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Greetings Head-fi,
 
Today we are going to be looking at another new-ish release from Knowledge Zenith (KZ), the ED4. These were released nearing the end of 2015, and have already seen a revision that goes by either Z1 or S4 monikers depending on where you look. KZ moves fast don't they?
 
Disclaimer: This is the first KZ I haven't purchased myself. Instead, they were provided by the good people at the KZ Headphone Official Flagship Store on AliExpress in exchange for a fair and unbiased review.
 
KZ has been on a roll recently releasing one excellent earphone after another. From the reasonably neutral HDS1, to the basshead-friendly ZS1, to the well-rounded ED3c "The Acme", they have managed to provide something to seemingly satisfy every type of listener. KZ already offers up a wide variety to earphones with a ridiculous variety in signatures, so where does the ED4 fit in?
 
Packaging and Accessories:
 
KZ's packaging isn't known for it's consistency. Off-hand, I can recall at least four to five different configurations that my purchases have been sent in over the years. The ED4 added yet another variant to the list.
 
They arrived in an unassumingly small, black cardboard box with impossible to read printing in a dark purple. Inside the ED4 were sealed in an opaque baggy, coiled cleanly so as to prevent kinking, and tied with a small strip of Velcro. In a separate smaller baggy, spare small and large tips were provided (medium already installed).
 
Simple, but effective. No frills which I suspect helps keep the ED4 within that magical 10 USD price range that KZ products seem to dominate.
 

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Build, Design, and Comfort:
 
The ED4 features a dual-magnet 9.6mm driver sealed in an attractive aluminum housing. Like the packaging, the design is simple but effective. At the rear you find two small pinhole vents covered by a ring of mesh. During the initial release, prior to them getting in the hands of eager Head-fi'ers, we thought they were going to be open backed. Unfortunately that was not the case. They are also very sensitive so no amp is needed but through many of my sources there was a smooth hiss in the background. Mildly annoying at worst.
 
The cable is bog-standard KZ, which I think is a positive. It's a little sticky but on the plus side doesn't retain memory, avoids tangling, and is well relieved at the 90 degree jack, y-split, and housings.
 
My particular ED4 came with an inline mic. It is solid metal and feels very sturdy, but there is one critical flaw that makes it pretty much unusable for calls. When speaking to others, the multi-purpose button knocks against the housing and this is picked up in all it's glory by the mic. I could hear it, my callers could hear it, and none of us liked it.
 
That said, I liked having it around for controlling my phone. It worked well with the HTC One M8, allowing me to skip back and forth through tracks, and pause/play music. It could also be used to pull up the Google voice search and voice call features but that was a little inconsistent. Still, not bad for a 10 USD earphone.
 
Comfort is where they fell a bit short for me personally. The housings are quite broad and the front section ends abruptly where is drops to meet the nozzle. Unless I mount the tips at the very end of the nozzle the edge of the housing touches my ear and creates a painful hot spot. When I manage to avoid that, they are very light and disappear in my ears, even more so when wearing the cable around the ear. Due to the dual ports in the back isolation is also just okay.
 

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Sound:
 
I find that the past ED-series releases I own (ED3, ED3c, ED10, ED9) all feature variants of a basic ED "house sound". The ED4 moves away from this and brings to the table a fairly unique signature for KZ.
 
To my ears, the ED4 has a very aggressive W-shaped presentation, with boosted sub-bass, dialed back mid-bass, forward mids, and very prominent treble. This is an earphone that wants to party, and is not ashamed to let you know it. Unfortunately, at times they try a little too hard to get your attention.
 
The overall signature leans slightly towards the cold, thin, and analytic side, presented within a very impressive soundstage for something so aggressive. Upper mids and treble feel a little artificial and metallic. This is an earphone I could have seen JVC releasing a couple years back because it can be so unrelentingly vicious in it's presentation.
 
Bass on the ED4 digs deep and can really rumble on certain tracks. It can come across a tad slow at times, but for the most part keeps up with quick and complicated basslines. The dialed back mid-bass prevents bleeding into the mids and keeps the ED4 from sounded bloated, but also results in a lack of punch and some needed warmth as a result. That said, this a style of bass I really enjoy.
 
The ED4s mids are quite forward and generally well-behaved, but this is where you start to see some quirks. Male vocals sound realistic and detailed but female vocals, especially at higher pitches, can get a bit shrill. Guitars sit a little too forward in some mixes as well. Fun, but not technically "correct".
 
Treble is where the ED4's flaws really start to manifest themselves. For the most part, I found them to easily be one of the most detailed and clear sounding KZ's to date. They sound airy, exceptionally clean and crisp, and the slightly thin presentation really shows off how spacious they can be. That said, wow can they ever get shrill once you start turning the volume upwards. I'm not sure how else to put it, but the driver seems to strain itself with some high pitched frequencies and quite literally devolves into shrieks. It doesn't happen often, but it really comes as a surprise when it does given how well controlled and entertaining everything else is. Listen to The Crystal Method's "Grace" featuring LeAnn Rimes and you'll see what I'm talking about. I would love to see a frequency graph for these as there are bound to be some wicked peaks within that 2-6k area.
 

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Overall:
 
The ED4 is a solid earphone, and while not perfect, is still an easy one to recommend to someone who likes an aggressive sound. It grabs you on either side of your face, pulls you close, stares you straight in the eyes, and screams it's lungs out. It definitely has a place among KZ's other releases, as there isn't another one I can think of that provides such an in-your-face and vicious sound.
 
They can be fatiguing, they can be shrill, and they may overwhelm your senses, but the ED4 is a riot. If they didn't have that admittedly odd upper-mid/treble quirk, these would probably net a five star review; yes, I like them that much, flaws and all. As is, I hummed and hawed between 3.5 and 4, settling on 4 stars because that issue crops up so rarely and everything else is so very good. Compromised "perfection" at only 10 bucks? I'll accept it.
 
Thanks for reading!
 
- B9Scrambler
 
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Sources:
 
HTC One M8
Topping NX1
Asus G73 in-board sound card
 
Some Test Albums:
 
BT - This Binary Universe
Supertramp - Crime of the Century
Evil Nine - They Live
Aesop Rock - Daylight EP
Gramatik - The Edge of Reason
Infected Mushroom - The Legend of the Black Shawarma
King Crimson - Red
Warlock - Triumph and Agony
Massive Attack - Mezzanine
Hail Mary Mallon - Are You Gonna Eat That?
Rob Sonic - Alice in Thunderdome
Crystal Method - The Crystal Method (2014)
Various EDM mixes found on SubSil3nt Podcast's Soundcloud and Youtube channels

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Greetings Head-fi!
 
KZ has done it again, and again, and again, etc. What have they done again? Release a smashing good budget earphone, that's what.
 
This unit was purchased through AliExpress. I am in no way affiliated with Knowledge Zenith or any AliExpress sellers. All options within this review are just that, opinions.
 
A Bit About Me:
 
I like to think I'm starting to get a grasp on this whole portable hi-fi audio thing, and can thank Knowledge Zenith and their army of budget earphones for helping me find my preferred signatures. My gear is constantly improving. I have finally upgraded to a quality phone, the HTC One M8, adding the Topping NX1 as my go-to amp. I primarily listen to EDM (drum and bass ftw), hip hop, and classic rock, but have been known to dabble in metal and jazz. While I enjoy a good sounding earphone, physical design is also key. If they look boring but sound great, that's cool, but I would like to have something interesting to look that is also great sounding.
 
About “The Acme”:
 
The ED3c is a revision of the original ED3, which I dub “Perfection” (as found on the back of the housing). It comes in blue or red, is lighter, and as much as I hate the term, more “consumer friendly” in both construction and sound than the original. It also has a much better cable, akin to the one on the EDse. In other words, you would be hard pressed to find a better budget cable anywhere. It's flexible, well relieved, durable, resistant to tangling AND memory, and is just flat out awesome.
 
The housing is noticeably lighter than the original ED3 and as a result feels less premium. This lightness and the addition of a longer nozzle brings with it improved comfort and fit. A worthy sacrifice I say. Accessories and packing are limited to spare ear tips and a box within a box. Nothing special this time around, unlike the nice shield-shaped case used for the ED10. Nothing worth spending time focusing on. Let's move onto the important things.
 

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How do they sound?:
 
While the original ED3 was a bright, cold, and balanced little thing, the "The Acme" has taken on a different tone. They are warm, bassy, and naturally smooth.
 
Out of the box I have to admit that I was pretty shocked by the ED3c, and not in a good way. They really reminded me of the CM9 which is one of my least liked KZs. Bass was overblown, mids sounded inexplicably hollow, and their treble was dull. Since I received the HDS1 and ZS1 at the same time, I tossed the ED3c on the burn station and didn't touch them again until the next day.
 
I'm not a massive proponent of the whole burn in phenomenon, but I do think it benefits some products. I found that for the ED3c, burn-in was flat out mandatory. Given the vast change oafter a mere 8 or so hours, I suspect there was some sloppy glue work involved within the housing that I could not see. The difference between my out-of-the-box listen and a mere night's sleep was phenomenal. Bass tightened up, mids came forward and sounded normal but still a touch recessed, and the treble was nice and sparkly. They haven't changed much since then, but am happy to confirm they sound bloody amazing.
 
Like the ZS1, the ED3c puts a big emphasis on bass. It's reasonably quick, well-textured, digs deep, and punches hard. It finds a nice medium between the HDS1's mild boost and ZS1's overblown cacophony of delicious bass goodness. Mids are a touch recessed and sound very natural, if not slightly veiled. Female vocals are warm and intimate with appropriate tone. Everything just sounds very natural and realistic, if not mildly overshadowed by the bass. Treble on the ED3c is well-defined, clean, and absent of splashiness. It's not sharp and hyper-detailed, but it's not lacking in clarity. Nothing special, but there are no glaring flaws either. They're just bright enough to add some much needed energy to what would otherwise be a fairly mellow sounding earphone.
 
Soundstage on this promising newcomer to KZ's lineup is about average. Slightly intimate without any out-of-head experiences. Layering and stereo transitions are pretty decent making them fun for trance and ambient tunes that throw sounds around.
 
Where the ED3c excels, and I guess this comment applies to the ZS1 and HDS1 as well, is in their refinement. Compared to the last few releases from KZ (ED9, ED10, ATE), this new trio sound very smooth and refined all-around. In my opinion KZ has always done a great job with bass, handled mids competently, but struggled a bit with well-defined treble. This new crop of releases are very well-sorted in this regard, and I can no longer fault KZ in this aspect.
 

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Overall:
 
In the end, "The Acme" is one of the better KZs. Their basic design is comfortable, their overall sound signature is warm and inviting, and they really don't do much of anything wrong outside of possibly playing it too safe. They may be too bassy for some, or too relaxed in the treble for others, but I would happily recommend these along with the ED9 as a good introduction to the KZ brand. Another valued filled offering from KZ.
 
Thanks for reading!
 
- B9Scrambler
 

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Greetings Head-fi!
 
The instant I heard the ZS1 I was enamored. It's not often I come across an earphone that instantly plants a massive smile on my face, and continues to do so each and every time I listen to them.
 
They transported me back to a time when I used to chill in university with my old-school Creative 2.1 system listening to Crystal Method, Evil Nine, Massive Attack, Rage Against the Machine, The Prodigy, and numerous other groups. Back then I was more focused on the music than the source, and while I appreciated great sound, that appreciation went mostly towards full-sized stereos and not headphones. The ZS1 is exactly what I needed to return to my roots and start enjoying music again.
 
This unit was purchased through AliExpress. I am in no way affiliated with Knowledge Zenith or any AliExpress sellers. All options within this review are just that, opinions.
 
A Bit About Me:
 
I like to think I'm starting to get a grasp on this whole portable hi-fi audio thing, and can thank Knowledge Zenith and their army of budget earphones for helping me find my preferred signatures. My gear is constantly improving. I have finally upgraded to a quality phone, the HTC One M8, adding the Topping NX1 as my go-to amp. I primarily listen to EDM (liquid drum and bass ftw), hip hop, and classic rock, but have been known to dabble in metal and jazz. While I enjoy a good sounding earphone, physical design is also key. If they look boring but sound great, that's cool, but I would like to have something interesting to look that is also great sounding.
 

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About the ZS1:
 
**Edit: The ZS1 has been updated since this review. It seems the newest version of this model has removed the brass ring in the nozzle, and the crossover covering the back of the tweeter. If the model you pick up has traditional mesh in the nozzle, I recommend looking into feedback on the ZN1 Mini and how it sounds. That should be more applicable.**
 
Normally this is where I'd dive into packaging, build quality, and accessories, but given this is a simple earphone this will be a simple review. Please do not read simple as bad, because the ZS1 is awesome *if you enjoy bass heavy earphones*. KZ products are also not really known for their consistency regarding packing and accessories. Were I to outline what mine came with, you may find your experience varying greatly.
 
The ZS1 is a well-built iem made of quality plastic, and if you have at minimum average sized ears should be pretty comfortable. For me personally they can be used for hours on end with no discomfort. I love the cables KZ uses, but I know others find them sickly and sticky. This particular cable is a KZ standard but is hindered by one very important aspect; memory wire.
 
