Reviews by B9Scrambler
Greetings!
Today we're checking out a budget friendly single armature earphone from retailer turned earphone manufacturer, the NiceHCK X49.
I've been a fan of NiceHCK from the early days, well before retailers like them, Penon Audio, and LendMeUrEars started developing and selling their own products. It was a little odd to see them head in this direction, but using a small amount of brain juice and foresight could see that it made sense. Chinese HiFi was taking off and they were sales leaders. Why not make and pitch their own products to steal some sales away? NiceHCK has done a good job with their products to date with models like the DB3, NX7, and various accessories being generally well-received within the community.
I've spent way more time with the X49 over the last few months then most reviewers will in their lifetime, and I'm no less of a fan of it now than I was during the honeymoon period. Let's take a closer look at why, shall we?
What I Hear Single armature earphones have their limitations, and the X49 is no exception. HOWEVER, done right they can provide a very satisfying listening experience. I'd say the X49 comfortably achieves that.
Treble out of the X49 has a lower region bias with small raise in the brilliance region that keeps it from lacking any sense of sparkle or air between notes. Detail and clarity is quite good, though there is a hint of splashiness present, as well as some grittiness that keeps it from sounding particularly smooth or refined. Notes attack and decay quickly, as is typical of armatures. Despite this, and I think down to the light splashiness, the X49 can get overwhelmed on busy tracks or at high volumes leaving the treble region in particular uncomposed.
The mids are more typical of an armature-based earphone; forward, clear, full of detail and very coherent. Timbre is actually quite nice as well, despite some dryness and a bit of a metallic edge that creeps in at times. Both male and female vocals are well represented with neither sounding more prominent than the other. The subtle warmth provided by the X49's midbass does lend itself to benefits female vocalists though, given them a sweetness that male vocalists lack.
Bass on the X49 is not going to win over those that want to be swept away in a sea of long, lush waves of noise. It is quite reserved. Still boosted above neutral, but not by a whole lot. Anyone coming from dynamic driver equipped earphones will probably find the X49 lacking until they acclimate to the sound. Once done, however, they will be rewarded with good extension, plenty of speed and texture, and just a generally well controlled, pleasant low end that can handle some satisfying genre variability.
Unfortunately, the X49's sound stage is quite small. Well-rounded, sure, but not particularly spacious. As a result music feels closed in and personal with vocalists giving you and you alone a show. I like how the X49 images, with sounds moving confidently around their 'Genie's Lamp' sized space. Instrument separation and layering is also solid, until of course you start throwing anything particularly complicated at the X49. When that happens, it starts to lose composure and congestion settles in. The same thing happens at high volumes, revealing this single armature's single greatest weakness. Keep the volume at reasonable levels and avoid 110 piece orchestras and everything will be alright.
Overall I find the X49 to be a well-tuned earphone little earphone with nice mids, solid bass, and good treble detail. I'd really like a larger sound stage and a bit more control in the upper regions, but there's nothing going on that I'd say so crippling to make it unusable. It's a great sounding product that isn't absent of flaws. Not to be unexpected given the very low price.
Compared To A Peer (volumes matched with Dayton iMM-6)
Moondrop SSR (39.99 USD): I typically try not to compare with products that completely outclass what I'm reviewing, or that it completely outclasses. The SSR is, in my honest opinion, one of the most underappreciated and underrated products of 2020. That I decided to compare the X49 to it should give you an idea of just how capable I think NiceHCK's release is.
Starting with treble, neither is particularly energetic in the brilliance region. That said, the X49 has more emphasis there giving it a hint of additional sparkle, though this comes at the expense of some splashiness not heard in the SSR. It sound less refined, especially on light of how much smoother the SSR's presentation is top to bottom. Speed oddly feels about on par despite the X49 being equipped with an armature vs. the SSR's tiny dynamic. Notes attack and decay rapidly through each. I suspect this comes down to Moondrop's beryllium coating that acts to stiffen and speed things up for the SSR. Detail and texture is also about on par with the X49's more raw sound resulting in a more edgy, gritty presentation. I personally enjoy both and revel in this very specific difference to how they sound since they end up being very much complimentary. The prominence of v-shaped signatures in our hobby seems to have resulted in a slew of listeners allergic to forward mids, and that's a shame because both of these products have a gorgeous midrange. The SSR's is silky smooth and rife with detail backed by just the right amount of warmth to benefit artists of all genders. The X49 feels just as forward and gender neutral in it's presentation, but sprinkles in a hint of dryness that I find relatively common to full-range balanced armatures. Again, this nigh raspiness the X49 adds to vocals is a wonderful compliment to the SSR's refinement. Bass on both is politely elevated with the SSR having the edge on sub-bass extension, mid-bass impact, and overall visceral feedback. Texturing is good on both, though the X49 has an edge. Again, speed is about the same with both showing rapidity in their attack and decay qualities. That said, I find the SSR to handle rapid bass with greater ease. As tracks get more and more busy, or you increase the volume, the limitations of the X49's single full-range armature begins to show. It doesn't help that is has a much more intimate presentation than the SSR with a very compact sound stage that doesn't leave music nearly as much room to play around in. This is my only major qualm with the X49 and what holds it back from greatness. Still, pending you're playing within it's limitations, imaging is quite nuanced, instruments are well-separated and tracks decently well layered. Toss on something busy or crank the volume and the X49 loses composure in places the SSR has no issues. Overall I prefer the SSR, but the X49 isn't too far off and provides nearly as an enjoyable a listen.
EarNiNE EN120 (79.00 USD): The EN120 is getting up there in age at this point, but given it has a chromed metal housing surrounding a single balanced armature with a fixed cable, these two had to be compared. The treble presentation between these two is very similar with a lower treble bias and small upper treble peak to give off some sparkle. I'd say the EN120 is slightly more linear though, giving the two regions a more even emphasis. While both offer pretty great detail and clarity, the EarNiNE's in-house developed drivers are hard to beat. The X49 falls just short in that regard as a result and it feels like an all-rounder vs. the EN120 which is more neutral and analytic. Mids are again similarly emphasized. Once again, however, EarNiNE's drivers shine. They have a very unique sound to them most notable in the mids that gives the presentation a dry, crispy feel to it. This means that the EN120 isn't as accurate when it comes to timbre, even if it is a lot more interesting to listen to. Therefore, as much as I adore the midrange of EarNiNE products, it's not technically accurate so the X49 gets the edge. The additional warmth added in by the midbass presentation of the X49 also helps with this. The EN120 has a near-neutral low end. Compared to the X49, and most other products for that matter, it comes across a little anemic. It's got the speed and texture to match the X49, it just lacks the emphasis which hinders it's suitability across genres. While the X49 has a very compact sound stage, the EN120's is even smaller given off a complete in-the-head listening experience. This quality fits with it's somewhat analytic presentation, but it also means it's even more difficult than on the X49 to properly immerse yourself in your music. I still love the EN120 and the unique qualities of EarNiNE's drivers, but the X49 is the better product. It's larger sound stage and more versatile tune leaving me wanting when I switch from the X49 to the EN120, something that doesn't really happen when going from the EN120 to the X49.
In The Ear Similar in design to Final's E-Series of dynamic earphones, the X49 utilizes very compact, lightweight, bullet-shaped housings that work equally well with the cable wrapped up and around the ear, or hanging down in a more traditional manner. Outside of some mild tapering on the rear of each housing as well as the and model info laser etched into the metal, there isn't much to to speak of here. Fit and finish is excellent with tight seams and neatly installed metal grills. The fixed cable enters into the bottom rear of each housing, protected by a stubby rubber relief that also advises which channel is which thanks to raised L and R lettering. A rubber o-ring wrapped around the left cable is also used to more quickly denote the left channel.
The cable is a very basic black, rubber-sheathed affair. There is a hint of stickiness that catches on skin, but slides smoothly enough over clothing so as not be an issue. It doesn't retain memory of bends or kinks, but it does transmit a fair bit of noise up and into the ear whenever the cable bumps around. Wearing the X49 with the cable wrapped around the ear works to mitigate this. The hardware used is also very basic but perfectly serviceable. The straight jack is absolutely tiny with a somewhat short and stiff relief. It's not great, but it gets the job done. The same could be said about the compact rubber y-split. Unfortunately there is no relief entering or existing the split, so expect that to be a failure point. They also omitted a chin cinch which would have been a welcome addition to help deal with the microphonics.
Comfort is outstanding. Since the X49 is so small and light, it almost entirely disappears when being worn. This is especially true when wearing it cable-up since what little weight there is ends up being dispersed more evenly around the ear. Isolation is also well above average despite the housing being ventilated. Even with the stock tips, walking along a busy street I can listen at my usual low volumes without having to pump it up to compensate for noise bleeding in.
In The Box The X49 arrives in a very unassuming white box covered in a white sheath, NiceHCK printed on the front. Flip to the back to find some basic specifications and model information, with no real flourishes to draw the eye. If you like minimal packaging, this is it. Sliding off the sheath reveals the X49 nestled tightly into a white cardboard covered foam insert, the fixed cable neatly wrapped and tucked under a cardboard insert alongside the accessories. In all you get:
Final Thoughts This is my favourite product from the brand to date. The compact shell is comfortable and attractive with a good cable handling music transmission. Sure, it would be great if it were removable, but it's not so we can be happy that they used a quality wire, even if it looks pretty darn vanilla.
The X49 doesn't disappoint on the sound front either, with a versatile, capable tune that sounds excellent with a wide variety of musical genres. Where it falls short is in the sound stage which is very compact leading to congestion at high volumes or on particularly busy tracks. Listen at reasonable volumes and avoid crazy busy music and you'll be fine.
Overall a very nice product. If you're curious about balanced armatures and want to try them out without spending a ton, this is a fantastic example of the breed and well worth your time.
Thanks for reading!
- B9
Disclaimer A huge thanks to Nappoler with HiFiGo for sending over a sample of the X49 for review. The thoughts within this review are my own subjective opinions and do not represent NiceHCK, HiFiGo, or any other entity. At the time of writing the X49 was on sale for 16.99 USD, down from 42.48 USD: https://hifigo.com/products/nicehck-x49-single-ba-balanced-armature-driver-mini-earphone
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Today we're checking out a budget friendly single armature earphone from retailer turned earphone manufacturer, the NiceHCK X49.
