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Sony NW-WM1Z Portable Player and MDR-Z1R Headphones

Sony NW-WM1Z Portable Player and MDR-Z1R Headphones

Sony has been creating cost-no-object “flagship” components since early in its history. And while never intended as big-sellers, these models have often provided benchmarks for future, more affordable designs. The new Sony NW-WM1Z portable player ($3199) and MDR-Z1R headphones ($2299) are two of Sony’s latest top-echelon portable audio devices. This review will look at each product individually and then as a unified system. While not perfect for everyone’s needs (nor are they meant to be), the NW-WM1Z and MDR-Z1R boast several unique technical accomplishments that make them special and noteworthy—not to mention their top-end sonic performance.

Both the NW-WM1Z and MDR-Z1R are part of Sony’s new Signature line that also includes the TA-ZH1ES tabletop headphone amplifier. This amp includes a DAC and a new remastering engine that coverts PCM and DSD sources up to DSD256. But for this review we will look at the two portable components from Sony’s Signature line.

The NW-WM1Z Portable Player
Portable players have come a long way since the first Sony Walkman. Current state-of-the-art portables have as much technical sophistication as any high-performance AC-mains-connected component. But unlike room-based units, which can be as big as needed to contain what’s inside, with portable components the issue of size and weight becomes part of the equation. As many experienced travelers do, I always look for the lightest, smallest device that will meet my needs when I’m traveling.

Sony NW-WM1Z Portable Player and MDR-Z1R Headphones

Though compact, the NW-WM1Z cannot be considered lightweight at 455 grams, which is slightly over one pound. The reason for its heft is its chassis, which is carved from a single ingot of OFC (oxygen-free copper), then coated in 99.7% gold inside and outside after fabrication. Sony chose this chassis material because it offered better mechanical and electronic isolation than a standard chassis made of aluminum. Sony also claims that this chassis delivers a different sound signature than an aluminum chassis. For those audiophiles who want to compare, Sony has also released the WM1A player ($1199), which has a topology and features very similar to those of the NW-WM1Z, except it has an aluminum chassis rather than a gold-plated copper one, OFC copper wiring instead of 4-braided Kimber Kable, and a MELF resistor instead of a special custom unit. The WM1A player also weighs half as much at only 267 grams.

The NW-WM1Z is a “closed” system that does not use an Android OS like the Sony NW-ZX2 player did. That means that the NW-WM1Z OS won’t allow users to add third-party programs via the Android Play store. The NW-WM1Z also does not support WiFi, so it can’t supply any direct streaming capabilities for Tidal, access to a local NAS drive, or automatic firmware upgrades. The NW-WM1Z does support the latest version of Bluetooth, but that’s for connecting to a pair of Bluetooth earphones. One last feature that the NW-WM1Z does not have is that it cannot be used as a USB DAC. It has a USB connection, but it is for charging and moving files into the player.

Having reviewed more than a dozen portable players during the last several years, I have developed my own set of preferences regarding the open/closed OS question. I prefer the reliability and sonic optimization that I find on closed systems, but when a feature or app is not included in a closed system your chances of accessing it are nil without some unauthorized hacking. I much prefer an open system where I can choose what apps I want to use and even use those same apps across multiple platforms. That said, it’s far too easy to add an app to an Android OS that is not compatible, or can even cause a player to cease functioning correctly. Also, it does get tedious when every time you activate your player it proceeds to download and update apps first. So, in my opinion neither solution is perfect.

 

Technical Details
Besides its OFC copper chassis, the NW-WM1Z has a plethora of technical features, some unique and some carried over from earlier successful Sony designs. The NW-WM1Z has a dual-clock oscillator system that employs two newly developed, 100MHz-compatible, low-phase-noise quartz oscillators. The reason the NW-WM1Z has two is so it can handle both 44.1 and 48kHz PCM.

The primary reason that that the NW-WM1Z is larger than its predecessor, the NW-ZX2, is so Sony’s engineers could design the NW-WM1Z’s layout with individual components spaced farther apart, which reduces noise throughout the system. To further reduce noise the audio and power/digital blocks are kept physically separate in the NW-WM1Z’s optimized substrate.