I'm not a huge fan of memory wire. I understand why it's used but find it leads to issues with fit and boosts microphonics. The memory wire on the ZS1 is overly long, a couple mm more so on the left, but on the plus side it does stay in place once formed and if used correctly can be shaped to press the housing tightly into your ear. This does a great job of ensuring there is no risk of them popping out during movement.
 
Isolation and wind noise are a mixed bag at best. With music playing, even at reasonably low volumes, I found them to isolate decently; average you might say. Turn that music off and isolation is minimal at best. When walking into the wind, the four vents at the front of the ZS1 whistle and interrupt your music quite significantly. Angle your head and wind is much less intrusive on your listening experience. I love the semi-open design, but I wish KZ placed those portholes in a less wind-happy position.
 
Sound Quality:
 
Let me get this out of the way right now; the ZS1 is NOT for everyone. Think back to that 2.1 sound system reference and that should give you an idea of what to expect. Their defining feature is warm, relentless, thundering bass that neglects to consider mids and treble in it's pursuit towards aural domination. Others have noted that there is a slight dissociation between the two drivers. While normally I would count this as a knock against an earphone, in this case I think that is what gives the ZS1 their character and the impression of containing a dedicated subwoofer.
 
If you use an equalizer to nullify the bass, you will find that treble and mids are well-balanced with each other. Treble rolls off early and lacks any sense of sibilance. Mids are warm, lush, and especially pleasing with female vocals. Both are reasonably detailed, not to the extent of KZ's own ED9 or HDS1, but it works with the thumpy club sound the ZS1 portrays. Despite being so unnecessarily boosted, bass doesn't bleed into or distort the other frequencies. It may overlay/overshadow them, but it doesn't interfere. It just thunders along in the foreground leading the charge.
 
Oh yeah, they also have an expansive soundstage which further adds to the unique atmosphere. Most of my other uber-bassy earphones (pretty much everything from the JVC XX series, Sony XB50/AS800AP, SUR s808, etc.) have either concentrated to average soundstages. Nah son, not the ZS1.
 

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Overall Thoughts:
 
The ZS1 is a very relaxed, inoffensive sounding earphone that does bass-heavy music great justice. They're not suitable for a ton of genres, they might fit you well or not at all, the memory wire is mildly annoying until you set it correctly, and their bass output is ridiculous. This is an earphone packed to the brim with character, and is one which I cannot seem to put down despite owning earphones that are technically vastly superior. There is something about that bass that draws me in and won't let go. I will happily set aside my other bass-head earphones and pledge my allegiance to Lord Bass (courtesy of DaveLT).
 
Thanks for reading!
 
- B9Scrambler

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Greetings Head-fi!
 
Knowledge Zenith (KZ) has been producing excellent earphones targeted towards budget-minded buyers for quite a while now, and they have a strong following on Head-fi. We collect these things like baseball cards (is that even a thing anymore?). There is good reason for this.
 
KZ earphones are made from quality materials, have interesting yet occasionally questionable designs, and most importantly they sound amazing compared to many other products in their price range, and well above for that matter. There are certainly exceptions and some true stinkers from KZ, but they are few and far between.
 
This bring us to the HDS1, one of KZ's final releases from the 2015 calendar year.
 
This unit was purchased through AliExpress. I am in no way affiliated with Knowledge Zenith or any AliExpress sellers. All opinions within this review are just that, opinions.
 
A Bit About Me:
 
I like to think I'm starting to get a grasp on this whole portable hi-fi audio thing, and can thank Knowledge Zenith and their army of budget earphones for helping me find my preferred signatures. My gear is constantly improving. I have finally upgraded to a quality phone, the HTC One M8, adding the Topping NX1 as my go-to amp. I primarily listen to EDM (liquid drum and bass ftw), hip hop, and classic rock, but have been known to dabble in metal and jazz. While I enjoy a good sounding earphone, physical design is also key. If they look boring but sound great, that's cool, but I would like to have something interesting to look that is also great sounding.
 

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About the HDS1:
 
Normally this is where I would look at packaging and accessories, but in typical KZ fashion this is so inconsistent I don't see the point. One set of HDS1 I picked up came in a small cardboard box set within a larger cardboard box. The other in a plastic bag nestled within a nice carrying case. The point is that what I describe might not be your experience so packaging expectations should be set aside and focus placed on the earphone itself.
 
To get this out of the way now, know that micro-drivers, 6mm and smaller, are my favorite driver type. In my experience they tend to offer up quick, snappy bass, lots of detail, and result in tiny earphones that are almost always exceptionally comfortable. As with everything, there are exceptions, but the HDS1 isn't one of them. The tiny 6mm driver KZ stuffed in an equally tiny housing is a marvel at the sub-10 USD price point these can often be bought at.
 
The all-metal housing on the HDS1 is very small, very light, and very comfortable to wear. They don't tug at your ears or create any painful hot spots. They do however transmit an unnecessary amount of cable noise should you choose to wear them cable down, which is a big no-no to my ears. Cable noise is enough to ruin an earphone entirely for me if it cannot be quelled, so when I found that wearing the HDS1 cable up removed it from the equation almost entirely, I was a happy camper.
 
The cable itself is a KZ standard found on many of their other products, such as the ED10. I found that it was a pretty poor choice for the HDS1 since by it's very nature it is a noisy little thing. Combine that with a housing that projects this noise directly into your skull and things can get pretty distracting. At least the cable feels reasonably durable, though it is a bit thin and sticky. Not one of KZ's best cables, and in general, not one of KZ's highest quality earphones when it comes to material choices.
 
Sound:
 
Where the HDS1 fails to impress in it's build, it certainly makes up for it in it's sound quality. While the HDS1 has a bit of a boost to their mid-bass they offer up a mostly balanced sound, especially compared to the majority of KZ's lineup.
 
Treble is well-extended and nicely detailed without being too sharp or prickly, though it can run a bit dry on some recordings. As with the rest of the HDS1's signature, the HDS1's upper ranges are in general very musical and carry a beat well. They're never splashy or harsh, and are just pleasant to hear.
 
Mids on the HDS1 are slightly forward in my opinion, and as a result soundstage is smaller than I expected from a semi-open back earphone. It's not congested by any means, but it does give off a more intimate presentation putting you close to the artist. They sing at you, not to you. Both male and female vocals sound great, but I prefer the texture female vocals are given. Female vocalists (Hope Sandoval anyone?) with breathy voices sound particularly amazing through the HDS1. Males with higher pitched voices (ie. pretty much every male EDM or pop vocalist nowadays) benefit from the HDS1's presentation as well. Acoustic guitars pluck realistically and with just the right amount of grit and reverb.
 
There is a mild mid-bass boost on the HDS1. While I find it plays nicely with middle frequencies, the HDS1 does occasionally produce a bit of echo when undesired. For the most part though bass is well controlled and pleasant without ever being overpowering. It's plentiful enough for bass heavy beats, but polite enough to keep the HDS1 from ever sounding like a bass-heavy earphone.
 
Compared to other micro-driver earphones in my collection, the HDS1 stands out as one of the best. Out of the box I compared them very closely to RHA's obscenely good S500i. While I don't necessary agree with my initial impressions, I do still think that they compete with each other quite well. The RHA S500i is brighter with less forward mids and reduce mid-bass emphasis, although I think they dip into the sub-bass frequencies more effectively. I agree with @peter123 that the HDS1 is the darker of the two and falls short in clarity when put head-to-head. That said, the HDS1 is a more relaxed listen. The S500i's bright signature can be fairly fatiguing even over short listening sessions. They are two different but equally good-sounding earphones. The RHA whomps the HDS1 in build quality and accessories, easily making up that ~40 USD price difference and justifying the price jump if you want something a bit more "hi-fi" and premium feeling.
 

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Overall Thoughts:
 
The HDS1 is really a no-brainer buy. While I paid about 13 CAD near release for each for mine, they can often be found for under 10 USD on AliExpress. When you take into the account the quality of sound you are getting, it becomes pretty easy to overlook their flaws. Yeah, the cable kind of sucks, mid-bass is ever so slightly boosted, and they probably won't come with anything but a few spare ear tips, but man do they ever sound awesome.
 
Thanks for reading!
 
- B9Scrambler

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Greetings Head-fi!
 
Today we are going to be looking at a Head-fi classic revived, the Havi B3 Pro 1.
 
"Those are nothing new B9" you might be saying to yourself.
 
"Ah, but that is where you are wrong" I retort.
 
The Havi B3 Pro 1 has been a staple recommendation for a neutral audiophile sound on a budget for a while now. While everyone has been patiently waiting for news on when the Havi B6 will be released, Havi has stealthily renewed the classic B3 Pro 1 and re-released it with new packaging, accessories, and improved tuning. When @baycode posted in The Lab that Havi was looking for a few reviewers to check out this newly revised B3, I jumped at the opportunity.
 
Disclosure:
 
I was provided a complimentary review copy of the Havi B3 Pro 1 for review purposes. I am in no way affiliated with Havi, and there is no financial gain for me writing this review.
 
A Bit About Me:
 
2015 was the year where I got to try some great new earphones and headphones like the entire Dunu Titan lineup (sans the 1-ES), the stellar JVC HA-FXH30, and the full-sized AKG K553 Pro. The Topping NX1 introduced me to portable amplification and the benefits this can offer. I learned a lot from experiencing such a wide variety of products and am thrilled to see where things go in 2016.
 
My general preference is for aggressive and energetic sounding earphones like the JVC HA-FXH30, but hemming myself into listening to only one signature is not something of interest. My average day sees me carrying three to five earphones of different signatures to ensure there always variety in my daily listening experience.
 
Liquid drum and bass is my favorite genre of music, followed closely by other variants of electronic, classic rock, and metal. Jazz and classical occasionally fall into the rotation as well, but to a lesser extent.
 
Now that you have an idea of where my opinions come from, let's check out the B3 Pro 1.
 

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Packaging and Accessories:
 
Looking back to past reviews and videos I saw that the original Pro 1 came in Piston-like packaging. While nice, it didn't look to be anything overly special. Not a statement that would apply to the new B3 Pro 1 in my opinion. The new packaging is vastly improved.
 
The box the B3 comes in is very understated. There is a subtle image of the earphones on the front, specifications and package contents on the left, a dude playing the gee-tar on the right, and a product description on the back. While I agree with most of what the description says, they keep bringing up the B3's bass output for one reason or another. We will come back to that later.
 
Opening the initial package reveals a second box. I love the fibrous texture Havi chose. The matte finish, the way the Havi logo catches the light at certain angles...it's cool. Despite the understated and simple design, it is definitely something I would be happy displaying.
 
Flip up the magnetically sealed 'lid' and you are greeted to the Havi B3 Pro 1 and a spare set of eartips nestled in foam that has a felt-like coating. Underneath you find a manual, the cable wrapped in a thick velcro strap and two cases; a soft pouch and a hard clamshell case. Inside the clamshell case is a set of ear guides, one pair of medium-sized, high-quality foam eartips, a set of Sennheiser style dual flange tips, and one final set of opaque white tips.
 
All-in-all, this is quite the unboxing experience and something I would really only expect from a significantly more expensive product, such as the Dunu Titan 1. They offer a slightly different but equally impressive unboxing experience.
 
Build Quality:
 
The Havi B3 Pro 1 is constructed of durable, high quality plastic. The rear-facing section of the housing is plated with Gorilla glass featuring an image of Havi's twin triangle logo. The red/black color scheme continues the understated theme put forth by the packaging and is tastefully done. It's a clean design that I think is aging well.
 
While strain relief on the housings is minimal, the y-split and 90 degree angled jack are covered and good to go. The cable on the B3 is unlike any I've come across yet. Below the y-split you will find a quad-wire flat cable. Above the y-split is your standard twin cable affair. These cables are a touch thin, but the sheathing feels robust and confidence inspiring.
 
Comfort and Isolation:
 
The B3 Pro 1 fit my ears like a glove. Over-ear wear is my preferred method, so it was fine that the Havi B3 is designed with this in mind. They can easily be worn cable-down, but then you run into a bit of cable noise. With the included large dual flange tips, it was a set-it-and-forget-it affair. Some time was spent tip rolling trying out a variety of single and triple flange tips that came with other earphones. In the end, the included dualies always provided the best balance of sound quality, comfort, and isolation.
 
Isolation on the Havi B3 Pro 1 was excellent for a dynamic driver earphone. They did a great job of passively drowning out external noise. Should you wear these while out-and-about, be wary of traffic since you probably won't hear it.
 

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Sound Equipment:
 
Primary testing of the Havi B3 Pro 1 was done through my aging Asus G73 laptop with Plantronics Rig usb amplifier, and through an HTC One M8 with Topping NX1 portable amplifier. To my utter shock and amazement, the B3 paired surprisingly well with a hyper cheap MP3 player, the Sylvania SMPK8858. This player doesn't output the cleanest sound, but it maintained the B3's uncolored presentation and could comfortably power the B3 even on it's lowest volume setting. Overall I preferred the B3 through the Rig given it's natural warmness and bass enhancement setting, but the NX1 provided a more natural and detailed experience.
 