I've been a fan of NiceHCK from the early days, well before retailers like them, Penon Audio, and LendMeUrEars started developing and selling their own products. It was a little odd to see them head in this direction, but using a small amount of brain juice and foresight could see that it made sense. Chinese HiFi was taking off and they were sales leaders. Why not make and pitch their own products to steal some sales away? NiceHCK has done a good job with their products to date with models like the DB3, NX7, and various accessories being generally well-received within the community.
I've spent way more time with the X49 over the last few months then most reviewers will in their lifetime, and I'm no less of a fan of it now than I was during the honeymoon period. Let's take a closer look at why, shall we?
What I Hear Single armature earphones have their limitations, and the X49 is no exception. HOWEVER, done right they can provide a very satisfying listening experience. I'd say the X49 comfortably achieves that.
Treble out of the X49 has a lower region bias with small raise in the brilliance region that keeps it from lacking any sense of sparkle or air between notes. Detail and clarity is quite good, though there is a hint of splashiness present, as well as some grittiness that keeps it from sounding particularly smooth or refined. Notes attack and decay quickly, as is typical of armatures. Despite this, and I think down to the light splashiness, the X49 can get overwhelmed on busy tracks or at high volumes leaving the treble region in particular uncomposed.
The mids are more typical of an armature-based earphone; forward, clear, full of detail and very coherent. Timbre is actually quite nice as well, despite some dryness and a bit of a metallic edge that creeps in at times. Both male and female vocals are well represented with neither sounding more prominent than the other. The subtle warmth provided by the X49's midbass does lend itself to benefits female vocalists though, given them a sweetness that male vocalists lack.
Bass on the X49 is not going to win over those that want to be swept away in a sea of long, lush waves of noise. It is quite reserved. Still boosted above neutral, but not by a whole lot. Anyone coming from dynamic driver equipped earphones will probably find the X49 lacking until they acclimate to the sound. Once done, however, they will be rewarded with good extension, plenty of speed and texture, and just a generally well controlled, pleasant low end that can handle some satisfying genre variability.
Unfortunately, the X49's sound stage is quite small. Well-rounded, sure, but not particularly spacious. As a result music feels closed in and personal with vocalists giving you and you alone a show. I like how the X49 images, with sounds moving confidently around their 'Genie's Lamp' sized space. Instrument separation and layering is also solid, until of course you start throwing anything particularly complicated at the X49. When that happens, it starts to lose composure and congestion settles in. The same thing happens at high volumes, revealing this single armature's single greatest weakness. Keep the volume at reasonable levels and avoid 110 piece orchestras and everything will be alright.
Overall I find the X49 to be a well-tuned earphone little earphone with nice mids, solid bass, and good treble detail. I'd really like a larger sound stage and a bit more control in the upper regions, but there's nothing going on that I'd say so crippling to make it unusable. It's a great sounding product that isn't absent of flaws. Not to be unexpected given the very low price.
Compared To A Peer (volumes matched with Dayton iMM-6)
Moondrop SSR (39.99 USD): I typically try not to compare with products that completely outclass what I'm reviewing, or that it completely outclasses. The SSR is, in my honest opinion, one of the most underappreciated and underrated products of 2020. That I decided to compare the X49 to it should give you an idea of just how capable I think NiceHCK's release is.
Starting with treble, neither is particularly energetic in the brilliance region. That said, the X49 has more emphasis there giving it a hint of additional sparkle, though this comes at the expense of some splashiness not heard in the SSR. It sound less refined, especially on light of how much smoother the SSR's presentation is top to bottom. Speed oddly feels about on par despite the X49 being equipped with an armature vs. the SSR's tiny dynamic. Notes attack and decay rapidly through each. I suspect this comes down to Moondrop's beryllium coating that acts to stiffen and speed things up for the SSR. Detail and texture is also about on par with the X49's more raw sound resulting in a more edgy, gritty presentation. I personally enjoy both and revel in this very specific difference to how they sound since they end up being very much complimentary. The prominence of v-shaped signatures in our hobby seems to have resulted in a slew of listeners allergic to forward mids, and that's a shame because both of these products have a gorgeous midrange. The SSR's is silky smooth and rife with detail backed by just the right amount of warmth to benefit artists of all genders. The X49 feels just as forward and gender neutral in it's presentation, but sprinkles in a hint of dryness that I find relatively common to full-range balanced armatures. Again, this nigh raspiness the X49 adds to vocals is a wonderful compliment to the SSR's refinement. Bass on both is politely elevated with the SSR having the edge on sub-bass extension, mid-bass impact, and overall visceral feedback. Texturing is good on both, though the X49 has an edge. Again, speed is about the same with both showing rapidity in their attack and decay qualities. That said, I find the SSR to handle rapid bass with greater ease. As tracks get more and more busy, or you increase the volume, the limitations of the X49's single full-range armature begins to show. It doesn't help that is has a much more intimate presentation than the SSR with a very compact sound stage that doesn't leave music nearly as much room to play around in. This is my only major qualm with the X49 and what holds it back from greatness. Still, pending you're playing within it's limitations, imaging is quite nuanced, instruments are well-separated and tracks decently well layered. Toss on something busy or crank the volume and the X49 loses composure in places the SSR has no issues. Overall I prefer the SSR, but the X49 isn't too far off and provides nearly as an enjoyable a listen.
EarNiNE EN120 (79.00 USD): The EN120 is getting up there in age at this point, but given it has a chromed metal housing surrounding a single balanced armature with a fixed cable, these two had to be compared. The treble presentation between these two is very similar with a lower treble bias and small upper treble peak to give off some sparkle. I'd say the EN120 is slightly more linear though, giving the two regions a more even emphasis. While both offer pretty great detail and clarity, the EarNiNE's in-house developed drivers are hard to beat. The X49 falls just short in that regard as a result and it feels like an all-rounder vs. the EN120 which is more neutral and analytic. Mids are again similarly emphasized. Once again, however, EarNiNE's drivers shine. They have a very unique sound to them most notable in the mids that gives the presentation a dry, crispy feel to it. This means that the EN120 isn't as accurate when it comes to timbre, even if it is a lot more interesting to listen to. Therefore, as much as I adore the midrange of EarNiNE products, it's not technically accurate so the X49 gets the edge. The additional warmth added in by the midbass presentation of the X49 also helps with this. The EN120 has a near-neutral low end. Compared to the X49, and most other products for that matter, it comes across a little anemic. It's got the speed and texture to match the X49, it just lacks the emphasis which hinders it's suitability across genres. While the X49 has a very compact sound stage, the EN120's is even smaller given off a complete in-the-head listening experience. This quality fits with it's somewhat analytic presentation, but it also means it's even more difficult than on the X49 to properly immerse yourself in your music. I still love the EN120 and the unique qualities of EarNiNE's drivers, but the X49 is the better product. It's larger sound stage and more versatile tune leaving me wanting when I switch from the X49 to the EN120, something that doesn't really happen when going from the EN120 to the X49.
In The Ear Similar in design to Final's E-Series of dynamic earphones, the X49 utilizes very compact, lightweight, bullet-shaped housings that work equally well with the cable wrapped up and around the ear, or hanging down in a more traditional manner. Outside of some mild tapering on the rear of each housing as well as the and model info laser etched into the metal, there isn't much to to speak of here. Fit and finish is excellent with tight seams and neatly installed metal grills. The fixed cable enters into the bottom rear of each housing, protected by a stubby rubber relief that also advises which channel is which thanks to raised L and R lettering. A rubber o-ring wrapped around the left cable is also used to more quickly denote the left channel.
The cable is a very basic black, rubber-sheathed affair. There is a hint of stickiness that catches on skin, but slides smoothly enough over clothing so as not be an issue. It doesn't retain memory of bends or kinks, but it does transmit a fair bit of noise up and into the ear whenever the cable bumps around. Wearing the X49 with the cable wrapped around the ear works to mitigate this. The hardware used is also very basic but perfectly serviceable. The straight jack is absolutely tiny with a somewhat short and stiff relief. It's not great, but it gets the job done. The same could be said about the compact rubber y-split. Unfortunately there is no relief entering or existing the split, so expect that to be a failure point. They also omitted a chin cinch which would have been a welcome addition to help deal with the microphonics.
Comfort is outstanding. Since the X49 is so small and light, it almost entirely disappears when being worn. This is especially true when wearing it cable-up since what little weight there is ends up being dispersed more evenly around the ear. Isolation is also well above average despite the housing being ventilated. Even with the stock tips, walking along a busy street I can listen at my usual low volumes without having to pump it up to compensate for noise bleeding in.
In The Box The X49 arrives in a very unassuming white box covered in a white sheath, NiceHCK printed on the front. Flip to the back to find some basic specifications and model information, with no real flourishes to draw the eye. If you like minimal packaging, this is it. Sliding off the sheath reveals the X49 nestled tightly into a white cardboard covered foam insert, the fixed cable neatly wrapped and tucked under a cardboard insert alongside the accessories. In all you get:
- X49 earphones
- Single flange tips (s/m/l)
- Velcro cable tie
- Shirt clip
- Manual
Final Thoughts This is my favourite product from the brand to date. The compact shell is comfortable and attractive with a good cable handling music transmission. Sure, it would be great if it were removable, but it's not so we can be happy that they used a quality wire, even if it looks pretty darn vanilla.
The X49 doesn't disappoint on the sound front either, with a versatile, capable tune that sounds excellent with a wide variety of musical genres. Where it falls short is in the sound stage which is very compact leading to congestion at high volumes or on particularly busy tracks. Listen at reasonable volumes and avoid crazy busy music and you'll be fine.
Overall a very nice product. If you're curious about balanced armatures and want to try them out without spending a ton, this is a fantastic example of the breed and well worth your time.
Thanks for reading!
- B9
Disclaimer A huge thanks to Nappoler with HiFiGo for sending over a sample of the X49 for review. The thoughts within this review are my own subjective opinions and do not represent NiceHCK, HiFiGo, or any other entity. At the time of writing the X49 was on sale for 16.99 USD, down from 42.48 USD: https://hifigo.com/products/nicehck-x49-single-ba-balanced-armature-driver-mini-earphone
Specifications
- Frequency Response: 20-20KHz
- Impedance: 22ohms
- Sensitivity: 110dB/mW
- Driver: Single balanced armature
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Attachments
**It has been made known the Blon has one of the nastiest contributors in the industry tuning one of their upcoming models. As a result, I can't recommend this or any product of theirs moving forward, regardless of how amazing they are.**
Greetings!