The NW-WM1Z includes several proprietary Sony signal-processing methodologies. Multi-mode DSEE provides five user-selectable modes that, according to Sony, “restore upper frequencies that are truncated by lossy compression processes.” The NW-WM1Z also has something Sony calls its “DC phase linearizer,” which according to the player’s menus “makes the low frequency phase characteristics of the player closer to a traditional analog amplifier.” The linearizer offers six different settings with names such as “Type A Standard” and “Type B Low,” which are less than self-explanatory.

The NW-WM1Z has a “full digital” output amplifier called the CDX-3779GF that was developed especially for portable devices and is able to deliver native DSD output, high power, and a true balanced signal. You can also tailor the NW-WM1Z’s sound to your own specific tastes via the 10-band EQ and tone control. Once you obtain a setting you favor you can save it via three unique and selectable saved sound settings. You can also bypass all the sound treatment options via a “direct” setting.

As you would expect from a flagship player, the NW-WM1Z supports DSD up to 4x and PCM up to 384/32, as well as MP3, FLAC, WAV, ALAC, and AIFF formats. The only format the NW-WM1Z can’t play natively is an MQA file, which will play back at its base sample/bit-rate rather than in higher resolution.

 

Ergonomic Impressions
The NW-WM1Z has basic control buttons on one side to augment its touch-sensitive display, one hold/lock switch on the other side, two headphone connections on its top, and a USB and microSD card slot on its bottom. The reason for two headphone connections is that one is a standard mini-stereo connector while the other is a brand-new 4.4mm “standard” balanced connection. This new standard will be a boon to accessory headphone cable manufacturers since many headphone owners will need to buy a new cable (or adapter) to go from the other “standard” balanced connectors to this new one.

The NW-WM1Z employs a new user interface or UI that allows for both side and up/down swipes to move from one control screen to another. The NW-WM1Z also has nested menus and standard controls such as a “back” button. Anyone with a passing knowledge of smartphone operation will have no problems navigating through the NW-WM1Z’s controls, but I suspect he or she may need to access the owner’s manual to decipher and fully digest some of the NW-WM1Z’s more esoteric settings, such as DSEE or DC phase linearizer. I know I did.

Along with a dedicated data/charging cable, the NW-WM1Z comes with a cleverly designed case that incorporates a hard plastic cover plate to protect the touchscreen. With its reinforced corners and edges, if or when you drop your NW-WM1Z the player will not get the worst of things. Sony’s “golden brick” will survive anything short of a drop from a third floor window. One word of warning: The NW-WM1Z, like many other Sony devices that connect to a USB port, uses Sony’s own connector rather than a standard mini-USB B or C. So, if you forget to bring a dedicated Sony cable with you on your travels, none of your other USB cables will help you connect to power-up your player.

Data storage capacity for the NW-WM1Z begins with 256GB of internal storage, which can be augmented by one microSD card of up to 256GB, bringing total capacity to 512GB. Unlike many players where you can swap populated microSD cards from one to another and the data is recognized, unless you place all your music files into a folder marked “Music” the NW-WM1Z will not find or recognize your files. (Even the cards that were recognized and played by the Sony NW-ZX2 were deemed blank by the NW-WM1Z.) Another small issue with the NW-WM1Z’s handling of micro SD cards: You will need a long strong thumbnail, tiny fingers, or a pair of tweezers to switch microSD cards in the NW-WM1Z because of the way the door and card slot are designed.

With two gain settings, normal and high, the NW-WM1Z attempts to span the range from highly sensitive in-ears to power-hungry high-impedance headphones. With the ultra-high-sensitivity (115dB) Empire Ears Zeus custom in-ears the NW-WM1Z produced some low-level hiss, but with the 100dB-sensitive Ultimate Ears Reference Remastered custom in-ears there was no hiss when the player was in pause—just deep dark silence.

Switching to the Beyerdynamic DT-990, 600-ohm version, which are my lowest sensitivity full-sized headphones, with the high-gain setting of the NW-WM1Z engaged and using its single-ended output I had barely enough volume at the full output level of 120 on a scale of 1-to-120 to play my own live concert recordings at what I consider moderate volumes. (Loud was not an option.) With the easier-to-drive Beyerdynamic DT-880 250-ohm version there was just enough gain with my own recordings to play them loudly. My conclusion is that if you have a hard-to-drive headphone that you want to mate with the NW-WM1Z, it’s important that it can be attached via balanced mode where the NW-WM1Z has substantially more output—240mW versus 60mW from its single-ended output.

