Select comparisons
R6 Pro II (Original, 2023 – reviewed here)
Lining up the new model next to its predecessor is a bit like comparing two vintages of the same wine. They share the same terroir, but the conditions have shifted, and the result has a subtly different character.
On the outside, the two are twins – same chassis, same screen, same futuristic design language. If you owned the original, you’ll need to look closely at the spec sheet to tell them apart. But once you plug in a favourite pair of earphones, the changes reveal themselves quickly.
The original R6 Pro II had a rich, organic midrange that made vocals positively glow. Listening to Eva Cassidy’s Autumn Leaves on the older model, you were bathed in warmth – intimate, emotive, with a slightly relaxed character. The new version retains the soul of that presentation but tightens everything up. Cassidy’s voice is still luminous, but it’s more forward, more clearly etched against the backdrop of piano and guitar.
The biggest difference is in the bass. Where the original sometimes lacked conviction, the new model has real punch. Cue up The Eagles’ One of These Nights, and the bass line drives the track with authority that the OG could only hint at. The Cirrus DACs deliver deeper extension, and the increased power reserves give bass notes a satisfying physicality.
The treble, too, has shifted. The 2023 model leaned slightly smooth and forgiving. That made it easy to listen to for hours, but occasionally at the cost of excitement. The 2025 pushes a little more sparkle into the upper registers – not enough to cause fatigue, but just enough to make the shimmer of cymbals on Pink Floyd’s Money feel more alive.
Technicalities are the final nail. The added power output and faster processor of the new R6 Pro II mean a wider stage, crisper transients, and better layering. On Dire Straits’ Private Investigations, the separation between acoustic guitar, marimba, and whispered vocals is clearer and more immersive. The older model could get a touch congested here; the 2025 breathes more easily.
In short, if you adored the refined warmth of the original, you may find the new version a little more forward and energetic. But for most listeners, it’s an unambiguous upgrade: more headroom, more dynamics, more detail – without losing the essential musicality that made the first so appealing.
R6 Pro Max (reviewed here)
If the new R6 Pro II is the sprightly coupe, the R6 Pro Max is the grand tourer. It’s bigger, heavier, and has more brute force under the bonnet. Side by side, the Max dwarfs the Pro II – it’s the sort of player that looks faintly ridiculous balanced on your knee in a train carriage, but entirely at home on a desktop next to a pair of hungry planar headphones.
Sonically, the Max has the edge in sheer grunt. Plugging in something demanding like the Sennheiser HD800S, the Max drives them with a confidence that the Pro II can approach but not quite match. On Pink Floyd’s Shine On You Crazy Diamond, the expansive soundscape felt a little more effortless, a little more anchored through the Max.
However, the Pro II fights back with portability and efficiency. It slips into a coat pocket, its battery lasts longer in Class AB mode, and it doesn’t run as warm. For IEMs and moderately demanding headphones, the differences narrow considerably. Listening to Missy Higgins’ The Special Two on both players, the intimacy of her voice and the subtle dynamics of the piano were equally convincing. Only when you crank volume on orchestral climaxes, like Lana Del Rey’s Ride, do you hear the Max’s extra horsepower stretch its legs.
There’s also the question of practicality. The Pro Max, with its size and shorter runtime, feels more like a transportable than a portable. The Pro II, by contrast, manages to balance serious performance with genuine mobility. Unless you have a stable of power-hungry headphones, the Pro II will likely serve you better day-to-day – and at a lower price.
In essence, the Max is for those who want no compromise and don’t mind carrying a brick. The Pro II (2025) is the more versatile, more liveable option.
Everyday use
Living with the new R6 Pro II is a surprisingly civilised experience for what is, at heart, an enthusiast’s toy. HiBy has clearly thought about the everyday realities, even if a few quirks remain.
The battery is one of the most welcome upgrades. With a 5,000 mAh cell on board, Class AB mode will happily give you a day of mixed use – around 12 hours if you stick to single-ended, 10 or so with balanced. Switch to Class A and the gloves come off: you’ll be lucky to scrape past five hours. That’s the price of sonic indulgence. Think of Class A as your “Sunday best” mode: glorious for an evening listening session, less practical on a long-haul flight.
Heat is another factor. Run it hard in Class A and it will get toasty – not “fry an egg” hot, but warm enough to notice in your pocket. In winter it’s a feature, in summer perhaps less so.
Size is a double-edged sword. The 5.9-inch screen is a joy for browsing, but it does make the player closer to a smartphone in footprint. Pop it in a jacket and you’re golden. Try squeezing it into tight trousers and you’ll soon understand why many owners use a shoulder bag or case. Still, compared to the Max, it’s positively svelte.
Connectivity is strong. USB-DAC mode works smoothly, though one niggle remains: you can’t toggle USB charging when connected to a laptop, so the player insists on sipping juice from your computer whether you like it or not. Not a deal-breaker, but a curious omission.
The supplied leather case deserves a second mention. It’s not only handsome, but also practical – protecting against accidental button presses, and giving the device a tactile grip. It elevates the whole package, and frankly makes rival players’ bundled cases look like afterthoughts.
Perhaps the most important practical point, though, is simply how enjoyable the Pro II is to use day-to-day. Queue up The Cranberries’ Dreams on a commute, and the way it lifts Dolores O’Riordan’s voice above the swirl of guitars and drums makes the grind of public transport feel almost poetic.
In the evenings, with Dire Straits’ Brothers in Arms unfurling in lossless glory, it becomes a device that disappears – leaving only the music. And isn’t that what it’s all about?
Continue to closing thoughts…