Today we're checking out the Blon BL-05, a follow up to the well-loved BL-03.
Blon has been around for a while now with a number of different earphones and headphones under their belt, though they didn't become a household name in the Chinese hifi community until the hype train that was the BL-03. The BL-03 was renowned for it's natural timbre, a rarity at such a low price, along with terrible fit out of the box that pretty much necessitated buying a new cable and tips immediately, according to fans, as well as some pretty amusing text written on the packaging. It was an affordable, character-filled product. Why wouldn't Blon take advantage of this and quickly follow it up with a new model?
So how is the BL-05? It's fine. Let's check it out in greater detail, shall we?
What I Hear I had the chance to listen to the cult classic BL-03 a while back and while I thought it was okay and could see why it was liked, it wasn't my jam. I found it's signature pretty much bog standard for a product in that price range; warm with bloaty mid-bass, recessed mids, not a lot of detail, etc. Sell it as a sub-50 USD Skullcandy or Beats branded earphone and it wouldn't feel out of place. Sooooo, when I heard about their follow up coming out, the BL-05, you could forgive me for passing it over without so much as a second glance. So why am I reviewing it now? Well, the reviews and comments from buyers seemed like it would be in my wheelhouse; sub-bass focus, somewhat lean mids, good detail. After using it quite a bit over the last few months, I'm glad I ended up reviewing it.
Starting with the low end, the BL-05 is mostly positive. This sounds like a very light, quick driver. While extension is good and a reasonably polite boost over neutral refreshing after the bloated mess that was the BL-03, it doesn't move a lot of air or provide much in the way of visceral feedback on notes that should really be slamming. It reminds of a lot of the Whizzer A15 Pro in that regard, since like the BL-05 it is speedy, decently well-textured, and overall quite articulate, but lacking warm which takes away from the emotional presence of the presentation.
Leaning into the midrange the BL-03 bring to the table plenty of detail and clarity. This comes at the expense of weight and tonality unfortunately. While I usually like a thin midrange, which the BL-05 has, many don't so the presentation here will likely miss the mark. While timbre and tonality is generally alright, everything sounds slightly bright and occasionally harsh thanks to an upper mid push, particularly on mid-boosted tracks like the recent singles from Aesop Rock's recent projects. They should look towards the Moondrop SSR for how to tune a upper mid push.
The BL-05's upper ranges are fairly linear in the presence region with a sharp upper treble spike rearing it's head. It gives the presentation plenty of air along with decent shimmer and sparkle, but it comes at the expense of listening comfort and fatigue. As a low volume listener, this sort of tuning is fine since I can still enjoy all the finer details of a track without feeling like I'm missing out of risking damaging to my hearing. Higher volume listeners should probably avoid the BL-05, as should treble sensitive users.
The BL-05 has a pretty average sound stage. Sounds get tossed off pretty far from the head, but there doesn't seem to be a ton of depth leading to somewhat mediocre layering qualities. Instrument separation is decent, but given the somewhat broad, flat sound on offer, toss something complicated the BL-05's way, like the closing moment of King Crimson's “Starless and Bible Black”, and congestion sets in. Imaging is also fine, but lacks the precision I expect from a product at this price range. Kinda meh here...
Overall I actually like the BL-05 a lot more than you'd think from reading the above comments. That said, the general brightness, somewhat weightless low end, and slightly off timbre make these somewhat tailored to a niche crowd and not the masses that loved the BL-03.
Compared To A Peer (volumes matched with Dayton iMM-6)
KZ ZS10 Pro (45.00 USD): The ZS10 Pro is clearly the bassier of the two with a stronger sub- and mid-bass presence. This gives it a warmer, darker, and in my opinion more natural and well-rounded presentation than the BL-05. The BL-05 is quicker and better controlled though, with the ZS10 Pro sounding looser and less precise. What KZ's offering loses in speed and control, it makes up for in texture and punch. The midrange of the ZS10 Pro provides a better experience to my ears. Vocals are nowhere near as lean and yet, detail and clarity are nearly on par. They're also more linear without the upper mid spike. Treble is also a more linear experience, particularly in the upper treble which isn't as aggressive out of KZ. The BL-05's upper ranges are a bit tighter and smoother, but give up a hint of detail to it's armature equipped counterpart. Sound stage clearly goes to the KZ. While not quite as wide, it is deeper with a more well-rounded feel. Instrument separation is similar with vastly improved layering. Imaging is more precise too.
Overall I feel the ZS10 Pro is the more accomplished, well-rounded product. That said, the differences in bass quantity should have these appealing to different crowds. If you want a bumping low end, the ZS10 Pro will satisfy infinitely more than the BL-05.
TinHiFi T2 Plus (59.99 USD): The T2 Plus goes for a similar sort of neutral-bright type of sound as the BL-05, but one ups the Blon in nearly every way. Treble doesn't have quite as good of extension, but it is much more balanced and less aggressive while matching or exceeding the BL-05 in detail and clarity. The midrange is a little bit thicker and warmer on the T2 Plus giving it a more natural sound, even if timbre is still a hint brighter than is ideal. The T2 Plus' low end adds in the warmth and density lacking from the BL-05 and provides a punchier, more visceral experience with additional texture. The tin's sound stage is also more impressive than the BL-05. Wider, deeper, better imaging, improved layering and separation.
What I'm getting at is the BL-05 is fairly average and the TinHiFi T2 Plus exceptional. Comparing one of the best in this price range with something decidedly average really brings out the BL-05's weaknesses.
In The Ear The BL-05's shells take clear visual inspiration from AKG with their N-Series of earphones, like the N30 and N5005. The two-part metal shells are well put together and should be plenty durable in the long run. Seams between the component parts could be tighter, but it's nothing concerning. A touch I quite like is the gold coloured face plate insert containing the Blon name and channel indicators. It adds some flair to what is otherwise a pretty unassuming design.
Comfort and fit is a bit of a mixed bag. The low profile design sits nicely in the ear and I didn't experience any comfort issues due to hot spots or sharp edges. The stubby nozzle was a problem though. The length forced either extra long tips, or wide tips a size up to get and maintain a good seal. While the nozzle is a fairly average 5mm in width, the lip is very thin so I found my standard tips barely hanging on. Tips designed for a smaller nozzle seemed to fit best.
The cable feels like a mix of KZ and TRN products. The thin black, braided sheath is pure TRN in terms of thickness and feel. It's plenty flexible but had a habit of stiffening in cool weather, and tangles above the y-split quite easily thanks to the aggressively shaped preformed ear guides. The hardware (y-split and 90 degree angled jack) is old school KZ, matching what appeared on many of their products prior to the release of the ZST. That's a good thing because both the jack and y-split (all of it) is very well relieved which should provide plenty of protection from bends and tugs. Overall a good cable, though the tangling gets annoying, quickly, so make sure you store them carefully to avoid having to deal with this.
The BL-05 does a reasonably average job isolating you from the outside world. It's not up to snuff with the low profile shells from KZ, but matches what you get from something like the TinHiFi T2 Plus. Sounds are dulled but still audible with the stock silicone tips, with 3rd party foam tips being mandatory if you're planning to use these on a bus or something equally noisy.
In The Box The BL-05 arrives in the same sort of elongated box I first saw from TFZ, with the earpieces set within a plastic insert and accessory box tucked below, all protected by a clear plastic lid. Printed on the lid are the statements that really set the Blon brand apart from the competition;
Belief
Letmusicburn
Oppoty
Nevergiveup
Annotation
Music and Driams
Nonsensical and hilarious, and surprising that it carried over from the BL-03's packaging. That said, if they had it corrected Blon fans would have been devastated. Outside of that chuckle, you get with this purchasing experience the following items;
Final Thoughts The BL-05 is a perfectly fine earphone. Not best in class, but not worst either. I think it is decidedly mid-pack, a thinking which seems to be in line with the general consensus of the community. No one really talks about it anymore, and Blon quickly released the updated BL-05S which has brought the tuning more in line with the BL-03. Their tuners have done a good job bringing the new model to the forefront while burying memory of the standard BL-05.
Given all that, I'm not really sure what to say. The BL-05 could be thought of as a rushed attempt to capitalize on the success of the BL-03 but ended up a missed opportunity thanks to a tune that didn't appeal to fans of the previous model. Pretending as if the BL-03 never was, the BL-05 is a fine earphone in its own right, just not a leader in its class. Check it out if you like a somewhat bright, lean sounding earphone with good detail and clarity. If you prefer something less unique, stick with the Skullcandy equivalent BL-03.
Thanks for reading!
- B9
Disclaimer
A big thanks to Nappoler with HiFiGo for sending over a smaple of the BL-05 for the purposes of review, and my apologies for the delay in releasing this review. 2020 has been a bit of a crapshoot. The thoughts within this review are my own subjective opinions based on time spent using the BL-05. At the time of writing the BL-05 was on sale for 40.00 USD, down from 59.99 USD. At this price, I'm a little more lenient of any flaws and can recommend it at a solid daily driver, pending you like a brighter sounding earphone: https://hifigo.com/products/blon-bl-05-bl05
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Greetings!
Today we're checking out the Blon BL-05, a follow up to the well-loved BL-03.
Blon has been around for a while now with a number of different earphones and headphones under their belt, though they didn't become a household name in the Chinese hifi community until the hype train that was the BL-03. The BL-03 was renowned for it's natural timbre, a rarity at such a low price, along with terrible fit out of the box that pretty much necessitated buying a new cable and tips immediately, according to fans, as well as some pretty amusing text written on the packaging. It was an affordable, character-filled product. Why wouldn't Blon take advantage of this and quickly follow it up with a new model?
So how is the BL-05? It's fine. Let's check it out in greater detail, shall we?
What I Hear I had the chance to listen to the cult classic BL-03 a while back and while I thought it was okay and could see why it was liked, it wasn't my jam. I found it's signature pretty much bog standard for a product in that price range; warm with bloaty mid-bass, recessed mids, not a lot of detail, etc. Sell it as a sub-50 USD Skullcandy or Beats branded earphone and it wouldn't feel out of place. Sooooo, when I heard about their follow up coming out, the BL-05, you could forgive me for passing it over without so much as a second glance. So why am I reviewing it now? Well, the reviews and comments from buyers seemed like it would be in my wheelhouse; sub-bass focus, somewhat lean mids, good detail. After using it quite a bit over the last few months, I'm glad I ended up reviewing it.