One unique Sony feature, unavailable on any other manufacturer’s portable player, is the Sony SenseMe AI music shuffle. This advanced shuffle feature has twelve categories—morning, daytime, evening, midnight, energetic, relax, upbeat, mellow, lounge, emotional, dance, and extreme work. According to Wikipedia, SenseMe works “by mapping music to a dual axis map based on the mood and tempo of music tracks. Mood and tempo are determined by using the appropriate Sony compatible software, which analyzes music tracks individually and computes the relevant track information. Analyzed tracks can then be plotted onto an intuitive dual axis map…The horizontal axis is based on mood and the vertical axis is based on tempo.” SenseMe was first introduced by Sony in 2009, and has been available on Sony’s PlayStation 3 and many Sony handsets since 2010. Its implementation on the Sony HAP-Z1ES player was my first exposure, and initially I was not impressed. But after a several months’ use I’d learned that the SenseMe “channels” delivered a much better user experience than ordinary “shuffle” settings. I was delighted to see that SenseMe was included in the NW-WM1Z’s feature set. It’s great on a fully-populated-with-music NW-WM1Z—almost like having your own personal radio station.

Although the NW-WM1Z is a technological marvel, as mentioned earlier it does lack some features that potential users may find essential. First, it can’t stream from any online music services such as Tidal or Spotify because it lacks WiFi or wireless file transfer. Secondly, the NW-WM1Z can’t do dual duty as a portable USB DAC connected to a computer. Second, since it is a closed system you can’t add features or apps via third-party sources. The NW-WM1Z was designed to be an optimal playback device for digital music files; additional functions and capabilities were eliminated so that playback of digital files could be optimized. In automotive terms the NW-WM1Z is a Formula One racer, not a family sedan.

 

Sound
The sonic goal of the NW-WM1Z was quite simple: To compete sonically with the best non-portable, room-based digital playback systems currently available. In my opinion it succeeds at this goal, with a few caveats. Unlike some portable players that are unable to create the same big soundstage and sense of unlimited bass capabilities as desktop or room-based components, the NW-WM1Z rivals any AC-tethered headphone playback systems I’ve encountered when it comes to producing a full-sized image with subtle and fully realized sonic information.

The terms “smooth” and “suave” featured prominently in my listening notes on the NW-WM1Z. Regardless of the source material’s format, this player always sounded in complete control. I attribute this overall sense of natural ease to the NW-WM1Z noise levels, which are lower than those of most portable players (and many room-anchored components). On material that I know well I noticed the lack of anything that could be labeled as “distracting base-level noise.” It was not only easy to listen deep into the mix, but there was an overall sense of musicality and lack of artificiality or hi-fi-ish edge. How “natural” does the NW-WM1Z sound? I preferred the overall sound of the NW-WM1Z playing back my own recordings to those same recordings played back directly from the Korg MR-1000 they were originally made on. Through the Sony NW-WM1Z these recordings sounded less mechanical, more fluid, and more natural, similar to the original microphone feed.

With its 10-band EQ you can alter the NW-WM1Z’s sonic character rather drastically, if you wish. Most of my serious listening was done with the “direct” mode engaged, which bypasses all sound-shaping. I also listened to all the various DC phase linearizer settings and found that their main function was to change low bass character, and the “best” setting was directly related to each individual track rather than to a universal ideal. Also, your choice of headphones will have a profound effect on the amount of change the DC phase linearizer setting will make. Unless your cans can produce deep bass you may not hear much difference between settings on and settings off.

My favorite pairing with the NW-WM1Z was the MDR-Z1R headphone using the balanced connection. This combination provided a silent background, a huge but exceedingly specific image and soundstage, super-deep bass response, a musical yet detailed midrange, more than enough gain for even quiet source material, and an effortlessness to the dynamics that gave everything an easy-to-listen-into character. In-ears with anywhere between 90 and 100dB sensitivity interfaced with the NW-WM1Z’s single-ended output perfectly with no hiss and plenty of gain.