Sound Quality:
 
*I'm not sure exactly how many hours they have on them now, but I went through the recommended 100 hour play period before critically listening.*
 
The original B3 Pro 1 has been a staple recommendation on Head-fi for it's clarity, detail, flat signature, and massive soundstage, IF you had an amp that could properly drive it's thirsty twin 6mm drivers. I was pleased to see that this new B3 played well straight out of my cellphone, though there were auditory benefits to be had by amping them; improved clarity, tighter bass, more sparkle in the treble, and a more spacious soundstage to name a few. In fact, pretty much everything benefits from being amped, but not to the point where I felt it was absolutely necessary. They can still be enjoyed through basic equipment.
 
My preferred earphones all have reasonably prominent bass and it took me quite a while (almost two weeks) to become fully accustomed to the B3's toned down style. It was especially difficult for the first week since I was coming from a solid seven days of one of the most bass heavy earphones I've ever heard, the dual driver KZ ZS1. On one hand, I would like a boost in flat out quantity. On the other hand, adding even a touch more bass would throw off the near perfect balance Havi achieved with the Pro 1. There is certainly nothing wrong here on a technical level as the B3's bass is tight, snappy, well-textured and accurate, it's just very, very under-emphasized. Those that like their bass to be very audible will likely find the B3 Pro 1 to be lacking in this regard. Bassheads need not apply, unless you feel like broadening your horizons.
 
Most of the music I listen to is instrumental, but on those few albums I frequent that do have vocals, the B3 is spectacular. My two favorite albums from King Crimson, Red and Lark's Tongues in Aspic, completely envelop you. The B3 is so natural, detailing so very precise, and the soundstage so broad you can't help but be sucked in and enjoy a full run of each album without realizing how much time has passed. What a perfect match.
 
Reading others reviews of the Pro 1, there was a worry that they would sound thin in the upper frequencies. Luckily, this isn't the case. While sometimes notes lack weight due to the lack of low end presence, they are thick enough to maintain some body and presence. The Pro 1 can feel a touch dry at times, but generally there is ample sparkle breathing life into familiar music.
 
I didn't find the Pro 1 lacking with any particular genre, except for those that benefit from silly quantities of bass. They handled all my old favorites (King Crimsom, Supertramp, Pink Floyd, Rage Against the Machine, etc.) just fine, and took on my favorite drum and bass, and other electronic tracks with ease.
 
Some Select Comparisons:
 
vs. JVC HA-FXT90
- The T90 is less balanced with it's mildly v-shaped presentation. Treble can get a little hot and as a result they are more fatiguing. Bass doesn't dig exceptionally deep but has better texture and more punch compared to the Pro 1
- The Pro 1 has a very slightly thicker treble and upper mid presentation and is the better of the two for female vocals. They are also slightly warmer which doesn't hurt.
- Lower mids on the T90 have more presence. I find male vocals and guitars carry greater presence.
- The Pro 1 is not as energetic and lacks the pizzazz and character of the T90. They compliment each other quite nicely with the T90 being the more fun and aggressive listen.
 
vs. NarMoo W1M
- Where the Pro 1 is very neutral, the W1M brings to the table prominent mids backed by smooth, deep bass that is not overblown or muddy.
- The W1M has a thicker and more forward mid range. While they occasionally border on sounding woolly, I actually prefer the W1M here, and by a fairly wide margin. They do not sacrifice any detail while maintaining a natural and realistic tone, making the Pro 1 sound reasonably thin and weedy in direct comparison.
- Treble presentation on the W1M is it's least impressive quality, though they are similar in tone. The Pro 1 is notably more sharp, precise, detailed, and doesn't roll off early like the W1M
- The W1M is more laid back and doesn't hold up quite as well to critical listening since they are less neutral, bassier, and lack the sheer detail and technical abilities of the Pro 1. That said, they are still a wonderful earphone and like the T90 compliment the Pro 1 quite well by offering up a unique signature with some minor similarities
 
vs. UE600
- Prior to receiving the Pro 1, the UE600 was probably my most balance earphone.
- The difference in power requirements is intense with the Pro 1 being infinitely more difficult to drive.
- The UE600 produces more mid-bass with the Pro 1 taking the sub-bass trophy.
- The Pro 1 has more natural mids, though they are not quite as forward as on the UE600.
- The UE600 has more pronounced treble. It's not quite as smooth as on the Pro 1 and outputs with a minor metallic tinge. They benefit from some quality foam tips which smooth out the overall experience.
- Pro 1 is the more balanced and refined of the two, with a cavernous soundstage in comparison.
 

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Final Thoughts:
 
The Havi B3 Pro 1 has been an ear-opening experience for me and I definitely see why they have some die-hard fans. There isn't another earphone I've tried that offers up what most would consider such an audiophile-grade signature, and certainly not at this price range. While they lack the sheer energy and vibrant sound of my favorite earphone, the JVC HA-FXH30, the Pro 1 offers of a very difference experience that is just as enjoyable under the right circumstances.
 
There are some improvements that could be made, such as with their ergonomics. They fit my ears fine, but the wide housing and shallow fit will undoubtedly cause issues for some. The stock signature could use just a teeny, tiny bit more bass, but a warm source can negate this need.
 
With the B3 Pro 1 you get a wicked unboxing experience, tons of accessories, a very detailed and neutral signature with a massive soundstage, and as a result a very high quality listening and ownership experience. They are flat out awesome and if you can learn to live with some seriously laid back bass are definitely worth your hard-earned cash (though you won't have to part with much of it).
 
Thanks again to @baycode and Havi for giving me the opportunity to try out this Head-fi classic! I can't wait to see what Havi has in store for us next.
 
Thanks for reading!
 
- B9Scrambler
 
***********************************************************************************
Some Test Albums:
 
BT - This Binary Universe
The Uncluded - Hokey Fright (definitely an experience)
Supertramp - Crime of the Century
Evil Nine - They Live
Aesop Rock - Daylight EP
Gramatik - The Edge of Reason
Infected Mushroom - The Legend of the Black Shawarma
King Crimson - Red / Lark's Tongues in Aspic
Warlock - Triumph and Agony
Massive Attack - Mezzanine
Hail Mary Mallon - Are You Gonna Eat That?
Rob Sonic - Alice in Thunderdome

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Greetings Head-fi!
 
Today we are going to be checking out the M05, a nifty Bluetooth offering from the folks at Ausdom.
 
Bluetooth headphones are not something I've had much experience with in the past (read: next to none) for a variety of reasons. Good ones have always been expensive and the convenience they offered has seemingly led to compromised sound quality in one way or another, or so I've read.
 
When Ausdom showed up on Head-fi looking for reviewers for their new M05 headphone, I dug around the web for reviews and impressions and found that they were getting pretty much unanimous praise for their sound quality. Not something you usually see attributed to a sub 100 USD Bluetooth headphone.
 
I also read the following statement on their website; "We are consumer-centric. We establish a system with ecosystem values: focus, equality, freedom, openness, sharing and win-win. We hope that we can all grow, progress and have fun in work and in life." Upon reading this, my interest was peaked and I expressed my desire for the opportunity to review the M05.
 
Since I was not chosen as one of the five reviewers for this particular product, I reached out to Grace about their S03 in-ear sports Bluetooth model. They were more in-line with my preferences (in-ear headphones) and I wanted to see if maybe I could be given the opportunity introduce them to the Head-fi community since there was zero coverage of them so far. They advised they were out of stock at their Canadian Amazon.ca store, and to my delight Grace hooked me up with the M05 instead. Wow! I cannot express enough my appreciation for the opportunity to review this awesome headphone, so thank you Grace and the crew at Ausdom.
 
Let's get started!
 
Disclaimer:
 
I was provided the M05 by Ausdom in exchange for a fair and unbiased review. I am in no way affiliated with them, nor is there any financial gain for me from writing this. The pair reviewed was the second pair sent as the originals suffered from uncommonly bad driver flex and channel imbalance. This is the only instance of this issue I have seen mentioned, and expect it to be an isolated incident. The second pair experienced neither of these issues.
 
Packing and Accessories:
 
The M05 comes in pretty straightforward packaging with accessories appropriate to the headphone's cost. Within the simple black cardboard box you will find a plastic slide-out tray containing the headphones nestled within. Underneath the tray you find the instruction manual, a micro-usb charging cable and a second cable terminated in 3.5mm jacks for wired listening. The 3.5mm cable is pretty thin and lacks strain relief, so I don't expect it to last long if used often. This headphone also includes a soft carrying case. I quite like the material choice as it is very similar to the soft case provided with the RHA S500i, but a heck of a lot larger.
 

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Design:
 
Design is nearly as important as sound quality since I love to sit and digest all the little details that go into a product. The M05 suits me perfectly in this regard with a simple design that has tons of tiny details to get lost in.
 
The M05 is primarily constructed of plastic, but they neither look nor feel inexpensive. The matte finish of the plastic used has been extremely resilient and resistant to scratches and marks. The faux carbon fiber design on the headband and ear cups is well-done, and the headband is amply padded and very cushy. I particularly like that Ausdom carried over the headband material to the ear cups so they are pleasingly soft to the touch. The recessed logo is also a nice addition. It is great to see that Ausdom reinforced the headband with a very flexible steel strip so there is no worry of it snapping.
 
One area where I would like to see some improvement is with the placement of the audio controls. It can be a difficult to select the right button due to the way they are clustered, and as a result I found myself pausing when wanting to skip songs, or starting a phone call when trying to adjust volume. A simple solution to this problem would be to slide the power button a few millimeters forward on the ear cup so that it is more distinctly placed and separate from the volume controls. On the flipside, the forward/reverse buttons could be paired, and the play/pause button moved forward on the housing mirroring the new placement of the power button.
 
It would also be nice if the 3.5mm input was angled downwards so as not to put so much strain on the cable if you choose to use it. That or include a cable with a 90 degree jack instead.
 
Comfort:
 
The ear cups are large enough to enclose my entire ear, and they swivel and tilt with plenty of movement. This combined with low weight means the M05 is a very comfortable headphone. Clamping force is pretty low, and while they are sealed in the back there are 23 vent holes in the front. The M05 a low isolation headphone as a result.
 
Bluetooth:
 
Pairing the M05 is as easy and painless as it gets. Turn on your device's Bluetooth connection, hold the power button on the M05 until it turns on and says "ready for pairing". Find the M05 on your device (it will show up as Ausdom M05), select it, and there you go. I have yet to have the connection drop or be anything other than rock solid.
 
I used the M05 for quite a few phone calls, and never once had any complaints about being hard to hear, sounding too far away, external noise, or any other issues often levied at your typical microphone setups with mobile headphones.
 
Battery:
 
Ausdom has loaded the M05 with a 400 mAh battery, and rates it's life as follows:
 
Standby - 250 hours
Talking/Playing - 20 hours
Charging - 2 to 3 hours
 
I have to say that these numbers are pretty accurate, except possibly standby time. I haven't had the opportunity to test that one and will take Ausdom's word that 250 hours is accurate. Mine charges in just over two hours from my pc's USB port and listening to music it lasts closer to 22 hours. I am a low volume listener which I suspect helps extend the battery life a fair bit. Don't mistake this for the M05 being quiet, because it definitely isn't. It can easily achieve ear-splitting volumes.
 

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Sound Quality:
 
The M05 is undeniably a strong performer in the fields of Bluetooth connectivity, design, and comfort, but how do they sound?
 
I find the general signature of the M05 to be fairly bass heavy with slightly recessed mids and prominent, but not exaggerated treble. Sub bass extension was much deeper than I was expecting, and doesn't roll off early; u-shaped with a nod towards bass tones. The M05 is fairly clean and detailed, but mid bass is boosted to the point where it interferes with the quality of the mids and muffles the overall sound somewhat. They also run into some echo/hollowness, possibly caused by the lack of insulation within the ear cup.
 
That said, when you are out and about and using them as a wireless headphone, the mid bass boost is very welcome and the hollowness disappears. I generally find that low isolation headphones suffer out in public as the bass is drowned out by external noise and you have to increase the volume to bring it back. Not so with the M05. Their mid bass makes up for the low isolation and as a result they end up sounding reasonably balanced across the entire signature. For critical listening in the comfort of your home, flaws in the M05's stock tuning stick out, but in general they are a fun headphone that the majority of listeners would be pretty happy with.
 
Luckily, this headphone is quite receptive to equalization. With some adjustments you can clean up the mid bass and turn the M05 into a great sounding product. Check out reviews from @brooko (the detail...just mind boggling) and @nmatheis for their EQ suggestions which transform the M05 into something truly special.
 
I also spent some time messing around with different ear pads, swapping out the stock pair for those from the JVC HA-S500. While comfort was significantly hindered due to the pads being smaller and shallower, sound quality improved greatly. Mid bass presence dropped, treble gained some additional shimmer, and mids cleared up. If you have a variety of pads to experiment with and eqing isn't your thing, this might be your golden ticket to making the M05 more suitable for your sound preferences.
 