Starting with the low end, the BL-05 is mostly positive. This sounds like a very light, quick driver. While extension is good and a reasonably polite boost over neutral refreshing after the bloated mess that was the BL-03, it doesn't move a lot of air or provide much in the way of visceral feedback on notes that should really be slamming. It reminds of a lot of the Whizzer A15 Pro in that regard, since like the BL-05 it is speedy, decently well-textured, and overall quite articulate, but lacking warm which takes away from the emotional presence of the presentation.
Leaning into the midrange the BL-03 bring to the table plenty of detail and clarity. This comes at the expense of weight and tonality unfortunately. While I usually like a thin midrange, which the BL-05 has, many don't so the presentation here will likely miss the mark. While timbre and tonality is generally alright, everything sounds slightly bright and occasionally harsh thanks to an upper mid push, particularly on mid-boosted tracks like the recent singles from Aesop Rock's recent projects. They should look towards the Moondrop SSR for how to tune a upper mid push.
The BL-05's upper ranges are fairly linear in the presence region with a sharp upper treble spike rearing it's head. It gives the presentation plenty of air along with decent shimmer and sparkle, but it comes at the expense of listening comfort and fatigue. As a low volume listener, this sort of tuning is fine since I can still enjoy all the finer details of a track without feeling like I'm missing out of risking damaging to my hearing. Higher volume listeners should probably avoid the BL-05, as should treble sensitive users.
The BL-05 has a pretty average sound stage. Sounds get tossed off pretty far from the head, but there doesn't seem to be a ton of depth leading to somewhat mediocre layering qualities. Instrument separation is decent, but given the somewhat broad, flat sound on offer, toss something complicated the BL-05's way, like the closing moment of King Crimson's “Starless and Bible Black”, and congestion sets in. Imaging is also fine, but lacks the precision I expect from a product at this price range. Kinda meh here...
Overall I actually like the BL-05 a lot more than you'd think from reading the above comments. That said, the general brightness, somewhat weightless low end, and slightly off timbre make these somewhat tailored to a niche crowd and not the masses that loved the BL-03.
Compared To A Peer (volumes matched with Dayton iMM-6)
KZ ZS10 Pro (45.00 USD): The ZS10 Pro is clearly the bassier of the two with a stronger sub- and mid-bass presence. This gives it a warmer, darker, and in my opinion more natural and well-rounded presentation than the BL-05. The BL-05 is quicker and better controlled though, with the ZS10 Pro sounding looser and less precise. What KZ's offering loses in speed and control, it makes up for in texture and punch. The midrange of the ZS10 Pro provides a better experience to my ears. Vocals are nowhere near as lean and yet, detail and clarity are nearly on par. They're also more linear without the upper mid spike. Treble is also a more linear experience, particularly in the upper treble which isn't as aggressive out of KZ. The BL-05's upper ranges are a bit tighter and smoother, but give up a hint of detail to it's armature equipped counterpart. Sound stage clearly goes to the KZ. While not quite as wide, it is deeper with a more well-rounded feel. Instrument separation is similar with vastly improved layering. Imaging is more precise too.
Overall I feel the ZS10 Pro is the more accomplished, well-rounded product. That said, the differences in bass quantity should have these appealing to different crowds. If you want a bumping low end, the ZS10 Pro will satisfy infinitely more than the BL-05.
TinHiFi T2 Plus (59.99 USD): The T2 Plus goes for a similar sort of neutral-bright type of sound as the BL-05, but one ups the Blon in nearly every way. Treble doesn't have quite as good of extension, but it is much more balanced and less aggressive while matching or exceeding the BL-05 in detail and clarity. The midrange is a little bit thicker and warmer on the T2 Plus giving it a more natural sound, even if timbre is still a hint brighter than is ideal. The T2 Plus' low end adds in the warmth and density lacking from the BL-05 and provides a punchier, more visceral experience with additional texture. The tin's sound stage is also more impressive than the BL-05. Wider, deeper, better imaging, improved layering and separation.
What I'm getting at is the BL-05 is fairly average and the TinHiFi T2 Plus exceptional. Comparing one of the best in this price range with something decidedly average really brings out the BL-05's weaknesses.
In The Ear The BL-05's shells take clear visual inspiration from AKG with their N-Series of earphones, like the N30 and N5005. The two-part metal shells are well put together and should be plenty durable in the long run. Seams between the component parts could be tighter, but it's nothing concerning. A touch I quite like is the gold coloured face plate insert containing the Blon name and channel indicators. It adds some flair to what is otherwise a pretty unassuming design.
Comfort and fit is a bit of a mixed bag. The low profile design sits nicely in the ear and I didn't experience any comfort issues due to hot spots or sharp edges. The stubby nozzle was a problem though. The length forced either extra long tips, or wide tips a size up to get and maintain a good seal. While the nozzle is a fairly average 5mm in width, the lip is very thin so I found my standard tips barely hanging on. Tips designed for a smaller nozzle seemed to fit best.
The cable feels like a mix of KZ and TRN products. The thin black, braided sheath is pure TRN in terms of thickness and feel. It's plenty flexible but had a habit of stiffening in cool weather, and tangles above the y-split quite easily thanks to the aggressively shaped preformed ear guides. The hardware (y-split and 90 degree angled jack) is old school KZ, matching what appeared on many of their products prior to the release of the ZST. That's a good thing because both the jack and y-split (all of it) is very well relieved which should provide plenty of protection from bends and tugs. Overall a good cable, though the tangling gets annoying, quickly, so make sure you store them carefully to avoid having to deal with this.
The BL-05 does a reasonably average job isolating you from the outside world. It's not up to snuff with the low profile shells from KZ, but matches what you get from something like the TinHiFi T2 Plus. Sounds are dulled but still audible with the stock silicone tips, with 3rd party foam tips being mandatory if you're planning to use these on a bus or something equally noisy.
In The Box The BL-05 arrives in the same sort of elongated box I first saw from TFZ, with the earpieces set within a plastic insert and accessory box tucked below, all protected by a clear plastic lid. Printed on the lid are the statements that really set the Blon brand apart from the competition;
Belief
Letmusicburn
Oppoty
Nevergiveup
Annotation
Music and Driams
Nonsensical and hilarious, and surprising that it carried over from the BL-03's packaging. That said, if they had it corrected Blon fans would have been devastated. Outside of that chuckle, you get with this purchasing experience the following items;
- BL-05 earphones
- 0.78mm 2-pin cable
- Canvas carrying bag
- Small bore single flange tips (s/m/l)
- Wide bore single flange tips (s/l)
- Manual
Final Thoughts The BL-05 is a perfectly fine earphone. Not best in class, but not worst either. I think it is decidedly mid-pack, a thinking which seems to be in line with the general consensus of the community. No one really talks about it anymore, and Blon quickly released the updated BL-05S which has brought the tuning more in line with the BL-03. Their tuners have done a good job bringing the new model to the forefront while burying memory of the standard BL-05.
Given all that, I'm not really sure what to say. The BL-05 could be thought of as a rushed attempt to capitalize on the success of the BL-03 but ended up a missed opportunity thanks to a tune that didn't appeal to fans of the previous model. Pretending as if the BL-03 never was, the BL-05 is a fine earphone in its own right, just not a leader in its class. Check it out if you like a somewhat bright, lean sounding earphone with good detail and clarity. If you prefer something less unique, stick with the Skullcandy equivalent BL-03.
Thanks for reading!
- B9
Disclaimer
A big thanks to Nappoler with HiFiGo for sending over a smaple of the BL-05 for the purposes of review, and my apologies for the delay in releasing this review. 2020 has been a bit of a crapshoot. The thoughts within this review are my own subjective opinions based on time spent using the BL-05. At the time of writing the BL-05 was on sale for 40.00 USD, down from 59.99 USD. At this price, I'm a little more lenient of any flaws and can recommend it at a solid daily driver, pending you like a brighter sounding earphone: https://hifigo.com/products/blon-bl-05-bl05
Specifications
- Frequency Response: 20Hz-20kHz
- Impedance: 32 ohms
- Sensitivity: 108dB
- Driver: 10mm carbon nanotube dynamic
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Greetings!
Today we're checking out the Luna, a new flagship single dynamic-based earphone with some “world's first” technology running the show.
Beryllium is a pretty sweet material to use for speakers. Dangerous to collect and manufacture, but the resultant qualities are worth it. It's extremely light and stiff resulting in breakup/distortion later, and at higher frequencies than other more common materials, such as titanium. Whereas most earphones utilize materials like carbon nano-tube and titanium as a coating to improve the integrity of a driver, Dunu took things a step further being the first to develop and utilize a beryllium rolled foil diaphragm. No coatings here. Unlike most other products in this price range, the Luna doesn't feature a swath of drivers of various styles either. Instead, they let their singular, very special driver, hog the spotlight and strut it's stuff.
And strut it does. Let's take a closer look, shall we?
What I Hear Treble is extremely smooth with a reduction in emphasis in the brilliance region compared to the rest of the signature. This leaves the Luna with a warm, soft, detailed presentation that is amazing for extended listening sessions, and at higher volumes than I'd normally listen. That said, as a result of this downplayed emphasis cymbals, chimes, etc. lack impact in a track and in cases where they should be prominent forces and lead, such as on Gramatik's “Bluestep”, fall in line with the rest of the presentation and fail to stand out. Thanks to the Beryllium drivers, notes strike and decay quickly and with impressive control, though there is a lack of sparkle and shimmer to go along with this composure. Complicate things, such as on King Crimson's “Starless and Bible Black”, and the Luna remains distinct and clean, easily detailing each element without congestion.
The midrange of the Luna is elevated over the rest of the signature thanks to an upper mid bump giving vocals a strong presence. Thankfully this bump is not enough to engage the flavour of the month criticism, shoutiness. Sibilance isn't much of an issue either, resulting in unforgiving tracks like Aesop Rock's “Blood Sandwich” being perfectly serviceable and enjoyable through the Luna. That said, you will still experience the occasional bit of discomfort at times when you come across particularly sharp sounding vocals. Timbre accuracy is reasonably solid with a plasticky, almost armature-like quality creeping in at times. It's nothing that hinders the overall enjoyment of the product for me, but those who are particularly picky and hold the Sony MH755 and/or Blon BL-03 up as timbre gods should probably keep this in mind if they were thinking up upgrading to something good.
