Philips Fidelio L3 headset test: the Fidelio range goes nomadic in 2021 – Les Numériques

The Fidelio L3 has the difficult task of succeeding its elders by trying to transpose the excellent sound signature of the old models on a more modern and above all completely closed architecture. A partially successful tour de force.

As much when listening as on the frequency response curve, there is a strong irregularity in the treble. The signature in W thus drawn is the cause of a very tight stereo scene, as much in terms of width as of depth. The placement of the different sources in space also necessarily suffers and it is not uncommon for different instruments officiating in the same frequency region to find themselves entangled in each other without it being possible to correctly discern them. In general, the highs lack neutrality and have too marked colorings. This is all the more damaging as the highs are extremely precise: no trace of distortion or sibilance is to be deplored.

The mids and high mids are also particularly precise. The Fidelio L3 is still slightly overweight in the upper mids (around 1.5 kHz), giving the vocals a slight nasal aspect. They can also sometimes lack presence and body, the fault again to the strong irregularity of the treble.

The sound signature delivered by the Fidelio L3 is also well focused on the bass. The extension in the extreme bass is satisfactory and offers a good seat to the helmet. The impacts are very present, but the lack of definition of bass gives the general appearance a slobbery, even snoring. The 40 mm membranes are indeed not sufficiently reactive to correctly transcribe the rolls of bass drums and struggle on large percussion sets.

Finally, note that the Fidelio L3 does not have a pharaonic power. On the contrary, it is a very wise headset, and which does not present any trace of distortion, even at very high volume.