Comparing wired versus wireless performance, I really didn't hear much of a difference. Maybe things are a tad cleaner and tighter when running them wired, but the difference is pretty much negligible.
 
Overall:
 
For a basic ~50 USD over-ear headphone the M05 is a solid performer and could give many more established brands a run for their money. For a ~50 USD wireless Bluetooth headphone with excellent battery life, rock solid Bluetooth performance, wonderful build quality, and good sound that can easily be improved with some equalization, I'm sure you would be hard pressed to find anything better in this category.
 
I went into this with fair expectations and left very impressed with the overall experience. Ausdom could make some minor ergonomic and usability tweaks, and tone down the mid-bass to improve the overall sound quality, but as-is the M05 is a complete steal and comes highly recommended from me. If in the market for an over-ear Bluetooth headphone with call-taking capabilities, don't pass over the Ausdom M05. You might be surprised.
 
Thanks for reading, and thanks again to Ausdom for giving me the opportunity to review the M05.
 
 
- B9Scrambler
 
***********************************************************************************
 
Some Test Albums:
 
BT - This Binary Universe
The Uncluded - Hokey Fright (definitely an experience)
Supertramp - Crime of the Century
Evil Nine - They Live
Aesop Rock - Daylight EP
Gramatik - The Edge of Reason
Infected Mushroom - The Legend of the Black Shawarma
King Crimson - Red
Warlock - Triumph and Agony
Massive Attack - Mezzanine
Hail Mary Mallon - Are You Gonna Eat That?
Rob Sonic - Alice in Thunderdome
 
Some useful links:
 
Ausdom's website
Amazon US
Amazon Canada
 

Greetings Head-fi!
 
Today we are going to check out the Titan 5, one of two new additions to Dunu's Titan lineup. I want to thank @nmatheis for starting the Canadian leg of the Titan tour, and for @hakushondaimao for getting this awesome iem over to me for the week. Let's kick this off!
 
Back when the Titan 1 was first announced, my ears perked up and I took notice; half in-ear design, large titanium coated 13mm driver, from a company with a great reputation, and a well-rounded accessory kit. It looked like a winner. Once reviews started rolling in it was clear Dunu had struck gold once again. I scooped up a pair during a Massdrop push earlier this year and they instantly became one of my favorite earphones.
 

---

---

 
Build, Accessories, Comfort:
 
As with the Titan 1, Dunu provides Titan 5 buyers with a slew of high quality accessories. Upon opening the smartly designed package you are greeted by the Titan housings and the first of many accessories; some Heir style red-cored tips (s/m/l) and one of Dunu's stellar hard cases. Inside the case you find most of the remaining accessories; a 3.5 to 6.3 mm gold-plated adapter, an additional set of Sony Hybrid tips, and the newest addition to the Titan arsenal, silicone earguides! A shirt clip comes pre-installed on the cable. One thing Dunu has always done well is provide a generous amount of accessories with their earphones, and the Titan series does not disappoint. You are sure to find a tip to fit your ear, and once you do, sweetness ensues.
 
Build quality is excellent, just as it was on the original Titan. The housings are crafted from aluminum and feature a shallow fit, half in-ear design. The Titan 1 has 11 pin-hole vents on the underside of the housing and one above where the cable attaches. This sacrificed isolation for soundstage but was arguably worth it for the airy and spacious sound. The new Titans give up some of that obscene soundstage (the 5 less so than the 3) to improve isolation and as a result are more conservative in their ventilation. There are only two pin-hole vents, one on the underside facing your ear and one above where the cable attaches.
 
The Titan 5 is a bit bulkier and heavier than the Titan 1, but Dunu listened to their fans to give what many wanted from the Titan 1. The Titan 5 features a detachable cable with a modified MMCX connector. As a necessary evil to accommodate this feature the top section of the housing is fair bit thicker, thought you could argue this is a plus since it gives you a nice handhold with which to grab the earphone. Now that there are detachable cables, you can wear them cable over ear without having to swap channels, even though I did anyways. These were a loaner so I didn't feel comfortable detaching the cables...just in case. Overall comfort has improved in my opinion, despite the extra weight. This is due to a very subtle but welcome change to the housing. The Titan 1 was a little sharp around the edges and had a tendency to irritate the ears of some owners. Run your finger across the new Titans and you will find these edges have been rounded off. Hopefully this minor change carries over to the Titan 1.
 
While overall I feel they are a well-designed product, there are a couple things to mention. First, I'm a little bummed out that Dunu ditched the colored rings on the housing. While it's very easy to differentiate the channels due to the very nature of the design, being color-coded made at-a-glance channel recognition immediate. Plus, it looked nice. Second, I'm not so keen on the cable choice. I like that it has been thickened above the y-split and is now more plush, but it is no longer cloth between the y-split and straight jack. While normally I'm not a huge fan of a partial cloth cable, Dunu did a great job with it on the the Titan 1 and I'm a little disappointed it didn't carry over to the 3 and 5. At least the cable is still well-relieved. I'm looking forward to see what Dunu's upgraded cables bring to the table in the near future.
 

---

---

 
Sound Quality:
 
Gear used: HTC One M8 with Topping NX1
Tips: Sony Hybrid (L)
 
Some specifications for those who like to know.
 

1. Driver: 13mm dynamic
2. Stainless steel housing
3. Frequency response: 10Hz-40KHz
4. Sound pressure level: 108 ± 2dB
5. Impedance: 32Ω

 
Having access to the entire Titan lineup for the purposes of this review was very handy for putting each model into perspective with one another.
 
I found the Titan 5 to offer up a warm and smooth v-shape. They are very polite and inoffensive, usually. On some tracks I found them them a little peaky, bordering on uncomfortable (such as on Arkade's CID "Like This") but this was an exception. This came as a bit of a surprise since I'm generally not overly sensitive to treble-heavy iems and didn't run into this problem with the Titan 3. Maybe it's because I had the mid-forward Titan 3 on hand for direct comparison, but mids on the Titan 5 came across as pretty recessed. It's one of the few earphones I would used the word "scooped" to describe. I found myself constantly raising the volume to bring vocals up to a listenable level. Despite the changes to the design that greatly improved isolation, the soundstage on the Titan 5 is still very spacious, second to the Titan 1. I found the Titan 1 was a little vague when it came to imaging and accuracy (esp. compared to the FXH30). The Titan 5 felt significantly improved in these aspects.
 
The 5 really just seemed to lack any sense of energy and urgency, and as a result I wanted to swap over to the Titan 1 or 3 anytime they were in use. Their rumbling bass line was just to prevalent at all times. Output from the NX1 helped a bit, but something was still missing. They are a great sounding earphone, no doubt, but they just didn't click with me.
 
Vs. Titan 1
 
The Titan 5 dials back the mids, boosts the bass, and adds a welcome dose of refinement across the entire spectrum. I found the Titan 5 to be a heavier sounding earphone, and as a result not quite as snappy as the Titan 1. They are certainly more forgiving of lower quality files however, and with a combination of boosted bass and improved isolation are easily the better of the two for mobile use.
 
Vs. Titan 3
 
The Titan 3 concentrates it's energy and shoves it through your ear canal. The Titan 5 disperses this energy across a rumbling bassline and delivers it in smooth waves to your brain. While I prefer the Titan 3's more aggressive presentation, it's hard to argue against the Titan 5 being the more relaxed, comfortable, and versatile listen. While the Titan 3 is easier to drive from the average smartphone, the added bass of the Titan 5 makes them the best of the Titans for mobile use.
 
Overall Thoughts:
 
While I liked the Titan 5 and can see them garnering a solid fan bass, they just weren't the Titan for me. They offer up a very smooth and refined sound, I love the way they present bass, and they maintain most of the spaciousness of the Titan 1. They just come across as a little safe, and dare I say dull, compared to their Titan 1 and Titan 3 stablemates. Awesome earphone, just not the Titan for me.
 
Thanks for reading!
 
- B9Scrambler
 

---

 
Some Test Albums:
 
BT - This Binary Universe
The Uncluded - Hokey Fright (definitely an experience)
Supertramp - Crime of the Century
Evil Nine - They Live
Aesop Rock - Daylight EP
Gramatik - The Edge of Reason
Infected Mushroom - The Legend of the Black Shawarma
King Crimson - Red
Warlock - Triumph and Agony
Massive Attack - Mezzanine
Hail Mary Mallon - Are You Gonna Eat That?
Rob Sonic - Alice in Thunderdome

Greetings Head-fi!
 
Today we are going to check out the Titan 3, one of two new additions to Dunu's Titan lineup. I want to thank @nmatheis for starting the Canadian leg of the Titan tour, and for @hakushondaimao for getting this awesome iem over to me for the week. Let's kick this off!
 
Back when the Titan 1 was first announced, my ears perked up and I took notice; half in-ear design, large titanium coated 13mm drivers, from a company with a great reputation, and a well-rounded accessory kit. It looked like a winner. Once reviews started rolling in it was clear Dunu had struck gold once again. I scooped up a pair during a Massdrop push earlier this year and they instantly became one of my favorite earphones.
 

---

---

 
Build, Accessories, Comfort:
 
As with the Titan 1, Dunu provides Titan 3 buyers with a slew of high quality accessories. Upon opening the smartly designed package you are greeted by the Titan housings and the first of many accessories; some Heir style red-cored tips (s/m/l) and one of Dunu's stellar hard cases. Inside the case you find most of the remaining accessories; a 3.5 to 6.3 mm gold-plated adapter, an additional set of Sony Hybrid tips, and the newest addition to the Titan arsenal, silicone earguides! A shirt clip comes pre-installed. One thing Dunu has always done well is provide a generous amount of accessories with their earphones, and the Titan series does not disappoint. You're sure to find a tip to fit your ear, and once you do, sweetness ensues.
 
Build quality is excellent, just as it was on the original Titan. The housings are crafted from aluminum and feature a shallow fit, half in-ear design. The Titan 1 has 11 pin-hole vents on the underside of the housing and one above where the cable attaches. This sacrificed isolation for soundstage, but was arguably worth it for the airy and spacious sound. The new Titans give up some of that obscene soundstage (the 5 less so than the 3) to improve isolation and as a result are more conservative in their ventilation. There are only two pin-hole vents, one on the underside facing your ear and one above where the cable attaches.
 
The Titan 3 is a bit bulkier and heavier than the Titan 1, but Dunu listened to their fans to give them what they wanted from the Titan 1. The Titan 3 features a detachable cable with a modified MMCX connector. As a necessary evil to accommodate this feature the top section of the housing is a fair bit thicker, thought you could argue this is a plus since it gives you a nice handhold with which to grab the earphone. Now that there are detachable cables you can wear them cable over ear without having to swap channels, even though I did anyways. These were a loaner so I didn't feel comfortable detaching the cables...just in case. Overall comfort has improved in my opinion, despite the extra weight. This is due to a very subtle but welcome change to the housing. The Titan 1 was a little sharp around the edges and had a tendency to irritate the ears of some owners. Run your finger across the new Titans and you will find these edges have been rounded off. Hopefully this minor change carries over to the Titan 1.
 
While overall I feel they are a well-designed product, there are a couple things to mention. First, I'm a little bummed out that Dunu ditched the colored rings on the housing. While it's very easy to differentiate the channels due to the very nature of the design, being color-coded made at-a-glance channel recognition immediate. Plus, it looked nice. Second, I'm not so keen on the cable choice. I like that it has been thickened above the y-split and is now more plush, but it is no longer cloth between the y-split and straight jack. While normally I'm not a huge fan of the partial cloth cable, Dunu did a great job with it on the the Titan 1 and I'm a little disappointed it didn't carry over to the 3 and 5. At least the cable is still well-relieved. I'm looking forward to see what Dunu's upgraded cables bring to the table in the near future.
 

---

---

 
Sound Quality:
 
Gear used: HTC One M8 with Topping NX1
Tips: Sony Hybrid (L)
 
Some specifications for those who like to know.
 

1. Driver: 13mm dynamic
2. Stainless steel housing
3. Frequency response: 10Hz-40KHz
4. Sound pressure level: 110 ± 2dB
5. Impedance: 16Ω

 
Having access to the entire Titan lineup for the purposes of this review was very handy for putting each model into perspective with one another.
 
I found the Titan 3 to offer up a mid-forward signature, slightly on the warm side. It's bass is toned down compared to the 1 and 5 but I didn't find it lacking, especially when compared to something like the Havi B3 Pro 1. I found treble to be very crisp and well-extended with great detailing and separation. Mids are pushed forward and are particularly enjoyable with female vocals. The general texture the Titan 3 pumps out is very engaging. It's smooth but with enough edginess to maintain some serious entertainment value. Where I feel it falls short in comparison to it's relatives is in the sound stage. While it avoids being congested, it certainly feels less spacious than the other Titans.
 
Vs. Titan 1
 
Titans 1 and 3 are both pretty energetic. Mids on the Titan 1 are pulled back compared to the Titan 3, but not to the extent of the 5. Bass is more pronounced on the Titan 1, but not to the extent of the Titan 5. Treble on the Titan 3 is noticeably more natural and lacks the metallic edge the Titan 1 has. The massive soundstage on the Titan 1 is made even more apparent when moving over to the Titan 3.
 