Bass is quite linear in presentation with only a soft roll off in sub-bass regions keeping it from being perfectly balanced. As expected from a pure beryllium driver, speed is excellent with the Luna able to handle the nuts-o rapid double bass line common to various metal tracks without breaking a sweat. It's also very well controlled leaving individual notes sounding distinct and well-defined. Texturing is a low point with the presentation being a bit too smooth for my personal preferences. Tracks from The Prodigy and Tobacco lack the grunge and crunch I expect through the Luna. This means that overall detail in the low is also a bit lacking, leaving the presentation feeling somewhat one-note and less dynamic that I would expect from a product at this price point. Despite these qualms, I still find the low end satisfying, just not as good as it could have been.
Sound stage is actually quite impressive which I was not expecting given the laid back upper ranges. The default positioning for vocals sets the stage just at the outer edge of the ear with instruments and affects branching out from there. I found the Luna quite immersive, as experienced listening to King Crimson's live take on “Indiscipline”. This is in large part thanks to the excellent layering and instrument separation qualities. Imaging is quite clean and nuanced, but doesn't quite stack up to some of the multi-driver flagships found in this price range.
Overall I have really enjoyed my time with the Luna. While I don't necessarily think it is truly class leading in any particular aspect, put everything together and you have a package that sounds very coherent and capable. This general all-round quality has left the Luna as one of the more enjoyable products I've spent time with this year.
Compared To A Peer (volumes match with Dayton iMM-6)
Campfire Audio Ara (1,299.00 USD): The Ara is notably brighter than the Luna, particularly due to a significant amount of additional energy in the brilliance region. This gives chimes, cymbals, etc. a ton more presence in Campfire's offerings vs. the much more downplayed output from the Luna. While notes seems to attack and decay at a similar speed, impressive given the Luna has a single dynamic, the Ara goes about it in a more obvious and aggressive way. The Ara's midrange is more forward, though not to the same extent as the treble region. Vocals out of the Ara are a bit thicker and more weighty with a warmer tonality, with the trade off being that they are not quite a detailed and articulate. Timbre is more natural out of the Luna, but the differences are mild. Bass out of the Luna is only slightly more prominent than on the Ara, but thanks to the lack of treble to counterbalance ends up feeling more boosted than it really is. Both have a very linear presentation with a similar drop in emphasis in subbass regions. The Luna's low end is slower and can't quite match the Ara's lightening quick response, nor does it output as much detail and texture. It does, however, carry more weight and move more air providing a more viscerally satisfying experience on bass-reliant tracks. When listening for soundstage differences, I was surprised to find the Luna felt wider and more spacious allowing additional air between notes and resulting in tracks feeling more layered. The Ara comes across more intimate which plays well to it's razor sharp imaging that the Luna couldn't match.
When it comes to build they are both outstanding examples of top of the line products and I cannot say definitively that one bests the other. They both utilize Titanium for their shells with the Luna having the more understated design compared to Campfire's iconic and awesomely angular look. The Luna's simpler, smaller, lower profile shells lack the visual flair and do not isolate quite as well, but are definitely the more ergonomic and comfortable of the two, and I have zero issues with comfort with the Ara. The cable is where the two separate. Campfire's cable is thinner, lighter, and more flexible. It does a better job of staying out of the way while also being less prone to memory and tangling. On the other hand, the Luna's thicker cable design is more encouraging for long term durability, plus it utilizes Dunu's Quick-Switch modular plug system meaning you don't have to wear out the MMCX ports with cable swaps should you decide to run it balanced.
Overall they are both some of the best sounding products I've ever used. Since their tuning is so different, they compliment each other well and choosing one over the other really comes down to your personal preferences. Do you like a warmer, more mellow sounding earphone? The Luna ticks those boxes well. If you prefer a more analytic, detailed sound the Ara should be the one you look at.
Campfire Audio Atlas (1,299.00 USD): The single dynamic Atlas has a clear v-shaped signature in comparison. Starting with the low end, the Atlas is A LOT bassier. It digs deeper, hits harder, is more textured and provides more detail. The Luna is quicker and tighter though with a much more natural, balanced presence in the overall mix. They are clearly aimed at completely different audiences. Both have a similarly placed upper midrange, though perception says it sticks out more on the Luna thanks to the differences in emphasis in treble and bass regions. I find the Luna's mids thicker and more natural, but a step behind in terms of clarity and detail. The Atlas's dry-ish timbre is less enticing than the Luna's presentation in my opinion. Heading into the treble the Atlas is sharp and shimmery with a strong attack that brings a lot more energy to the table compared to the laid back Luna. Notes are tighter and better controlled out of the Luna, lacking the mild splash hear in the Atlas. Some people seem to like splash I've noticed. For me, it's a definite negative, though it's not so bad as to be a detriment here. Sound stage is quite good on both with the Atlas getting the nod. While the Duna feels spacious, the Atlas feels more capacious with a deceptively cavernous feel to it at times. It comes across even wider and deeper though imaging, layering, and separation qualities end up being pretty similar.
Where the Luna is small and light with a super comfortable, low profile design, the Atlas is made of extremely heavy, hand-polished stainless steel. Combine that with a more traditional barrel shape that sticks out of the ear and ergonomics are very much hit and miss. Luna is definitely the better of the two for wearing pleasure, in my experience. The Atlas certainly looks a heck of a lot cooler though with it's brash design and 'bling bling' chrome. While I prefer to wear the Luna, I like the Atlas' cable more. Sure, it doesn't utilize Dunu's awesome Quick-Switch system, but it's lighter and more flexible which earns it huge points in my book. Both cables are great though.
Overall? These two target completely different crowds. If you want something that can act as a reference unit, mostly balanced with a mid-range bias, Luna all the way. If you want a top of the line bass monster that doesn't skimp on quality or technical ability, obviously go for the Atlas.
In The Ear The wearing experience of the Luna is just as impressive as the sound it outputs. The shape is quite reminiscent of the DK3001 Pro that I absolutely adore, right down to the unique, horizontal stalk that protrudes from the top of the shell and contains the MMCX port. Given the serious reduction in driver quantity, the Luna ends up even slimmer with a concave outward facing plate that fits the tip of a finger nicely when seating it in the ear. It is a light, small low profile earphone that feels very natural to wear, even across heavily extended listening sessions. Isolation is not a strong suit though. The twin ports, one down near and nozzle and another larger one on top of the shell, do little to prevent outside noise from bleeding in. Foam tips help, but even with them equipped I can still hear various happenings going on around me fairly well.
Fit and finish is generally quite good with no misaligned segments or significant flaws to be found. The extensions the cable plugs into are a separate piece and their attachment to the shell slightly lopsided, but I think that was a design choice and not a fit and finish issue since it's the same on both sides. A subtle touch that might be overlooked is the knurled metal rings at the end of each stalk where the cable plugs in, coloured to denote each channel; right for right, silver for left. L and R are also printed on the MMCX plugs on the cable, but some redundancy never hurts. The metal nozzles are a separate piece. They taper in slightly at the entrance with a small lip that holds most third party tips in place without issue though my prefer set, Sony Hybrids, can be knocked off with little effort. I've never had them fall off in my ear thankfully.
The silver-plated cable is a very nice addition to the package. The sheath and overall feel to the cable is quite dense with a fairly tight wind and manageable heft backing it up. While fairly flexible, it retains some memory of bends and kinks but nothing that sticks around long, or causes issues with usability. Strain relief at the Quick-Switch equipped modular jack isn't particularly long or useful, but I'm not too concerned given how tough the sheath feels. While relief is also absent at the y-split, there is a handy chin cinch so that's a plus. Another plus is the use of preformed ear guides which do a good job of holding the cable in place around the ear. I never ran into issues with it hopping up and around the ear, even when out for a jog.
In The Box Since the Luna was a tour unit, it was not shipped with the original packaging and compete accessories (I think). Since this is usually my favorite section and most of what is covered here was not sent along with the earphones, I'll leave you and your mad Googling skills to find this information should you care. Or if reading this on Head-fi, scroll down to the first few reviews for some handy dandy images.
Final Thoughts I read quite a bit of coverage of the Luna prior to being asked if I wanted in on the tour, so I had an idea of what to expect. That said, written word and graph analysis can't replace genuine experience with a physical object. The Luna showed itself to be plenty competitive, and a fantastic showcase for the benefits of using beryllium. With a tight, controlled, detailed sound free of harshness or distortion, it makes for an easy listening but very capable earphone. A combination of qualities that few other totl products I've heard can brag about.
Not only does the Luna meet sonic expectations, but it is every bit as nice in other aspects. The gorgeous titanium shells have an attractive but subtle design that doesn't scream “1700 USD earphone over here. Come steal me!!” to passerbys, so users can feel confident they'll be safe when using it outside the safety of their hovel. The included accessories also seem to be quite extensive, with the uber premium leather case and Quick-Switch equipped cable being some specific highlights.
Overall a great earphone and an impressive showpiece for the brand. Highly recommended to give it an audition if you're looking for a mostly balanced sound with totl quality performance in a fatigue-free package.
Thanks for reading!
- B9
Disclaimer Thanks to Thomas with Dunu for reaching out to see if I would like to join the Luna tour, and for arranging to have it sent over for a few weeks of testing. At the time of writing the Luna was retailing for 1,699.99 USD. You can check it out here on Dunu's product page: https://www.dunu-topsound.com/product-page/luna
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Today we're checking out the Luna, a new flagship single dynamic-based earphone with some “world's first” technology running the show.
Beryllium is a pretty sweet material to use for speakers. Dangerous to collect and manufacture, but the resultant qualities are worth it. It's extremely light and stiff resulting in breakup/distortion later, and at higher frequencies than other more common materials, such as titanium. Whereas most earphones utilize materials like carbon nano-tube and titanium as a coating to improve the integrity of a driver, Dunu took things a step further being the first to develop and utilize a beryllium rolled foil diaphragm. No coatings here. Unlike most other products in this price range, the Luna doesn't feature a swath of drivers of various styles either. Instead, they let their singular, very special driver, hog the spotlight and strut it's stuff.
And strut it does. Let's take a closer look, shall we?
What I Hear Treble is extremely smooth with a reduction in emphasis in the brilliance region compared to the rest of the signature. This leaves the Luna with a warm, soft, detailed presentation that is amazing for extended listening sessions, and at higher volumes than I'd normally listen. That said, as a result of this downplayed emphasis cymbals, chimes, etc. lack impact in a track and in cases where they should be prominent forces and lead, such as on Gramatik's “Bluestep”, fall in line with the rest of the presentation and fail to stand out. Thanks to the Beryllium drivers, notes strike and decay quickly and with impressive control, though there is a lack of sparkle and shimmer to go along with this composure. Complicate things, such as on King Crimson's “Starless and Bible Black”, and the Luna remains distinct and clean, easily detailing each element without congestion.