The only headphone I could access that had the necessary 4.4mm-terminated cabling as well as a single-ended cable to do a direct comparison between the NW-WM1Z’s single-ended and balanced outputs was the Sony MDR-Z1R headphone. If I can generalize from the differences I heard between the single-ended and balanced connections using these relatively easy-to-drive headphones, I would recommend getting an adapter or a new cable that supports the 4.4mm balanced output for whatever full-sized headphones you plan to mate with the NW-WM1Z. Using an amplifier capable of 4x the drive of the single-ended output made a big difference in the size and scope of the sonic presentation. With the balanced output the overall sound was fluid and effortless, and the bass was better in every way compared to the single-ended output.

If my only measure of overall value were sound quality, I would have to rate the NW-WMZ1 as the best portable player I’ve reviewed. But if you factor in portability, flexibility, and options for inputs and outputs, the NW-WMZ1 has some limitations that may well affect whether you find it to be your ideal portable player.

 

MDR-Z1R Headphones
I’ve never been a big fan of bling for bling’s sake, so I found the look and feel of the new MDR-Z1R headphones refreshing. They are elegant in the true sense of the word, with clean lines and an all-black matte finish that seems to say, “Stop looking and start listening.” Instead of flashy logos or sparkly details the MDR-Z1R is all about understated high performance.

Designed by Shunsuke Shiomi, the MDR-Z1R headphones are a completely new design based around a 70mm-diameter, full-range driver. With its high frequency extending up to 120kHz, the new driver comprises a magnesium dome attached to an aluminum-coated, liquid crystal polymer edge. Even the screen that protects the drivers was given a new design. Instead of the usual circular or grid pattern the MDR-Z1R uses a Fibonacci-patterned grille. According to Sony’s measurements this grille delivers a much smoother frequency response with fewer resonances than previous grille designs. On the Sony-supplied frequency plot, the Fibonacci grille caused almost as few frequency anomalies as no grille at all.

Moving up to a 70mm-diameter driver isn’t merely a matter of bigger looks better. With the larger driver the MDR-Z1R gains several advantages. For one, the driver doesn’t have to be positioned as critically vis-à-vis your ear. Most headphones, even large-diaphragm models, have one particular or ideal fit where sound and comfort are optimal. With the MDR-Z1R I found that the time I spent fiddling to find the fit with the best sound was reduced to nothing. The MDR-Z1R sounds the same regardless of small changes you make to how they are sitting on your head. This is also due to the new Fibonacci screen.


Sony NW-WM1Z Portable Player and MDR-Z1R Headphones

The MDR-Z1R’s enclosure is also worthy of special note. Unlike most headphone designs which are either completely closed or completely open, the MDR-Z1R is somewhere in between, not unlike the AudioQuest NightHawk. The MDR-Z1R has an open housing frame that allows sound to pass through freely. This is backed by an “acoustic resistor” that is made of Canadian softwood mixed with water to a uniform consistency. The process is similar to what is used to form art-paper, but in this case the final results are geared toward producing a material that has a high level of sound absorption rather than textural beauty. The outer layer of this sandwich is a “housing protector” molded out of stainless steel wire coated with a chromium compound. This design delivers the sonic advantages of an open headphone so that the driver has no physical impedances caused by the enclosure. But it also reduces the sound released into the world around you to the point where at normal listening levels anyone nearby will not hear your music.

The MDR-Z1R has thick, ergonomically shaped, genuine leather earpads that are so pliable that the headphones can make a fully occluded seal around a user’s ears even when he is wearing glasses. This same leather is used to cover the “Beta titanium” headband, the inner core of which is made of the same material used in eyeglass frames. The MDR-Z1R design has two pivot points, a vertical one where the capsules meet the headphone’s yoke and a second lateral point where the yoke meets the headband. This two-point pivot system makes for an exceptionally flexible fit and a very comfortable final result.

As you would expect from a premium headphone, the cable is removable and replaceable. The attachment methodology is one that Sony has used successfully on previous designs. It has a male stereo mini-connector augmented by a screw-down outer collar. This configuration guarantees a virtually unbreakable connection; if the cable fails, the points of attachment will not cause it. The MDR-Z1R comes with two cables. One is a standard 3-meter-long, single-ended mini-stereo (with a full-sized ¼” adapter) while the other is a 1.2-meter balanced cable terminated with the new 4.4mm barrel.