Vs. Titan 5
 
While there are some similarities between the Titan 3 and Titan 5, the differences in mid and bass presentation really set them apart. In direct comparison the 5's mids feels scooped out and bass greatly boosted while being not quite as quick and nimble. Treble is similarly extended but smoother on the Titan 5. The Titan 5 seems to be the more versatile of the two offering up a more relaxed and smoother listen.
 
Overall Thoughts:
 
The Titan 3 is an awesome addition to the Titan lineup. I found them to be the most entertaining Titan, but also the most fatiguing long term. I think I still prefer the Titan 1 since it offers up a more unique sound and much larger soundstage, but the Titan 3 certainly makes a mark and solidifies it's place in the Titan lineup as a master of vocal presentation.
 
Thanks for reading!
 
- B9Scrambler
 

---

 
Some of my test albums:
 
BT - This Binary Universe
The Uncluded - Hokey Fright (definitely an experience)
Supertramp - Crime of the Century
Evil Nine - They Live
Aesop Rock - Daylight EP
Gramatik - The Edge of Reason
Infected Mushroom - The Legend of the Black Shawarma
King Crimson - Red
Warlock - Triumph and Agony
Massive Attack - Mezzanine
Hail Mary Mallon - Are You Gonna Eat That?
Rob Sonic - Alice in Thunderdome

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Greetings Head-fi!
 
Today we are going to be taking a look at the S500i, an awesome new microdriver iem from the folks at RHA. I would like to thank RHA and Iain for selecting me as one of six lucky people to review this great new product. Please keep in mind that I am not affiliated with RHA and all views and opinions expressed within this review are my own.
 
A little about me:
 
I am still fairly new to the world of portable audio, only jumping into the game a few years back. JVC’s HA-FXT90 showed me that earphones could sound absolutely amazing at an affordable price. I continued trying out a wide variety of products with varying form factors and driver configurations to find my preferred signature, such as the NarMoo S1 and Dunu Titan 1. In the end, I realized micro dynamic drivers, 6mm and smaller to be specific, are my favorite since they often seem to combine qualities of both dynamic (DD) and balanced armature (BA) drivers. You get the speed and detail of a BA with the bass presentation of a DD. How fitting that RHA, a company I’ve been interested in since first seeing the MA600 online, would come out with a new microdriver earphone? Needless to say, when the first teaser pics were posted a few months back I was pretty ecstatic and couldn’t wait to try them out.
Gear and Music:
 
For the purposes of this review I borrowed a 4^th Gen iPod Touch, however the majority of my listening was conducted through an HTC One M8, occasionally accompanied by a Topping NX1 portable headphone amp. Given I was going to be treating these as my everyday earphone for the week prior to writing this review I wasn’t too picky about the music I listened to or the file quality, much like the average consumer. That said, most of my music is in FLAC or 320kb/s format and runs through a variety of genres with my preferred being Drum & Bass. I also listened to quite a bit of Digitally Imported’s Liquid Drum & Bass channel as accessed through Window’s Media Player to get a feel for how they handled low quality files. I have no idea how much play time these have on them at this point, but know it’s quite a bit. They were on non-stop every day at work, used while relaxing at home, and left to “burn” while I slept.
 

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Accessories and Packaging:
 
The S500i’s packaging does a great job of showing off the product without being overly flashy or wasteful. There are three viewing windows divided between the sides of the box, it shows off the tiny aluminum housings, in-line mic, and generous assortment of tips. Given these have an MSRP of only £39.95 / $49.95 / €49,95, the number of tips provided is outstanding. You get two sets each of high quality small, medium, and large silicone tips, plus one set of medium dual flanges. That would have been enough for me, but RHA also includes a shirt clip and carrying pouch. This easily puts other more expensive earphones to shame, especially the micro-driver equipped JVC HA-FXH30. It would be nice to see RHA toss in a pair of extra-small tips to accommodate those with the smallest of ear-canals, and maybe some foam tips too since that seems to be the “in thing” with all the hip kids now-a-days.
 
Build Quality, Comfort, and Usability:
 
The S500i is beautifully crafted from aluminum and looks and feels much more premium than most of its competition. The housings are immaculately constructed without any blemishes, odd gaps, or sections that do not line up perfectly. The thick and durable cable follows the popular trend of being sheathed in cloth below the y-split, rubber above leading to the housings. It is terminated in a slender aluminum straight jack with knurling that provides some much needed grip. The housings and jack are well-relieved while the y-split is not. Due to their tiny footprint and absurdly light weight, I can’t see comfort being an issue for anyone. I found isolation to be below average which came as a surprise. Using them at work I could carry on a normal conversation with my colleagues despite sound playing in the background.
 
There are really only two complaints that I can lever at the S500i when it comes to this section: microphonics and the in-line mic. The cable is absolutely outstanding for a number of reasons (feels very durable, is clearly made of quality materials, and doesn’t tangle) but is let down by intrusive cable noise. Even with the S500i worn with the cable behind the ear, chin cinch up, and the clip securely tethered to my shirt, I still hear a fair bit of bumping and rubbing. These things help reduce microphonics, but I definitely wish the cable transmitted less noise.
 
The in-line mic is where I have the most issue. The rubber sheath coating the buttons isn’t quite long enough to fill in the gaps at either end, so I fully expect dust and dirt to work its way in and cause issues down the road. The buttons themselves lack much in the way of tactile feedback so it can be hard to tell when you’ve applied enough pressure. This is definitely something that you would get used to in time but it’s hard to deny that a solid click feels much more satisfying than the faint echo of one. On the plus side, interaction with the iPod Touch was great. I was able to pause/play, skip between tracks and fast-forward and rewind without issue once I became accustomed to the amount of pressure required to depress the buttons. The relief plugs at either end of the mic setup were also poorly seated, one glued noticeably deeper into the housing than the other. Keep in mind that none of this would have stood out if the rest of the earphone wasn’t so immaculately crafted. All that being said, it looks like the same setup used on many of their other products including their newest flagship the T20i and I’ve never heard any durability complaints so maybe my worries are for naught. Plus, there is a generous 3 year warranty backing the S500i.
 
Microphone performance was also a bit of a letdown. Yes, my callers verified that my voice was very clear, but they also complained quite a bit about other noises; rubbing, cars, bumping, clicking, etc. I heard them too unfortunately. When standing perfectly still in a quiet room these were non-issues, but in motion or in a busy area external noise was highly intrusive. When compared to the in-line setup on the JVC FRD series earphones, the S500i definitely falls a bit short. With the FRD60 I was able carry on a full conversation in a windstorm without my caller realizing I was outside.
 
One final positive and one that I think many will overlook involves none other than…safety! You will find the S500i has a neat little trick up its sleeve when you look closely at the chin slider. On one cable, there is a small slit that allows the slider to detach. This saved me from some potential cable/ear damage when I caught it on a door handle with the chin slider in use. The slider detached and prevented the earphones from being yanked painfully from my ears, but also gave the cable some extra slack so what would have been a violent tug was severely lessened. Other manufacturers need to consider this quiet feature.
 

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Sound:
 
With the exception of the in-line mic (I’ll give the cable a pass since it aids in the S500i’s tiny-tank appeal) RHA has nailed it so far. You will be pleased to know that they sound absolutely outstanding too. All testing was done with stock medium tips since I felt there was no need try alternatives.
 
As with the driver size, the sound signature is a bit of a departure from what users familiar with RHA have come to expect. The S500i is an earphone on the brighter side without the warm sound and big bass other RHA products are known for. For a first go at producing a microdriver, RHA has crafted a finely tuned and honed earphone.
 
Treble can get a little strident and edgy at high volumes but is for the most part quite well-controlled. It never comes across as splashy but can sound a touch thin. On the plus side, this helps aid in the awesome clarity and detail which easily outpaces anything else at this price point that I’ve come across. Mids are quite forward and the S500i handles guitars and drums with aplomb. The S500i is godly for rock music, and shines especially well with male vocals. I found female vocals came off a touch cold and feel that a bit of added warmth throughout the entire frequency range would be helpful. Bass is slightly boosted above what I would consider a neutral level, never becoming overpowering or bleeding into the mids. I found it surprisingly punchy and that it dug nicely into sub-bass regions as well. Never did I feel the S500i was bass shy or could use more, however, if you feel otherwise they are quite receptive to equalization.
 
The S500i has a spacious soundstage and presents a nice airy feel. Separation seems to be pretty good overall, but it gives up quite a bit to JVC’s HA-FXH30 in stereo imaging and layering. The S500i avoids a “wall-of-sound” effect, but only just barely.
 
Brief Comparisons:
 
VSonic VSD2 (50.00 SGD from Lend Me Ur Ears, or 42.00 USD through PenonAudio)
 
When I first listened to the S500i, the first thing that popped into my head was “less bassy VSD2”. They're both a bit cold, trebly, and have a great soundstage. Sitting and listening to them back-to-back, bass quantity is actually quite similar with the S500i having better texture and speed. Mids on the S500i are more forward, but the VSD2 handles female vocals more capably due to a slightly warmer sound. Treble on the S500i is tighter and overall more refined. I don't really see any reason to recommend the VSD2 over the S500i, unless all you want is a bit more bass and great isolation. Otherwise the S500i is less expensive, better built, cleaner sounding, smaller, and more refined. They even have a mic-free version, the S500, available through Amazon.com for a paltry 39.95 USD with free shipping if you don't need/want a mic.
 
JVC HA-FXH30 (as low as 51.00 USD on Amazon.com)
 
When the S500i was finally revealed, I couldn't wait to compare them to the FXH30. The FXH30 bested the Titan 1 which had been my favorite earphone since picking it up earlier in the year through Massdrop. While I didn't expect the S500i to be better, and it isn't, it certainly puts up a darn good fight.
 
Treble extension on both earphones is fantastic, however the FXH30 and their titanium coating take the lead. They offer up even more detail, the perfect amount of shimmer and sparkle, and regardless of volume or recording quality never seem to come across harsh or edgy. Just refined. The FXH30 take a bow to the S500i in the mids. Mids on the FXH30 are very similar in texture and quality to those on the S500i, but are pulled back a touch too much in comparison. The FXH30 is more accomplished with female vocals since they are a noticeably warmer sounding earphone, but that's not enough to dethrone the S500i. Bass on both earphones is outstanding, but the FXH30 backs up the quality with even great speed, accuracy, flawless decay, and some serious sub-bass rumble when called upon. The FXH30 outputs bass in a visceral and engaging way that most earphones only dream about. The FXH30 also bests the S500i in soundstage presentation. I'm a sucker for a spacious soundstage which the FXH30 does not excel at, unlike the S500i. This is given a pass due to the way the JVC uses it's soundstage. Their sense of depth and ability to layer sounds is like nothing I've experienced, and is something the S500i unfortunately can't touch.
 
When you consider the complete package; build quality, comfort, accessories, and sound quality, the S500i is the one to choose. If sound quality alone is your primary focus, hands down the FXH30 is your micro-dynamic must buy.
 
NarMoo W1M (Currently 39.99 USD on Amazon.com, or 49.99 through NarMoo.com)
 
While this may seem like an odd match-up, I think the W1M is a great counterpart to the S500i. Where the RHA uses a single 6mm microdriver and focuses on treble and mids, NarMoo tuned the dual driver W1M with mids and bass in mind. The S500i is brighter, clearer, quicker, and more detailed. The W1M offers up deeper bass, relaxed treble, smoother upper mids, and markedly better isolation. The ability to work with both Android and Apple devices is a big plus. Both earphones are built like tanks. I recommend checking out the NarMoo if you are sensitive to treble and want an easy listening Apple compatible device that won't put a big drain on your budget.
 

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Overall Thoughts and Feelings:
 
I am very happy that RHA dove into the realm of dynamic microdriver earphones. The S500i is an amazingly good product for a variety of reasons. Great build and material quality? Check! Generous accessory package? Check! Superb sound output? Check! And the list goes on. Any issues I have are mostly nitpicking at this price point, and there really isn’t anything that could compete when considering the complete package, not even my beloved FXH30.
 
Are there improvements that could be made? For sure. I wish they were slightly warmer sounding with a more dynamic and flexible soundstage. Eliminate the cable noise and improve the overall call experience. These issues aside, the S500i is a stellar new product and one I am thrilled I was given the opportunity to review. Thank you again RHA! I hope you continue to build on the foundation set by the S500i and that its predecessors continue to provide such outstanding quality from top to bottom. For now, we can enjoy what is easily a top tier budget earphone.
 
Thanks for reading! Comments and feedback are encouraged.
 
 
- B9Scrambler
 

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JVC HA-FXH30​

 
I'm no stranger to JVC and their outstanding products, currently in possession of eight of their earphones, my favorite of which was the FXT90. Notice that I said was...
 