The midrange of the Luna is elevated over the rest of the signature thanks to an upper mid bump giving vocals a strong presence. Thankfully this bump is not enough to engage the flavour of the month criticism, shoutiness. Sibilance isn't much of an issue either, resulting in unforgiving tracks like Aesop Rock's “Blood Sandwich” being perfectly serviceable and enjoyable through the Luna. That said, you will still experience the occasional bit of discomfort at times when you come across particularly sharp sounding vocals. Timbre accuracy is reasonably solid with a plasticky, almost armature-like quality creeping in at times. It's nothing that hinders the overall enjoyment of the product for me, but those who are particularly picky and hold the Sony MH755 and/or Blon BL-03 up as timbre gods should probably keep this in mind if they were thinking up upgrading to something good.
Bass is quite linear in presentation with only a soft roll off in sub-bass regions keeping it from being perfectly balanced. As expected from a pure beryllium driver, speed is excellent with the Luna able to handle the nuts-o rapid double bass line common to various metal tracks without breaking a sweat. It's also very well controlled leaving individual notes sounding distinct and well-defined. Texturing is a low point with the presentation being a bit too smooth for my personal preferences. Tracks from The Prodigy and Tobacco lack the grunge and crunch I expect through the Luna. This means that overall detail in the low is also a bit lacking, leaving the presentation feeling somewhat one-note and less dynamic that I would expect from a product at this price point. Despite these qualms, I still find the low end satisfying, just not as good as it could have been.
Sound stage is actually quite impressive which I was not expecting given the laid back upper ranges. The default positioning for vocals sets the stage just at the outer edge of the ear with instruments and affects branching out from there. I found the Luna quite immersive, as experienced listening to King Crimson's live take on “Indiscipline”. This is in large part thanks to the excellent layering and instrument separation qualities. Imaging is quite clean and nuanced, but doesn't quite stack up to some of the multi-driver flagships found in this price range.
Overall I have really enjoyed my time with the Luna. While I don't necessarily think it is truly class leading in any particular aspect, put everything together and you have a package that sounds very coherent and capable. This general all-round quality has left the Luna as one of the more enjoyable products I've spent time with this year.
Compared To A Peer (volumes match with Dayton iMM-6)
Campfire Audio Ara (1,299.00 USD): The Ara is notably brighter than the Luna, particularly due to a significant amount of additional energy in the brilliance region. This gives chimes, cymbals, etc. a ton more presence in Campfire's offerings vs. the much more downplayed output from the Luna. While notes seems to attack and decay at a similar speed, impressive given the Luna has a single dynamic, the Ara goes about it in a more obvious and aggressive way. The Ara's midrange is more forward, though not to the same extent as the treble region. Vocals out of the Ara are a bit thicker and more weighty with a warmer tonality, with the trade off being that they are not quite a detailed and articulate. Timbre is more natural out of the Luna, but the differences are mild. Bass out of the Luna is only slightly more prominent than on the Ara, but thanks to the lack of treble to counterbalance ends up feeling more boosted than it really is. Both have a very linear presentation with a similar drop in emphasis in subbass regions. The Luna's low end is slower and can't quite match the Ara's lightening quick response, nor does it output as much detail and texture. It does, however, carry more weight and move more air providing a more viscerally satisfying experience on bass-reliant tracks. When listening for soundstage differences, I was surprised to find the Luna felt wider and more spacious allowing additional air between notes and resulting in tracks feeling more layered. The Ara comes across more intimate which plays well to it's razor sharp imaging that the Luna couldn't match.
When it comes to build they are both outstanding examples of top of the line products and I cannot say definitively that one bests the other. They both utilize Titanium for their shells with the Luna having the more understated design compared to Campfire's iconic and awesomely angular look. The Luna's simpler, smaller, lower profile shells lack the visual flair and do not isolate quite as well, but are definitely the more ergonomic and comfortable of the two, and I have zero issues with comfort with the Ara. The cable is where the two separate. Campfire's cable is thinner, lighter, and more flexible. It does a better job of staying out of the way while also being less prone to memory and tangling. On the other hand, the Luna's thicker cable design is more encouraging for long term durability, plus it utilizes Dunu's Quick-Switch modular plug system meaning you don't have to wear out the MMCX ports with cable swaps should you decide to run it balanced.
Overall they are both some of the best sounding products I've ever used. Since their tuning is so different, they compliment each other well and choosing one over the other really comes down to your personal preferences. Do you like a warmer, more mellow sounding earphone? The Luna ticks those boxes well. If you prefer a more analytic, detailed sound the Ara should be the one you look at.
Campfire Audio Atlas (1,299.00 USD): The single dynamic Atlas has a clear v-shaped signature in comparison. Starting with the low end, the Atlas is A LOT bassier. It digs deeper, hits harder, is more textured and provides more detail. The Luna is quicker and tighter though with a much more natural, balanced presence in the overall mix. They are clearly aimed at completely different audiences. Both have a similarly placed upper midrange, though perception says it sticks out more on the Luna thanks to the differences in emphasis in treble and bass regions. I find the Luna's mids thicker and more natural, but a step behind in terms of clarity and detail. The Atlas's dry-ish timbre is less enticing than the Luna's presentation in my opinion. Heading into the treble the Atlas is sharp and shimmery with a strong attack that brings a lot more energy to the table compared to the laid back Luna. Notes are tighter and better controlled out of the Luna, lacking the mild splash hear in the Atlas. Some people seem to like splash I've noticed. For me, it's a definite negative, though it's not so bad as to be a detriment here. Sound stage is quite good on both with the Atlas getting the nod. While the Duna feels spacious, the Atlas feels more capacious with a deceptively cavernous feel to it at times. It comes across even wider and deeper though imaging, layering, and separation qualities end up being pretty similar.
Where the Luna is small and light with a super comfortable, low profile design, the Atlas is made of extremely heavy, hand-polished stainless steel. Combine that with a more traditional barrel shape that sticks out of the ear and ergonomics are very much hit and miss. Luna is definitely the better of the two for wearing pleasure, in my experience. The Atlas certainly looks a heck of a lot cooler though with it's brash design and 'bling bling' chrome. While I prefer to wear the Luna, I like the Atlas' cable more. Sure, it doesn't utilize Dunu's awesome Quick-Switch system, but it's lighter and more flexible which earns it huge points in my book. Both cables are great though.
Overall? These two target completely different crowds. If you want something that can act as a reference unit, mostly balanced with a mid-range bias, Luna all the way. If you want a top of the line bass monster that doesn't skimp on quality or technical ability, obviously go for the Atlas.
In The Ear The wearing experience of the Luna is just as impressive as the sound it outputs. The shape is quite reminiscent of the DK3001 Pro that I absolutely adore, right down to the unique, horizontal stalk that protrudes from the top of the shell and contains the MMCX port. Given the serious reduction in driver quantity, the Luna ends up even slimmer with a concave outward facing plate that fits the tip of a finger nicely when seating it in the ear. It is a light, small low profile earphone that feels very natural to wear, even across heavily extended listening sessions. Isolation is not a strong suit though. The twin ports, one down near and nozzle and another larger one on top of the shell, do little to prevent outside noise from bleeding in. Foam tips help, but even with them equipped I can still hear various happenings going on around me fairly well.
Fit and finish is generally quite good with no misaligned segments or significant flaws to be found. The extensions the cable plugs into are a separate piece and their attachment to the shell slightly lopsided, but I think that was a design choice and not a fit and finish issue since it's the same on both sides. A subtle touch that might be overlooked is the knurled metal rings at the end of each stalk where the cable plugs in, coloured to denote each channel; right for right, silver for left. L and R are also printed on the MMCX plugs on the cable, but some redundancy never hurts. The metal nozzles are a separate piece. They taper in slightly at the entrance with a small lip that holds most third party tips in place without issue though my prefer set, Sony Hybrids, can be knocked off with little effort. I've never had them fall off in my ear thankfully.
The silver-plated cable is a very nice addition to the package. The sheath and overall feel to the cable is quite dense with a fairly tight wind and manageable heft backing it up. While fairly flexible, it retains some memory of bends and kinks but nothing that sticks around long, or causes issues with usability. Strain relief at the Quick-Switch equipped modular jack isn't particularly long or useful, but I'm not too concerned given how tough the sheath feels. While relief is also absent at the y-split, there is a handy chin cinch so that's a plus. Another plus is the use of preformed ear guides which do a good job of holding the cable in place around the ear. I never ran into issues with it hopping up and around the ear, even when out for a jog.
In The Box Since the Luna was a tour unit, it was not shipped with the original packaging and compete accessories (I think). Since this is usually my favorite section and most of what is covered here was not sent along with the earphones, I'll leave you and your mad Googling skills to find this information should you care. Or if reading this on Head-fi, scroll down to the first few reviews for some handy dandy images.
Final Thoughts I read quite a bit of coverage of the Luna prior to being asked if I wanted in on the tour, so I had an idea of what to expect. That said, written word and graph analysis can't replace genuine experience with a physical object. The Luna showed itself to be plenty competitive, and a fantastic showcase for the benefits of using beryllium. With a tight, controlled, detailed sound free of harshness or distortion, it makes for an easy listening but very capable earphone. A combination of qualities that few other totl products I've heard can brag about.
Not only does the Luna meet sonic expectations, but it is every bit as nice in other aspects. The gorgeous titanium shells have an attractive but subtle design that doesn't scream “1700 USD earphone over here. Come steal me!!” to passerbys, so users can feel confident they'll be safe when using it outside the safety of their hovel. The included accessories also seem to be quite extensive, with the uber premium leather case and Quick-Switch equipped cable being some specific highlights.
Overall a great earphone and an impressive showpiece for the brand. Highly recommended to give it an audition if you're looking for a mostly balanced sound with totl quality performance in a fatigue-free package.
Thanks for reading!