Ergonomic Impressions
Because of its 70mm diaphragm the MDR-Z1R is a physically large headphone, and if you are concerned by questions such as “Do these make my head look small?” be advised that the all-black color of the headphones does have a slimming effect. But despite its size the MDR-Z1R is surprisingly lightweight. On a comfort scale of one to ten—one being unwearable and ten being so comfortable you forget they are on your head—the MDR-Z1R rates a solid 9. Even after several hours of use in a reasonably warm environment my ears did not get overly moist and the side-pressure did not become uncomfortable (or even noticeable). I rate the MDR-Z1R up with the Focal Utopia and Stax L-700 in overall comfort and wearability.

With its 64 ohms at 1kHz impedance and 100dB at 1mW sensitivity the MDR-Z1R is an easy-to-drive headphone. My iPhone 4 had no issues pushing the MDR-Z1R to satisfying levels, as did my ancient iPod Classic 160. The most noticeable difference between these sources and more robust portable players was the level of bass control, definition, and extension. I could also hear that these sources lacked the finesse and delicacy in their upper frequencies of the Sony NW-WM1Z.

The MDR-Z1R comes in a large, leather-bound presentation case complete with a firmly closing clasp. It seems that it is pretty much a given that any premium headphone will be packaged in a similar manner. Many audiophiles, including this reviewer, would prefer a case that could be used in the field rather than an elaborate non-portable case that takes up valuable shelf space. It would also have aided the MDR-Z1R’s portability if the lateral pivots allowed the headphones to lay flat for travel.

Going with a less expensive packaging scheme would have also freed up some funds so that Sony could have included a third and in my opinion essential cable: one with a standard balanced XLR connection. You can, of course, obtain a cable with this termination from other sources, but it would be nice to be able to start using the MDR-Z1R in a balanced mode with virtually any amplifier right out of the box.

 

Sound
Many years ago, I visited the late loudspeaker designer John Dunlavy at his factory in Colorado Springs. One of the A/B tests we did in his listening room was to compare the spectral balance of his big 650-pound SC-VI loudspeakers with a pair of Sony 7506 headphones. I was struck by a feeling of audiophile déjà vu when I read that the new MDR-Z1R headphones had been compared by senior mastering engineer Mark Wilder to a pair of Duntech loudspeakers as a spectral reference, as these were also designed by John Dunlavy.

I found the MDR-Z1R to be the best-sounding all-around headphones I’ve heard. What do I mean by “all-around?” By this I refer to the fact that unlike most earphones which are either open and need a quiet environment or suffer some sonic degradation because they are a sealed design with interior reflections and non-linear physical resistance to driver motion, the MDR-Z1R is a “unicorn” that can be used in far more situations. Its design combines the best aspects of an open ’phone with enough to be used in environments where an open headphone could not be appreciated, such as your local public library or open floorplan office.

Looking at my listening notes the words “no limitations” occur in numerous sessions. Try as I may, I was hard-pressed to hear any sonic shortcomings that I could lay at the feet of the MDR-Z1R. Whether I was listening to a commercially available recording or my own live concert recordings, the MDR-Z1R provided a clear window into the event. My listening time through the MDR-Z1R was split between the Sony NW-WM1Z and the Mytek Brooklyn DAC/Pre, both of which proved to be synergistic pairings.

Although they image in a different spatial environment than loudspeakers, headphones do create a soundstage. The MDR-Z1R’s soundstage was not only exceedingly three-dimensional, but also quite large. It wasn’t so much that the image was big, but the soundstage boundaries seemed to have far more extension than with most headphones. Also, within the soundstage each instrument had remarkably well-defined dimensions.

On my own recordings, I was more aware of how the sound moved through the hall. The differences between the direct and reflected sound was more apparent than with any closed-back headphone I’ve used, due in part to the lack of interior reflections in the MDR-Z1R’s enclosure. Image specificity was scary at times. Listening to Chance the Rapper’s “Blessings” via Tidal I was aware of how the easy it was to hear each element within the dense mélange of sound—even to the point of hearing the phase-shift added to the acoustic piano at the beginning of the track.

In their informational materials Sony mentions using the Duntech loudspeakers as a spectral reference. And like the Duntechs, the MDR-Z1R’s spectral balance is very much in the “straightno-chaser” school that does not try to editorialize the harmonic spectrum. The bass, while extended, does not have any extra midbass bloom or romance. But, of course, your choice of amplifier will affect this balance, bigly (I couldn’t resist). With the all-tube, single-ended, Dennis Had-designed Dragon Inspire IHA-1, the MDR-Z1R gained some additional lower midrange richness and a bigger, but slightly less controlled low bass.