After the announcement of the FXT100 and FXT200 last year, I was pumped. I reached out to JVC Canada to find out when they would be available. To my dismay, I was told they have no idea if they will ever be available here. It would depend on if JVC Japan saw a market for them. After that disappointing response, I loaded up JVC's Japanese site and ogled all the great iems that aren't for sale in Canada. While perusing this extensive list I came across the FXH series of in-canal earphones with titanium coated 5.8mm microdrivers. consisting of the FXH10, 20, 30, and FDH-10 with an inline microphone. After my experiences with the carbon nano-tube FRD60, KZ Micro Ring, and a pretty good Yamaha EPH-100 replica I knew the FXH30 was a must-buy. On August 2nd, 2015, the time was right. I placed an order with Pricecrash Japan through Amazon.ca and nine days (that's it!!??) later they arrive here in Canada.
 
A Bit About Me:
 
I'm pretty new to the world of hi-fi portable audio, and have been buying up cheap-o earphones to find my preferred signature; thank you Knowledge Zenith! My gear is still pretty basic, consisting of an old Samsung YP-K5 (revived for this review after years of lying dormant), Samsung Nexus S, Motorola Moto G, and an Asus G73 laptop with Plantronics Rig amp. I primarily listen to EDM (drum and bass ftw), hip hop, and classic rock, but have been known to dabble in metal and jazz. While I enjoy a good sounding earphone, physical design is also key. If they look boring but sound great, that's cool, but I would like to have something interesting to look that is also great sounding.
 
Packaging and Accessories:
 
The FXH30 arrived in very attractive packaging. As with the FXT90 and FDR60, they were on full display through a clear plastic viewing window with classy black accents. Top marks for the clean and attractive packaging.
 
The packed in accessories left much to be desired however. Included were one pair each of small, medium, and large eartips. and JVC's excellent twin clamp shirt clip. Unfortunately, that's it. No cable winder, case, carrying bag, etc. It would have been nice of JVC to have included the clamshell case that came with the FXT90 or at the very least a cloth bag, but I suppose removing those frills helps to keep the FXH30 at a very affordable price.
 
 
Build Quality, Design, and Comfort:
 
The FXH30 is a pretty unique looking product in my opinion. The squared off-housing and stabilizing fins help in formulating this opinion. The housing is mostly plastic, with an attractive brushed aluminum plate on top. The rubber used on the stabilizing fins and strain relief is stiff, but looks and feels of high quality. I was afraid the fins would end up a gimmick and cause uncomfortable hot spots where they touched the inner ear, however this has not been the case. They are designed to be worn cable down but I found them even more comfortable when worn cable up as what little weight they carry was completely mitigated. JVC did an excellent job designing the housing to almost entirely negate that annoying rumble caused by wind rushing over your ears when listening outside.
 
The cable used is familiar, shared with the HA-FXT90 and HA-FRD60. It's thick below the y-split and a bit thin above, with a handy chin slider that many will appreciate. Cable memory is almost entirely absent. I did find cable noise to be more noticeable on the FXH30 than the FXT90 or FRD60, but it's still pretty minimal and completely absent when worn behind the ear.
 
Their small size and use of high quality, lightweight materials results in a very comfortable earphone that disappears when in use.
 
 
Sound:
 
The FXH30 utilizes a 5.8mm, titanium coated, tip-mounted micro-driver, building on the foundation set by the FXD series of carbon-nanotube micro-driver earphones. The FXH30 is quite efficient, and is easily powered by your average cellphone.
 
Bass on the FXH30 is absolutely outstanding. My understanding, from reading numerous reviews and experience with the FRD60, is that the entire line of FXD earphones exhibited a thinness to their sound. Any semblance of thin note presentation is absent with the FXH30. Bass has just the right amount of weight and punch, is never overwhelming, and exhibits none of the three Bs; bleed, bloat, or bloom. It is mildly boosted, but not to an extent where it ever becomes intrusive. Where their bass excels the most is in sheer speed. Never have I heard an iem so capable at handing quick and complicated basslines. Even better is that it is all handled so effortlessly. Mid-bass is perfectly balanced, and there is just enough sub-bass rumble to please the bass-head in me.
 
Midrange on the FXH30 is very clear, smooth, and detailed. Male and female vocals are both well-represented, neither pressing any advantage. Mids do fall behind treble in overall forwardness but are never overwhelmed and are noticeably more forward than another popular titanium driver earphone, the Dunu Titan 1. They are well balanced with the bass, vying equally for your attention.
 
Treble on the FXH30 is vastly improved over the FRD60, which I found bright, splashy, and a bit uncontrolled. The FXH30 is exceptionally energetic with outstanding extension into higher ranges, all while managing to avoid running into simblance. Detail and clarity are intense, with each note sounding sharply distinct and very well controlled. As with the rest of the signature, treble avoids sounding thin.
 
While the FXH30 doesn't have a huge soundstage, it still manages to sound open and spacious. Their ability to move audio cues into distinct locations with utmost precision is uncontested by anything my collection of sub-100 dollar iems and easily bests even the Titan 1. Their overall signature is one of endless energy and detail backed up by smooth vocals, unbelievably quick bass, and tons of refinement. While this does get fatiguing, man is it entertaining! They also managed to singlehandedly get me back into speed metal and thrash. I find these genres to be very challenging to pull off right, yet the FXH30 aces it.
 
* For the purposes of this review testing was done with the stock medium tips. I actually prefer the large wide bore tips that come with the Huawei Honor earphone which further boost mids/treble detail and clarity, and mildly reduce midbass.*
 
 
Overall:
 
The FXH30 produce a quality of sound far beyond what I expected and is without a doubt the most capable and enjoyable earphone I've had the pleasure of listening to. While the vast majority of earphones in this price range and under offer a more comprehensive accessory package, some a more sturdy build, and others still a consumer friendly v-shaped signature, the FXH30 offers up a distinct and endlessly entertaining experience. They would make an outstanding alternative to the Dunu Titan 1 as they offer up a similar signature while toning down the bass and boosting overall clarity. I really have nothing negative to say about them and can only recommend that you try them out if you enjoy this style of earphone.
 
Some Choice Comparisons:
 
vs. Dunu Titan 1
 
- JVC and Dunu followed completed different design philosophies when creating their respective titanium coated driver iems, yet in the end they sound quite similar.
 
Titan 1: Semi-open 13mm titanium coated dynamic driver
FXH30: Tip-mounted 5.8 mm titanium coated dynamic micro-driver
 
- The Titan places more emphasis on lower frequencies while the FXH30 places more emphasis on mids and highs.
- Prior to hearing the FXH30 I never thought of the Titan as a bass-heavy iem and didn't notice the mid-bass boost nor that it would occasionally appear when undesired. The FXH30 has that special quality of only pushing it's bass when asked for by the song. Comparing the two really shows how massive the Titan's bass can be. It also shows how much quicker the FXH30 is.
- Both are exceptionally competent at pulling out minute details, however the FXH30 is noticeably superior when it comes to separation and panning. Each note is just that much more distinct with the FXH30.
- Build quality on the Titan is noticeably more impressive with is full metal housing, dual material cable, and heavy duty jack. Their cable is more tangle prone however.
- The Titan easily outclasses the FXH30 in accessories. No comparison here:
 
Titan 1: 3 varieties of ear tips that each come in three sizes (s/m/l), a shirt clip, carrying case, 6.3mm adapter, and Dunu's patented cable strap.
 
FXH30: 1 set of ear tips (s/m/l) and a shirt clip, albeit a really good one.
 
- Both iems are very comfortable. I can wear either one for hours without any discomfort. I do find the FXH30 slightly better fitting as the Titan 1 often works its way out of my left ear, unless worn with the cable behind the ear which requires reversing channels.
 
vs. Ultimate Ears UE600
 
- UE600 is thicker and more neutral sounding, lacking the energy, detail, and timbre of the FXH30. In comparison it sounds quite muddy.
- Build and material quality on the FXH30 is hands down superior. The UE600 still has an attractive design for it's age, but the FXH30 is more interesting imo.
- The FXH30 is a flat-out superior product in this day and age in all aspects; design, build, and sound. The UE600 is still a good product, but this DD driver earphone beats a BA at it's own game.
 
vs. JVC HA-FXT90
 
- The T90 is a special iem for me, and was the first proper hi-fi product I owned. Even amid the company of newer iems like the Titan 1 and FXH30, it holds its own quite well.
- It lacks the refinement and smoothness of the FXH30, but that translates into a welcome aggressiveness with rock and metal.
- Mids are not as forward or clear
- The T90s offer up more mid-bass thickness vs. the FXH30
- The FXH30 completely trounces them in upper end clarity and detail retrieval
 
vs. FRD80
 

1. FRD80 sounds much thinner, especially in the upper midrange and treble
2. the boosted emphasis in the upper regions frequently results in piercing sibilance and discomfort, even at reasonably low listening volumes
3. the thinness allows the FRD80's excellent detail and resolution to shine, but it still isn't up to the standards the FXH30 outputs.
4. The FRD80 exhibits less midbass punch. On very visceral and emotional tracks, this leaves it feeling a dry and cold vs. the FXH30.
5. Both are very quick earphones, but the FXH30 exhibits more realistic decay on drums and a noticably more natural sound overall.
6. Mids on the FRD80 are noticeably less forward than on the FXH30 (which still does not have forward mids....only slightly recessed).
7. The FXH30 is much easier to power from a basic smartphone.
8. The FRD80 is more polarizing with a cold and analytical v-shaped signature. The FXH30 is instantly more gratifying and engaging to listen to with a much warmer, thicker u-shaped presentation.
9. While their signatures are quite different, the FXH30 feels like a step up in every way. It is infinitely more comfortable and pleasant to listen to without sacrificing the FRD80s strengths.

 
 
*Removed pricing since it's already dropped. Check out the FXH30 thread for more up-to-date info: http://www.head-fi.org/t/778412/review-of-the-jvc-ha-fxh30-by-b9scrambler *

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SUR s808 - A Review​

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Hello Head-fiers!
 
B9Scrambler is back with another review of iems that are absent on anyone's radar! Check it: the SUR s808. Please keep in mind that this review is composed of opinions and the impressions belonging to me. This product was not gifted or loaned to me by SUR, and I am in no way affiliated with them.
 
I figured I might as well start this one off by telling you a little bit about me. You may remember my brief stint working with Subaru as the B9Scrambler hybrid roadster concept car? No? Not surprised. Since that fell through, I had to pick up another hobby. What better place to start than with headphones? They're mobile, cars are mobile, so it's really the next logical step for a stand up guy like me. Given my reasonably new-found affinity for iems, I've been building up a solid collection of budget-fi ones over the last few years. Some of my favorites are the KZ Micro Ring, JVC HA-FX3X, NarMoo W1M, and the titanic Dunu Titan 1. Admittedly, describing how a headphone sounds is not my strongest suit. And my sources (Nexus S and Plantronics Rig usb amp) are a bit lacking, but despite this I will do my best to give you an idea of what to expect from the SUR s808 if you ever happen to pick them up.
 
While perusing AliExpress for my next budget purchase, I came across the SUR s530. They looked a little odd with the detachable cables sticking awkwardly out from the housing, but for some reason peaked my interest. Plus, they are SUR's current "flagship" so I bought them. When they arrived I realized they were pretty decent sounding bass monsters, but nothing special. Bass-heavy with average everything else. Not necessarily worth any hype, but a decent pick for a budget basshead who wants removable cables. I sold them. Since I liked their overall sound signature, even if I wasn't completely sold on the entire package, I figured I would try another offering from SUR. Maybe they had something special hidden away in their line up?
 
 
I decided to hop on their website (sur-rock.com) and saw that SUR was JBM's higher end brand. The s808 is one of SUR's entry level products. I liked the simple design, and the fact that the inline mic had a volume slider meant I was sold. Now I know most people hate analogue volume sliders, but given most digital volume controls rarely work as intended with my gear, this was a godsend. I'm fully expecting the slider to cause channel imbalances down the road, but for 12 bucks it's worth the risk.
 
When the s808 arrived, they came in similar packaging to the s530 with nearly identical accessories; four sets of cheap ear tips (s/mx2/l), an instruction booklet mixed with, uh, translated English and Mandarin, a shirt clip, and a good carrying case. No spare cable though since the s808 have fixed cables. The box itself was of good quality, and the design clean. Nothing special or high end feeling, but not exactly low-end either (cough *blister package* cough).
 
The s808 are a bit of a mixed bag with the build. It's not bad, just a little sloppy. The housing is composed of four individual aluminum segments pieced together somewhat haphazardly. From a distance they look nice, but up close you can see that they are definitely a budget set. Luckily they feel quite solid although I wouldn't want to sit or step on them, just in case. Due to their small size, light weight, and ergonomic shape, they are extremely comfortable and can easily be worn cable-down or over ear. Cable noise regardless of how they are worn is very minimal.
 
Speaking of the cable, it's quite nice. They took the Piston 2.0/Titan 1 route. The upper section really reminds me of the Titan 1, in that is uses a thin but firm rubber cable that is very tangle resistant. The cloth coated lower half of the cable does have a tendency to kink, but any kinks are easily worked out. As an additional plus this cable has little to no memory. It is definitely one of my favorite cables so far.
 
