R / L / R) and Stereo Reverse are quiet heroes for troubleshooting and quick checks.
Continue to sound impressions…