Bass extension through the MDR-Z1R was as good as I’ve heard from any headphone. On bass-heavy tracks such as DJ Snake’s “Too Damn Low,” the MDR-Z1R delineated the different pitches of the synth drums exceedingly well. Also, that puff of air that accompanies lower frequencies came through with remarkable impact. On Chance the Rapper’s “Blessings” via Tidal, the bottom end seemed to have no dynamic restrictions. Even on cuts that were not bass-intensive, such as Albert King’s “Born Under a Bad Sign,” the MDR-Z1R had a level of definition, detail, and control that would please anyone who favors that low-down sound.

If you have a couple of songs on which you’ve never quite been able to make out all the lyrics, listen to them through the MDR-Z1R. I guarantee that you will never confuse “Kiss the sky” with “Kiss this guy” again. Modern stuff like Beyoncé’s “Sorry” had a lot of “bad words” buried in the mix that I didn’t know were there until I listened to the track through the MDR-Z1R.

 

The NW-WM1Z and MDR-Z1R Used Together
This has been a long review so I’ll keep this section short and sweet. This combination in balanced mode is the rival of any headphone/player combo I’ve heard, regardless of price or technology. The sound flows with an effortless rightness that draws your attention to the music, never the gear. No matter how dense or busy a track, isolating a particular part or instrument was always easy. And the realism of this duo’s imaging specificity will scare you. There is absolutely no locational smear or vagueness; even when two vocalists were singing in unison, it was easy to differentiate each one. In short, this dynamic duo redefines the state of the art for portable systems.

Competition
Given its price, there isn’t much in the way of direct competition for the NW-WM1Z except for the Astell&Kern AK380. If you are trying to decide between these two fine players, congratulations. Sorry, I can’t help you more because the decision will come down to your own tastes, not mine. Both are superbly made and excellent-performing components, and your decision will likely depend on which interface and features you value the most rather than just the sound. The AK380 is more flexible, with a greater number of input and streaming options, but the NW-WM1Z has Sony’s SenseMe AI shuffle. And, of course, your preferences in earphones, and how well you like the combination of player and ’phones, will influence your decision as well.

The MDR-Z1R headphone, at $2299, has plenty of competition, but nothing quite matches its level of comfort, sound, and compatibility with a wide range of playback devices. Its closest sonic competitor would be the MrSpeakers Ether Flow ($1799–$1849), which is a smidgen less comfortable and favors a stouthearted headphone amplifier, but is over $400 less expensive. Although I no longer have the aforementioned Focal Utopia headphone for direct A/B sonic comparison, I do feel the MDR-Z1R headphones are in the same sonic class with those and the MrSpeakers Ether Flows—certainly these are both headphones that anyone considering the Utopia should hear before purchase.

Summary
With its NW-WM1Z portable player and MDR-Z1R headphones Sony has made the statement: “Here’s what we can do.” And the results of those labors are mostly successful in the case of the NW-WM1Z portable player; with the MDR-Z1R headphones, they scored a major coup.  As mentioned, the MDR-Z1R ’phones are directly competitive in sound and comfort with Focal’s Utopia (also stellar sonic performers). While the NW-WM1Z player may be ideal for someone willing to sacrifice some features for others, the MDR-Z1R headphones sacrifice nothing (except for maybe an additional balanced cable and travel case) and qualify as the best all-around, multi-purpose, multi-environment headphones I’ve heard.

Specs & Pricing

MDR-Z1R
Type: Dynamic, closed-back
Impedance: 64 ohms at 1kHz
Sensitivity: 100dB at 1mW
Weight: 385 grams excluding cable
Price: $2299

NW-WM1Z
Type: Portable player
Formats supported: PCM up to 384/32 and DSD up to 11.2MHz, FLAC, ALAC, WAV, AIFF
Output: Balanced or unbalanced, variable level
Power output: 240mW per channel balanced; 60mW per channel unbalanced
Outputs: Standard mini-stereo and 4.4mm balanced
Battery life: 30 hours playing 96/24 FLAC files
Dimensions: 73mm x 124mm x 20mm
Weight: 455g
Price: $3199

SONY ELECTRONICS
(877) 865-SONY
sony.com

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