 
Strain reliefs are bit of a mixed bag as well. The jack is a nice 90 degree piece, however the relief is solid plastic and doesn't bend at all. Kinda useless. The reliefs on the housing are another animal all together. They are barely attached, swiveling and sliding about like an Elvis pelvis on St. Patrick's Day; very flexible, almost too flexible. On the plus side, they've held up fine to everyday abuse over the last month and a bit, so only time will tell if/when they will fail.
 
*Cautionary Warning: Stop reading now should you feel iems that require EQing are a waste of time. I suppose I could have added this at the beginning, but where is the fun in that?*
 
Enough of the boring stuff. Let us get down to the nitty gritty shall we?
"How do they sound?" my colleague, a twin turbo 1984 Toyota Supra, inquires.
"Well my straight-six friend, they sound good. Better than SUR's flagship phone in fact." I reply.
 
Out of the box I was underwhelmed. They sounded okay, but not spectacular. There were a couple aspects I was quite fond of immediately though; a lush upper-mid range that spectacularly captures female vocals; a sexy weightiness to the sound that gives pianos and guitars a very natural and powerful sound; and that sub-BASS! I've got a couple solid bass-head-type earphones to compare to, like the Sony XB50, JVC FX lineup, and Fidue a31s, but these easily best them all in their ability to dive deep, kick like that Beckham gentleman, rumble like a boss, and still deliver distortion free sound.
 
Unfortunately, with all this juicy sub-bass goodness comes some unfortunate mid-bass blah. The s808 in unEQ'd form had some seriously boosted mid-bass that must have a cut an artery, as the bleed was intrusive. I was going to write them off as a failed purchase and use them only for phone calls, but (insert sarcasm tone) given my affinity for EQing I decided to analyze what was wrong and remove it from the equation. Luckily, the s808 are very receptive to EQing, and with some minor tweaks I was able to "fix" them.
 
Now admittedly, my EQ is limited to the five bands found in the default player on my old and trusty Nexus S. Here is what I found worked worked best in taming the beast;
 
60 Hz (-2 dB)
230 Hz (-3 dB)
910 Hz (+/- 0 dB)
4 kHz (+1 dB)
4 kHz (+2 dB)
 
With these settings in place, it was possible to see that these are a very capable product. With attention removed from the bass and shifted to other aspects of the sound spectrum, I found they had a nice soundstage; wide, but lacking a bit in depth. Treble has decent sparkle to it, even if it seems to trail off a little early. Vocals are a touch recessed, but are not overwhelmed nor overshadowed by anything else. Kick drums have punch, bass guitars sound smooth, and pianos....oh my gawd do pianos ever sound good. Listening to my favorite Supertramp song, Rudy, was an absolute joy. In fact the entire Crime of the Century album was awesome to sit through. For my two favorite genres, classic rock and drum and bass, the s808 are a rock sold pick.
 
I've purchased up a lot of great budget iems over the years, like the Monoprice 9927, KZ EDse and ED9, Panasonic RP-HJE120, VSonic VSD3, JVC HA-FXT90, etc. With a bit of TLC and time with the EQ, the s808 can easily stand toe to toe with the low-budget "big boys". They're supremely comfortable, have a wonderful cable, are easy to drive, and EQ into a great sounding earphone. Best of all, they are without a doubt worth the cost of entry for someone that wants something a little different. In the end would I recommend the s808? Yes, but with a touch of hesitation due to above-mentioned EQ related quirks.  
 
 

Greetings Head-fi!
 
I'm just going to leave a quick and dirty review for these since they never really seemed to gain any ground in sales/reviews from what I've noticed.
 
Packaging:
 
I quite like the look of the packaging. It is elegant, and clean in image. The experience falls apart somewhat when you try to take the product out. This is a cumbersome process made part by many small sections of cardboard, plastic, etc. getting in the way.
 
Accessories:
 
Pretty basic stuff. Small, medium, and large JVC tips. They feel nice and seal well (sort of...we will come to that later). The included baggy is quite nice. The material is very thick and durable. They won't protect the product from being crushed, but drops, etc. will not be an issue.
 
Comfort and Design:
 
This is where things get weird. It's clear JVC was going the stylish route with these, but they made some very questionable design choices that flat out ruin the experience. First, the positive:
 
- They look premium and quite attractive.
- The built in in-line mic is awesome and exceptionally convenient. Ergonomically the control button is nearly perfectly placed, and the mic does a good job of filtering out unwanted noise. I haven't used them a ton for phone calls, but on those calls I have made my caller had no issues hearing me, and visa versa. So far it's been compatible with all of my phones (Galaxy S2X, Nexus S, Moto G 1st Gen).
- The flat cable is one of the better ones I've come across. It is flexible and quite light. Most of the other iems I have with flat cables (Don Scorpio Bass Colour in particular) would be better off without it; too heavy so it tugs the iems out of my ears, stiff so the seal breaks easily as the cable bounces around, transmits noise like no other. JVC's cable runs into none of these issues.
- There is a switch to make them compatible with both iDevices and Android smartphones. I really wish more manufacturers did this (I'll give a special nod to NarMoo here)
 
Now, the negative:
 
- Why are these so damn chunky? I was expecting something sleek and sexy. JVC's marketing team did a good job of aiding in this expectation. In reality, these are about as beefy as the FX3X. The inline dongle containing the phone support switch is also unnecessarily massive. In comparison to the one on the FRD60, which also houses the mic and button hardware, it's full on pudgy. My pic doesn't really do it any justice, sorry. The Moto G has a garbage camera and my Nexus S is acting up
 

- These are really, really difficult to seat in your ears correctly. I usually take others comments on stuff like this with a grain of salt, as there are very few iems I have fitment issues with. These take the cake; they require a deep seal, but due to their odd shape, compromised by trying to make them attractive, this is really difficult to achieve. Maybe with some triple flange tips this would be easy, but I have none of those. I could get a good seal with the stock medium tips, but the amount of finagling required was silly. UE600 tips seemed to work the best for me.
 
Sound Quality:
 
- This is where I came away a bit surprised. I think JVC realized the design was compromised, and opted to toss in a decent set of drivers. I wouldn't quite call them balanced, but they didn't offer up the bright and bassy, consumer-friendly sound I was expecting. Treble is smooth and exhibits just a touch of shimmer. Mids are clear and clean, and not recessed or outclassed. Bass is punchy and can dig deep when called upon, but feels a mite sluggish. I really like these for live shows....not something I often listen to.
- I really enjoy the soundstage on these. It's not large, but it's very intimate...first couple rows kinda intimate. Clarity and stereo imaging could certainly be better, but its acceptable. They never really sound convoluted or overwhelmed which is nice.
 
Overall:
 
These are a nice listen if you can get past the horrible fit. I would love to give them four stars, but they are just too confused and compromised. JVC was onto something, but they botched it by making them too chunky and ergonomically unpleasant. They sound good (not great), isolation is average for a dynamic driver, the cable is wonderful, they feel durable, and they offer up some good features like housing the mic and control hardware in the speaker housing, but it's all let down by the chunkiness and terrible fit. I hope JVC come out with revised versions that offer the same features, but a more sleek and ear-friendly design.
 
** I do want to toss in that I am a 28 year old male, and probably not the target market for these. To me that makes these an even weirder pick, as there is no way I could see a fashion conscious lady of any age willingly wearing these given how damn chunky and uncomfortable they can be. **

Greetings Head-fi!

 
Today I'm coming at you with my review of the two new iems from NarMoo; the W1M and B2M. I would like to thank Eric from NarMoo for giving me the opportunity to review them.

 
If these iems look familiar to some, there is a good reason for that. They're built on the foundation laid by NarMoo's excellent headfirst dive into the world of dual dynamic driver in-ear headphones. The W1M and B2M share the same housing, accessory kit, and contain one 10mm and one 6mm driver per side. While they share some sonic similarities, there are some key differences that lead to different experiences. My testing was done mostly through my cell phones (Nexus S and Moto G), but I also used the Plantronics Rig gaming amp. My cell phones each have their own distinct sound signature, with the Nexus S being warm and dark and the Moto G being significantly brighter. The Rig has three different EQ present which boost bass, mids, or treble.

 
Accessories - 7/10

 
The W1M and B2M come with NarMoo's fantastic case. Yeah, it's large and not the most portable of cases; however, it is sizable enough to hold multiple iems and accessories if that's your thing. I tend to roll with five iems and a splitter, plus a variety of tips. It's also large enough to hold smallish cellphones or DAPs. Anything larger than the Nexus S would be a bit of a stretch (both literally and figuratively).

 
I was pleased to see that NarMoo took customer feedback into account when deciding on their accessories, and included some great new tips that suit the sound signature of these two iems quite well. The new tips are similar to those provided with NarMoo's first in-ear, the R1M; they are shallow, wide bore tips, quite like those offered by many other manufacturers. This also means that the W1M and B2M are compatible with a wide variety of ear tips for those that like to try out different options to get the most out of their earphone. While the new tips feel more plush and less plasticky than those offered with the R1M, they are not as soft and pliable as those provided by others, such as JVC. NarMoo also threw in a pair of medium-sized dual flange tips, which was a nice touch. Since I preferred the sound from the pre-installed medium tips, I stuck with those for the majority of the review since they provided a problem free fit and good seal.

 
Construction and Comfort - 8/10

 
The W1M and B2M feel like quality products that will last a while. They are quite light, but feel stout and impart confidence in their ability to take some abuse. The housing is crafted from an aluminium alloy, with soft rubber strain reliefs. NarMoo did a great job with channel indication this time around. There are left and right markers on the back of the housing and strain reliefs, in addition to red and blue rings. The Y-split, identical to that used on the S1, could use a longer relief but it's adequate. The chin slider is plastic surrounded by an aluminum ring and slides firmly along the cable. It does it's job well, never once sliding out of place while I enthusiastically pecked away at my keyboard at work.

 
Continuing down the cable we come to the jack. Personally, I prefer straight jacks given most modern cell phones and music players I've come across have the jack either at the top of the device, or the bottom. I find that when used with devices like this, cables terminated in an angled jack always bend at weird angles leading to cable failure earlier than expected. A straight jack eliminates this issue pretty much outright in my experience. I was pleased to see that NarMoo stuck with a good thing, and used the same jack from the S1. It's very small, well-relieved, and I can't see it interfering with any phone cases, no matter how bulky they are. The only difference is an addition of a bit of knurling for added grip.

 
This is hands down one of the nicest cables I've experienced. NarMoo notes on the website that it is 1.2 meters in length, but on both the W1M and B2M I have it measured up closer to 1.5 meters. When wearing these iems cable-down you do run into some cable noise, but it is more manageable than what I experience on most cables. The worst offender I've run into for cable noise was the Klipsch S3 (these were quite unbearable) which at it's best is still better than this cable it is worst; in the cold, sliding up against a zipper. Wearing the cable behind your ear pretty much completely negates all noise. This wonderful cable is almost entirely memory free, yet another improvement over the S1.

 
There are a of couple things about the new NarMoo twins that I dislike; the new choice of knurling, and the B2M's initially intrusive driver flex. I'm pretty tolerant when it comes to faults, as most of the time you can find a workaround. When I first used the B2M, the driver flex was pretty out of control in the left ear, crinkling and popping with with any movement of the cable. It was bad enough for me to leave them on the burn station for almost the entire first week I had them, only listening to them occasionally to see how they were progressing. Luckily for me (and you), this issue more or less worked itself out. Driver flex is still apparent but no more intrusive than the average iem, only rearing its ugly face when you insert them. *Phew*

 
Now, the knurling is another issue entirely. I personally enjoyed the knurling on the S1. I thought it looked good, felt nice to the touch, and suited the design. Yeah, there was a bit of a sharp edge where the housing angled down to the nozzle, but it never touched my ear or caused any discomfort. Others were not so lucky. When I first saw the W1M and B2M "in the flesh", I was happy to see that NarMoo has gone with a smaller cut to the knurl. "Great!" I thought. "This should work out well for those that had issues with the S1". I wish that were the case, as the new knurling is rough and inconsistently carved into the housing. In this case, I think NarMoo might have been better off just leaving the housing smooth.

 
Outside of the potential for discomfort caused by the new choice of knurling, these are exceptionally pleasant to wear for long periods of time. They are light and the housing is rounded off at the front leading to the nozzle. The plush cable lessens the chances they will be tugged out of your ears by accident as it has some flex and give. For a fairly bulky iem, they are impressively easy to "set and forget". They don't isolate any better than your average dynamic driver iem, and that's perfectly fine. That's what we have balanced armatures for.

 
Sound - W1M 7.5/10, B2M 7/10

 
Out-of-the-box I didn't notice a huge difference between the two, but after only a couple hours of play they started to differentiate themselves. Both are very easy to drive from a basic player, but do seem to benefit from a bit of extra power. When amped they sound cleaner, more detailed, and their strengths are enhanced.

 
The W1M and B2M display a warm signature. They sound smoother and more refined than NarMoo's other offerings, but also lack the treble extension of their dual-and single-driver cousins. While this prevents them from being fatiguing over long listening periods, they do come off sounding a little dull up top, especially on darker recordings. On the plus side, this does not prevent them from being quite detailed. I never felt like I was missing out on anything, it just wasn't as aggressive as I wanted. I never noticed any weird peaks or uncomfortable moments, except at dangerously high volumes where certain consonants like "s" and "t" were exaggerated a bit too much for my liking. That comment applies to pretty much any iem I've tried at such high volumes, so it's on par for the course as far as I'm concerned. In general, I'm a low volume listener, so this is not an issue I would have run into outside of testing. All in all I think these would be a great choice for those who are averse to bright sounding iems, or are sensitive to treble.