- B9
Disclaimer Thanks to Thomas with Dunu for reaching out to see if I would like to join the Luna tour, and for arranging to have it sent over for a few weeks of testing. At the time of writing the Luna was retailing for 1,699.99 USD. You can check it out here on Dunu's product page: https://www.dunu-topsound.com/product-page/luna
Specifications
- Frequency Response: 5Hz – 40kHz
- Impedance: 16 ohms
- Sensitivity: 110dB @ 1kHz
- Harmonic Distortion: 0.2% @ 1kHz
- Driver: 10mm Acoustic-Grade Pure Beryllium Rolled Foil with Polyurethane Suspension
- Housing Material: Titanium Alloy, Grade 5 (Ti-6Al-4V, TC4, with modified rare earth metal formulation)
- Cable: Mixed Strands of Furukawa Electric Ohno Continuous Cast (OCC) Copper & DHC Silver, with Silver-Plated OCC Copper Shield Surround, equipped with Dunu's patented Catch-Hold and Quick-Switch systems
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Greetings!
Today we're checking out something that has become something of a rarity is recent years; a sub-5 USD product that doesn't suck. In this case, it's a new hyper budget earbud from the venerable KB EAR, the Stellar.
KB EAR, and to a lesser extent their subbrand Tri, have seen a pretty meteoric rise to recognition over the last couple years due to an aggressive publicity push by sponsoring Head-fi and pulling in community tuners to provide feedback and discuss their gear in various online groups. Not to mention getting their products into the hands of nearly every established, newcomer, and unknown reviewer they could. This tactic seems to have worked quite well for them. That said, their products are actually usually quite competent so all the excitement being generated isn't just to make a quick buck and move along. It gets people to buy something that's actually worth their time and money and benefits future products, something I can't say for the countless brands that have cropped up and disappeared after a short-lived hit or two.
KB EAR's newest is a bit of an oddity since it's an earbud. This isn't a format that is particularly mainstream nor popular, and hasn't been since the 80s and 90s. While there is a die hard community supporting and surrounding them, earbuds are still quite niche with a cloud of distrust that hangs over them thanks to decades of crappy, pack in earbuds included with cheap consumer electronics. I personally attribute Venture Electronics (VE) with their Monk to pretty much single-handedly reviving interest in earbuds. They were extremely affordable at 5 USD, utilized a shell familiar to anyone that has been into portable audio within the last 20 years, and most importantly, sounded pretty darn excellent. Their followup, the Monk+, is a solid earbud, but in my opinion doesn't hold a candle to the previous iteration.
With the Stellar, KB EAR is following VE's original formula pretty much to the T, but coming in at an even lower price. Impressive right? Sure is. Let's take a closer look.
What I Hear Upon first listen, I was pleased to hear the Stellar was tuned with a more well-rounded tune than is usually the case with earbuds. Thanks to the lack of seal, they tend to air towards a mid-focus with rolled off treble and a reserved low end, to put it politely. I totally get why in-ears have become the norm, if not only because of the increase in low end. That said, I don't think the Stellar sacrifices much at all as a result of being an ear bud.
Foams: I often use earbuds with full foams because it increases the low end and improves comfort. The Stellar is one of the few that I prefer to use bare. Full foams thicken the sound too much for my preference, make the low end a little bloated, and significantly hinder detail and clarity, particularly in the mids. Donut foams are certainly an improvement and do little to affect clarity while aiding in providing a low end bump and improved comfort, but I still prefer the tuning balance when going foam free. Your mileage may vary.
The Stellar's treble extends fairly well with a solid balance in the presence and brilliance regions, though lower treble does see some skew towards that region. As a result, tracks are adequately detailed with cymbals and chimes displaying some shimmer and sparkle with a very slight, dull edge, as noticed on King Crimson's live rendition of “Cat Food”. Emphasis is restrained enough to keep the Stellar from crossing over into harsh territory, which is a plus considering the driver here is reasonably quick. Notes strike and fade fairly quickly, though at higher volumes I did notice some distortion and muddying of the sound. Still, for the price you can't complain too much. This thing thwomps the vast majority of similarly priced products from mainstream manufacturers.
The midrange is usually where ear buds excel, and the Stellar is no exception. Vocals sit, for the most part, in line with the rest of the track. Female vocalists get a slight push though, as noticed using the Stellar with Big Grams' “Born To Shine” and “Run For Your Life” or Missy Elliot's “Lose Control” and Skrillex's “Squad Out” where Fat Man Scoop's always hype vocals sit just a hint too far back in each mix. Notes are well weighted without coming across overly thick or slightly thin, and are reasonably clear and detailed. Using full foams hinders these qualities quite a bit, so I'd avoid using full foams unless absolutely necessary. Timbre is excellent as is expected from a dynamic driver. Everything sounds as it should without any dryness or metallic qualities creeping in.
Using earbuds with anything bassy is often a disappointing experience. Since they just sit in your outer ear with no seal, the low end typically lacks emphasis, rolls off early, and ends up being tertiary to the listening experience. The Stellar manages to avoid this for the most part. While there is noticeable roll off in sub-bass regions, as noticed with Massive Attack's “Teardrop” and Kavinski's “Solli”, you do still experience a tickle of rumble. Midbass picks up the slack with just the right emphasis to avoid adding bloat of excess warmth. It is especially satisfying with synth-wave tracks, like GUNSHIP's “Fly For Your Life” where the bassline retains plenty of impact and carries the track appropriately. Modern pop is handled just fine too with Tame Impala's “The Less I Know The Better” sounding full and luscious through the Stellar.
Like most earbuds, the Stellar provides a spacious sound more akin to a closed-back headphone than an in-ear. Stage width is satisfying with sounds transmitting off into the distance quite effectively. Depth is a little less noticeable giving the Stellar a sound that is more broad and wide than rounded off. Imaging is quite competent with smooth, nuanced channel-to-channel transitions. Not quite as tight and well-controlled as an iem, but still plenty workable. Tracks sound well-layering and individual effects properly separated. Congestion only creeps in at high volumes on busy tracks, such as in the final moments of King Crimson's “Starless and Bible Black”. If you're used to earbuds, the Stellar isn't doing anything new or unexpected, though iem users might be impressed.
Compared To A Peer
VE Monk+ (~5 USD): I was hella disappointed in the Monk+ when I purchased mine back in the day. The original Monk was less harsh in the highs, had smoother mids, a fuller, better extended low end, and in general sounded like a more refined, expensive product, and that's after ignoring the reduction in build quality on the Monk+. The + was still a great bud for the price, but I've been holding out for a proper monk replacement ever since. The Stellar is just that and a comparison to the Monk+ feels much the same as comparing it to it's predecessor. The Monk+ is brighter than the Stellar with a thinner sounding midrange, less textured bass, and a grainier, less refined presentation overall. The Monk+ has a better sound stage though, offering some additional depth and width to the presentation, but that's about all I'd say it has going for it over the Stellar.
FiiO EM3 (discontinued): The EM3 has significantly more rolled off highs and lacks the same level of energy and upper end clarity. The midrange of the EM3 is thicker and more rich with a level of clarity that is similar to the Stellar when it has dense, full foams in place. With both bare and foam-free, the Stellar still has the clarity and coherence edge. Timbre is equally good on each. Bass on each is about equally rolled off with the EM3's midbass being notably thicker and more prominent giving it a warmer presentation. This thickness is exacerbated by a slower, less well-controlled driver. The EM3's sound stage isn't as wide but shows better depth and as a result sounds more well-rounded, but slightly smaller in general. The Stellar images better and improves upon the EM3 with better instrument separation and track layering. The Stellar is clearly the better performer to my ears thanks to it's more balanced tune and improved technical ability.
In The Ear Since the Stellar uses Sennheiser's MX500 shell, there's nothing special to note here. The plastics used are of good quality, residing somewhere between the beautifully formed, dense plastic of the original VE Monk and the somewhat chinzy feeling Monk +. Fit and finish sits between the two as well with the original Monk having cleaner lines and more heft to it than the Stellar. Compared to the Monk+, the Stellar's opacity is cleaner and molding lines smoother and less rough. The Monk+ has a cooler logo though thanks to it's 8-bit style font.
The Stellar's cable is nothing we haven't seen before either. It is a very standard dual strand unit with a plain black sheath. The straight jack is extremely small and decently well relieved, while the y-split is a small hunk of rubber that limits how far down users can pull apart the two strands of the cable. Strain relief is absent leading into the ear pieces, as seems to be the standard for ear buds. While the cable is a hint on the thin side, I appreciate how light and flexible it is, and how well it resists tangling. Very little noise transmits up to the ear when in use too, though I did occasionally notice it rubbing against my shirt or jacket. It's kind of refreshing using a classic cable like this when most products feature some over-the-top braided option that looks awesome but can be annoying to actually use.
Isolation is non-existent. It's an earbud. A lack of isolation is quite possibly one of the reasons why you buy an earbud. Hearing the world around you can be a good thing, particularly when you're out and about in a busy city where it is important to be able to hear some nut bar blazing towards a red light they're planning to “ignore”.
In The Box KB EAR is keeping the unboxing experience appropriately barren for a sub-5 USD earphone. You get the earbuds with a single set of foams tucked in a ziplock bag, protected by a small, featureless, cardboard box. And that's it. Fans of such basic unboxing experiences have got some wet dream material for 'em in this one.
Final Thoughts I give the Stellar the maximum score, not because it's perfect, but because it's a sub-5 USD earbud that provides listeners with a genuinely wonderful audio experience at an ungodly low price. The amount of value and enjoyment to be had from something like this is unquestionable, especially when you consider the average North American spends near the cost of this product, or more, on a coffee on their commute to work in the morning.
KB EAR's Stellar is well built, has a nice cable, offers a quality tune with decent technical ability, and costs next to nothing. Fans of a barren unboxing experience will be satisfied. Those hunting for a bargain will be satisfied. Someone looking for a cheap daily driver that sounds good and they don't have to worry about will be satisfied. The Stellar is everything good about portable audio, just like the VE Monk before it, and everyone should have one.
Fantastic job KB EAR. I hope you expand your earbud portfolio, because the Stellar is just that, and makes me excited for a follow up.
Thanks for reading!
- B9
Disclaimer A big thanks to Doona from Miss Audio for reaching out to see if I would be interested in checking out the Stellar and sending one over for review. The thoughts within this review are my subjective impressions and do not represent KB EAR, Miss Audio, or any other entity. You can scoop up a set for yourself here: www.aliexpress.com/item/1005001353955370.html
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Today we're checking out something that has become something of a rarity is recent years; a sub-5 USD product that doesn't suck. In this case, it's a new hyper budget earbud from the venerable KB EAR, the Stellar.