 
Both iems present vocals in a very engaging and intimate way. They sound natural, forward, and often take centre stage. This is hands down my favourite aspect of both the W1M and B2M, and makes them slightly unique among everything else in my collection. Instruments sound as I would expect them to without coming across as artificial, something that I find is an issue with many budget products. Moving between the W1M and B2M, I did notice that vocals on the W1M are more forward than on the B2M, in addition to being a bit more clear and detailed.

 
The B2M would please most bass-heads. The bass dives deep, hits with authority, and rumbles along similarly to another bass-monster iem I own, the Sony XB50. Unlike the XB50, the B2M does not recess the mids, but treble extension is similarly calm. There is a major boost in the upper/mid bass regions which makes them feel boomy and slow at times. They seem right at home with dubstep, rap, hip hop and other like genres. Looking to rock and metal, especially on quick and technical tracks, they feel out of their element as the bass can be overpowering. I do want to point out that every time I throw on some bass heavy beats, they put a ridiculous smile on my face. That rumble is intoxicating.

 
The W1M was quite bassy initially, but around the 40-50 hour mark they seemed to settle down. Everything settled down actually. These ended up becoming a very relaxed iem, and are the most balanced of the NarMoo bunch. They still have some heavy bass, but it's not boosted to the point of being a primary focus. For my tastes, they are fantastic for drum and bass and late 70/80s classic rock, as they handle technical stuff more competently than the B2M. Overall they seem to be the more versatile of the two.

 
The W1M succeeds at presenting music in a spacious and airy manner. The B2M is similar in this regard in terms of depth, but is less spacious overall (possibly due to the lack of ventilation near the base of the nozzle). Since the mids on the B2M are slightly less forward, I found they gave the impression of a soundstage wider than it actually is. On tracks where sounds were thrown around, I noticed the W1M did a better job of imparting a wide and deep physical space. Given the overall presentation of these two products, these differences are fitting. The B2M is more energetic than the W1M, and the smaller soundstage plays to this in a positive way.

 
I feel that both the W1M and B2M are good sounding products, but the lack of treble energy may hold them back for some. Pairing them with a bright source helps, as does eqing if you want to liven them up. Still, I would rather equalize excess treble out than risk distortion by adding in too much.

 

So how are they overall? W1M - 7.5/10, B2M - 7/10

 
The in-line mic works well, the cable is excellent, they don't feel like a sneeze will shatter them or loosen their internals, and they are comfy to wear over long periods. I don't really have any complaints outside of the 'play-it-safe' treble response and potential knurling problems that some may experience.

 
When I first heard both, I found myself immediately gravitating towards the W1M. There were a couple of reasons for this; the midbass bloat and driver flex the B2M suffered from was overwhelming. Once the B2M gave up on trying to be a crinkly old mid-bass monster, I really warmed up to them and found them to be exceptionally enjoyable. While the B2M is the livelier of the two, I would have to give the edge to the W1M for it's greater genre flexibility, more spacious soundstage, and more balanced approach. I hope you enjoyed the read. **After another week of use, the driver flex in the B2M is pretty much gone. Burn in definitely helps these great iems out.**

 
- B9Scrambler

 


 
**Made some slight edits to address some aspects I missed: channel indicators, sources, etc.**
 

Greetings Head-fi!

 
Today I'm coming at you with my review of the two new iems from NarMoo; the W1M and B2M. I would like to thank Eric from NarMoo for giving me the opportunity to review them.

 
If these iems look familiar to some, there is a good reason for that. They're built on the foundation laid by NarMoo's excellent headfirst dive into the world of dual dynamic driver in-ear headphones. The W1M and B2M share the same housing, accessory kit, and contain one 10mm and one 6mm driver per side. While they share some sonic similarities, there are some key differences that lead to different experiences. My testing was done mostly through my cell phones (Nexus S and Moto G), but I also used the Plantronics Rig gaming amp. My cell phones each have their own distinct sound signature, with the Nexus S being warm and dark and the Moto G being significantly brighter. The Rig has three different EQ present which boost bass, mids, or treble. 

 

Accessories - 7/10

 
The W1M and B2M come with NarMoo's fantastic case. Yeah, it's large and not the most portable of cases; however, it is sizable enough to hold multiple iems and accessories if that's your thing. I tend to roll with five iems and a splitter, plus a variety of tips. It's also large enough to hold smallish cellphones or DAPs. Anything larger than the Nexus S would be a bit of a stretch (both literally and figuratively).

 
I was pleased to see that NarMoo took customer feedback into account when deciding on their accessories, and included some great new tips that suit the sound signature of these two iems quite well. The new tips are similar to those provided with NarMoo's first in-ear, the R1M; they are shallow, wide bore tips, quite like those offered by many other manufacturers. This also means that the W1M and B2M are compatible with a wide variety of ear tips for those that like to try out different options to get the most out of their earphone. While the new tips feel more plush and less plasticky than those offered with the R1M, they are not as soft and pliable as those provided by others, such as JVC. NarMoo also threw in a pair of medium-sized dual flange tips, which was a nice touch. Since I preferred the sound from the pre-installed medium tips, I stuck with those for the majority of the review since they provided a problem free fit and good seal.

 

Construction and Comfort - 8/10

 
The W1M and B2M feel like quality products that will last a while. They are quite light, but feel stout and impart confidence in their ability to take some abuse. The housing is crafted from an aluminium alloy, with soft rubber strain reliefs. NarMoo did a great job with channel indication this time around. There are left and right markers on the back of the housing and strain reliefs, in addition to red and blue rings. The Y-split, identical to that used on the S1, could use a longer relief but it's adequate. The chin slider is plastic surrounded by an aluminum ring and slides firmly along the cable. It does it's job well, never once sliding out of place while I enthusiastically pecked away at my keyboard at work.

 
Continuing down the cable we come to the jack. Personally, I prefer straight jacks given most modern cell phones and music players I've come across have the jack either at the top of the device, or the bottom. I find that when used with devices like this, cables terminated in an angled jack always bend at weird angles leading to cable failure earlier than expected. A straight jack eliminates this issue pretty much outright in my experience. I was pleased to see that NarMoo stuck with a good thing, and used the same jack from the S1. It's very small, well-relieved, and I can't see it interfering with any phone cases, no matter how bulky they are. The only difference is an addition of a bit of knurling for added grip.

 
This is hands down one of the nicest cables I've experienced. NarMoo notes on the website that it is 1.2 meters in length, but on both the W1M and B2M I have it measured up closer to 1.5 meters. When wearing these iems cable-down you do run into some cable noise, but it is more manageable than what I experience on most cables. The worst offender I've run into for cable noise was the Klipsch S3 (these were quite unbearable) which at it's best is still better than this cable it is worst; in the cold, sliding up against a zipper. Wearing the cable behind your ear pretty much completely negates all noise. This wonderful cable is almost entirely memory free, yet another improvement over the S1.

 
There are a of couple things about the new NarMoo twins that I dislike; the new choice of knurling, and the B2M's initially intrusive driver flex. I'm pretty tolerant when it comes to faults, as most of the time you can find a workaround. When I first used the B2M, the driver flex was pretty out of control in the left ear, crinkling and popping with with any movement of the cable. It was bad enough for me to leave them on the burn station for almost the entire first week I had them, only listening to them occasionally to see how they were progressing. Luckily for me (and you), this issue more or less worked itself out. Driver flex is still apparent but no more intrusive than the average iem, only rearing its ugly face when you insert them. *Phew*

 
Now, the knurling is another issue entirely. I personally enjoyed the knurling on the S1. I thought it looked good, felt nice to the touch, and suited the design. Yeah, there was a bit of a sharp edge where the housing angled down to the nozzle, but it never touched my ear or caused any discomfort. Others were not so lucky. When I first saw the W1M and B2M "in the flesh", I was happy to see that NarMoo has gone with a smaller cut to the knurl. "Great!" I thought. "This should work out well for those that had issues with the S1". I wish that were the case, as the new knurling is rough and inconsistently carved into the housing. In this case, I think NarMoo might have been better off just leaving the housing smooth.

 
Outside of the potential for discomfort caused by the new choice of knurling, these are exceptionally pleasant to wear for long periods of time. They are light and the housing is rounded off at the front leading to the nozzle. The plush cable lessens the chances they will be tugged out of your ears by accident as it has some flex and give. For a fairly bulky iem, they are impressively easy to "set and forget". They don't isolate any better than your average dynamic driver iem, and that's perfectly fine. That's what we have balanced armatures for.

 
Sound - W1M 7.5/10, B2M 7/10

 
Out-of-the-box I didn't notice a huge difference between the two, but after only a couple hours of play they started to differentiate themselves. Both are very easy to drive from a basic player, but do seem to benefit from a bit of extra power. When amped they sound cleaner, more detailed, and their strengths are enhanced.

 
The W1M and B2M display a warm signature. They sound smoother and more refined than NarMoo's other offerings, but also lack the treble extension of their dual-and single-driver cousins. While this prevents them from being fatiguing over long listening periods, they do come off sounding a little dull up top, especially on darker recordings. On the plus side, this does not prevent them from being quite detailed. I never felt like I was missing out on anything, it just wasn't as aggressive as I wanted. I never noticed any weird peaks or uncomfortable moments, except at dangerously high volumes where certain consonants like "s" and "t" were exaggerated a bit too much for my liking. That comment applies to pretty much any iem I've tried at such high volumes, so it's on par for the course as far as I'm concerned. In general, I'm a low volume listener, so this is not an issue I would have run into outside of testing. All in all I think these would be a great choice for those who are averse to bright sounding iems, or are sensitive to treble.

 
Both iems present vocals in a very engaging and intimate way. They sound natural, forward, and often take centre stage. This is hands down my favourite aspect of both the W1M and B2M, and makes them slightly unique among everything else in my collection. Instruments sound as I would expect them to without coming across as artificial, something that I find is an issue with many budget products. Moving between the W1M and B2M, I did notice that vocals on the W1M are more forward than on the B2M, in addition to being a bit more clear and detailed.

 
The B2M would please most bass-heads. The bass dives deep, hits with authority, and rumbles along similarly to another bass-monster iem I own, the Sony XB50. Unlike the XB50, the B2M does not recess the mids, but treble extension is similarly calm. There is a major boost in the upper/mid bass regions which makes them feel boomy and slow at times. They seem right at home with dubstep, rap, hip hop and other like genres. Looking to rock and metal, especially on quick and technical tracks, they feel out of their element as the bass can be overpowering. I do want to point out that every time I throw on some bass heavy beats, they put a ridiculous smile on my face. That rumble is intoxicating.

 
The W1M was quite bassy initially, but around the 40-50 hour mark they seemed to settle down. Everything settled down actually. These ended up becoming a very relaxed iem, and are the most balanced of the NarMoo bunch. They still have some heavy bass, but it's not boosted to the point of being a primary focus. For my tastes, they are fantastic for drum and bass and late 70/80s classic rock, as they handle technical stuff more competently than the B2M. Overall they seem to be the more versatile of the two.

 
The W1M succeeds at presenting music in a spacious and airy manner. The B2M is similar in this regard in terms of depth, but is less spacious overall (possibly due to the lack of ventilation near the base of the nozzle). Since the mids on the B2M are slightly less forward, I found they gave the impression of a soundstage wider than it actually is. On tracks where sounds were thrown around, I noticed the W1M did a better job of imparting a wide and deep physical space. Given the overall presentation of these two products, these differences are fitting. The B2M is more energetic than the W1M, and the smaller soundstage plays to this in a positive way.

 
I feel that both the W1M and B2M are good sounding products, but the lack of treble energy will hold them back for some. Pairing them with a bright source helps, as does eqing if you want to liven them up. Still, I would rather equalize excess treble out than risk distortion by adding in too much.

 

So how are they overall? W1M - 7.5/10, B2M - 7/10

 
The in-line mic works well, the cable is excellent, they don't feel like a sneeze will shatter them or loosen their internals, and they are comfy to wear over long periods. I don't really have any complaints outside of the 'play-it-safe' treble response and potential knurling problems that some may experience.

 
When I first heard both, I found myself immediately gravitating towards the W1M. There were a couple of reasons for this; the midbass bloat and driver flex the B2M suffered from was overwhelming. Once the B2M gave up on trying to be a crinkly old mid-bass monster, I really warmed up to them and found them to be exceptionally enjoyable. While the B2M is the livelier of the two, I would have to give the edge to the W1M for it's greater genre flexibility, more spacious soundstage, and more balanced approach. I hope you enjoyed the read. **After another week of use, the driver flex in the B2M is pretty much gone. Burn in definitely helps these great iems out.**

 
- B9Scramber

 
**Made some slight edits to address some aspects I missed: channel indicators, sources, etc.**