KB EAR, and to a lesser extent their subbrand Tri, have seen a pretty meteoric rise to recognition over the last couple years due to an aggressive publicity push by sponsoring Head-fi and pulling in community tuners to provide feedback and discuss their gear in various online groups. Not to mention getting their products into the hands of nearly every established, newcomer, and unknown reviewer they could. This tactic seems to have worked quite well for them. That said, their products are actually usually quite competent so all the excitement being generated isn't just to make a quick buck and move along. It gets people to buy something that's actually worth their time and money and benefits future products, something I can't say for the countless brands that have cropped up and disappeared after a short-lived hit or two.
KB EAR's newest is a bit of an oddity since it's an earbud. This isn't a format that is particularly mainstream nor popular, and hasn't been since the 80s and 90s. While there is a die hard community supporting and surrounding them, earbuds are still quite niche with a cloud of distrust that hangs over them thanks to decades of crappy, pack in earbuds included with cheap consumer electronics. I personally attribute Venture Electronics (VE) with their Monk to pretty much single-handedly reviving interest in earbuds. They were extremely affordable at 5 USD, utilized a shell familiar to anyone that has been into portable audio within the last 20 years, and most importantly, sounded pretty darn excellent. Their followup, the Monk+, is a solid earbud, but in my opinion doesn't hold a candle to the previous iteration.
With the Stellar, KB EAR is following VE's original formula pretty much to the T, but coming in at an even lower price. Impressive right? Sure is. Let's take a closer look.
What I Hear Upon first listen, I was pleased to hear the Stellar was tuned with a more well-rounded tune than is usually the case with earbuds. Thanks to the lack of seal, they tend to air towards a mid-focus with rolled off treble and a reserved low end, to put it politely. I totally get why in-ears have become the norm, if not only because of the increase in low end. That said, I don't think the Stellar sacrifices much at all as a result of being an ear bud.
Foams: I often use earbuds with full foams because it increases the low end and improves comfort. The Stellar is one of the few that I prefer to use bare. Full foams thicken the sound too much for my preference, make the low end a little bloated, and significantly hinder detail and clarity, particularly in the mids. Donut foams are certainly an improvement and do little to affect clarity while aiding in providing a low end bump and improved comfort, but I still prefer the tuning balance when going foam free. Your mileage may vary.
The Stellar's treble extends fairly well with a solid balance in the presence and brilliance regions, though lower treble does see some skew towards that region. As a result, tracks are adequately detailed with cymbals and chimes displaying some shimmer and sparkle with a very slight, dull edge, as noticed on King Crimson's live rendition of “Cat Food”. Emphasis is restrained enough to keep the Stellar from crossing over into harsh territory, which is a plus considering the driver here is reasonably quick. Notes strike and fade fairly quickly, though at higher volumes I did notice some distortion and muddying of the sound. Still, for the price you can't complain too much. This thing thwomps the vast majority of similarly priced products from mainstream manufacturers.
The midrange is usually where ear buds excel, and the Stellar is no exception. Vocals sit, for the most part, in line with the rest of the track. Female vocalists get a slight push though, as noticed using the Stellar with Big Grams' “Born To Shine” and “Run For Your Life” or Missy Elliot's “Lose Control” and Skrillex's “Squad Out” where Fat Man Scoop's always hype vocals sit just a hint too far back in each mix. Notes are well weighted without coming across overly thick or slightly thin, and are reasonably clear and detailed. Using full foams hinders these qualities quite a bit, so I'd avoid using full foams unless absolutely necessary. Timbre is excellent as is expected from a dynamic driver. Everything sounds as it should without any dryness or metallic qualities creeping in.
Using earbuds with anything bassy is often a disappointing experience. Since they just sit in your outer ear with no seal, the low end typically lacks emphasis, rolls off early, and ends up being tertiary to the listening experience. The Stellar manages to avoid this for the most part. While there is noticeable roll off in sub-bass regions, as noticed with Massive Attack's “Teardrop” and Kavinski's “Solli”, you do still experience a tickle of rumble. Midbass picks up the slack with just the right emphasis to avoid adding bloat of excess warmth. It is especially satisfying with synth-wave tracks, like GUNSHIP's “Fly For Your Life” where the bassline retains plenty of impact and carries the track appropriately. Modern pop is handled just fine too with Tame Impala's “The Less I Know The Better” sounding full and luscious through the Stellar.
Like most earbuds, the Stellar provides a spacious sound more akin to a closed-back headphone than an in-ear. Stage width is satisfying with sounds transmitting off into the distance quite effectively. Depth is a little less noticeable giving the Stellar a sound that is more broad and wide than rounded off. Imaging is quite competent with smooth, nuanced channel-to-channel transitions. Not quite as tight and well-controlled as an iem, but still plenty workable. Tracks sound well-layering and individual effects properly separated. Congestion only creeps in at high volumes on busy tracks, such as in the final moments of King Crimson's “Starless and Bible Black”. If you're used to earbuds, the Stellar isn't doing anything new or unexpected, though iem users might be impressed.
Compared To A Peer
VE Monk+ (~5 USD): I was hella disappointed in the Monk+ when I purchased mine back in the day. The original Monk was less harsh in the highs, had smoother mids, a fuller, better extended low end, and in general sounded like a more refined, expensive product, and that's after ignoring the reduction in build quality on the Monk+. The + was still a great bud for the price, but I've been holding out for a proper monk replacement ever since. The Stellar is just that and a comparison to the Monk+ feels much the same as comparing it to it's predecessor. The Monk+ is brighter than the Stellar with a thinner sounding midrange, less textured bass, and a grainier, less refined presentation overall. The Monk+ has a better sound stage though, offering some additional depth and width to the presentation, but that's about all I'd say it has going for it over the Stellar.
FiiO EM3 (discontinued): The EM3 has significantly more rolled off highs and lacks the same level of energy and upper end clarity. The midrange of the EM3 is thicker and more rich with a level of clarity that is similar to the Stellar when it has dense, full foams in place. With both bare and foam-free, the Stellar still has the clarity and coherence edge. Timbre is equally good on each. Bass on each is about equally rolled off with the EM3's midbass being notably thicker and more prominent giving it a warmer presentation. This thickness is exacerbated by a slower, less well-controlled driver. The EM3's sound stage isn't as wide but shows better depth and as a result sounds more well-rounded, but slightly smaller in general. The Stellar images better and improves upon the EM3 with better instrument separation and track layering. The Stellar is clearly the better performer to my ears thanks to it's more balanced tune and improved technical ability.
In The Ear Since the Stellar uses Sennheiser's MX500 shell, there's nothing special to note here. The plastics used are of good quality, residing somewhere between the beautifully formed, dense plastic of the original VE Monk and the somewhat chinzy feeling Monk +. Fit and finish sits between the two as well with the original Monk having cleaner lines and more heft to it than the Stellar. Compared to the Monk+, the Stellar's opacity is cleaner and molding lines smoother and less rough. The Monk+ has a cooler logo though thanks to it's 8-bit style font.
The Stellar's cable is nothing we haven't seen before either. It is a very standard dual strand unit with a plain black sheath. The straight jack is extremely small and decently well relieved, while the y-split is a small hunk of rubber that limits how far down users can pull apart the two strands of the cable. Strain relief is absent leading into the ear pieces, as seems to be the standard for ear buds. While the cable is a hint on the thin side, I appreciate how light and flexible it is, and how well it resists tangling. Very little noise transmits up to the ear when in use too, though I did occasionally notice it rubbing against my shirt or jacket. It's kind of refreshing using a classic cable like this when most products feature some over-the-top braided option that looks awesome but can be annoying to actually use.
Isolation is non-existent. It's an earbud. A lack of isolation is quite possibly one of the reasons why you buy an earbud. Hearing the world around you can be a good thing, particularly when you're out and about in a busy city where it is important to be able to hear some nut bar blazing towards a red light they're planning to “ignore”.
In The Box KB EAR is keeping the unboxing experience appropriately barren for a sub-5 USD earphone. You get the earbuds with a single set of foams tucked in a ziplock bag, protected by a small, featureless, cardboard box. And that's it. Fans of such basic unboxing experiences have got some wet dream material for 'em in this one.
Final Thoughts I give the Stellar the maximum score, not because it's perfect, but because it's a sub-5 USD earbud that provides listeners with a genuinely wonderful audio experience at an ungodly low price. The amount of value and enjoyment to be had from something like this is unquestionable, especially when you consider the average North American spends near the cost of this product, or more, on a coffee on their commute to work in the morning.
KB EAR's Stellar is well built, has a nice cable, offers a quality tune with decent technical ability, and costs next to nothing. Fans of a barren unboxing experience will be satisfied. Those hunting for a bargain will be satisfied. Someone looking for a cheap daily driver that sounds good and they don't have to worry about will be satisfied. The Stellar is everything good about portable audio, just like the VE Monk before it, and everyone should have one.
Fantastic job KB EAR. I hope you expand your earbud portfolio, because the Stellar is just that, and makes me excited for a follow up.
Thanks for reading!
- B9
Disclaimer A big thanks to Doona from Miss Audio for reaching out to see if I would be interested in checking out the Stellar and sending one over for review. The thoughts within this review are my subjective impressions and do not represent KB EAR, Miss Audio, or any other entity. You can scoop up a set for yourself here: www.aliexpress.com/item/1005001353955370.html
Specifications
- Frequency Response: 20Hz – 20,000Hz
- Impedance: 30 ohms
- Sensitivity: 115dB +/- 3dB
- Driver: 15.4mm dynamic
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Greetings!
Today we're checking out the new top dog model in Campfire Audio's armature-only lineup, the Ara (air-ah).
Campfire's gear in my experience has mostly been about providing an entertaining, but not necessarily accurate experience. The Atlas and Polaris were hella fun, v-shaped bass monsters, the IO a bright little beast laser focused on mids, and the Andromeda a killer all-rounder with a little bit of everything and some warmth to round it out. The Ara takes a new direction, one that is much more analytic and accurate, without abandoning the entertainment value that makes Campfire Audio's products so special.
Let's take a closer look, shall we?
What I Hear While the Ara's low end isn't strong in terms of raw emphasis, it is still very impressive. Extension is stellar for an armature-only unit, or four in the Ara's case, since four of the seven drivers are dedicated to bass. The drivers used here don't provide the same level of raw, visceral feedback as a big dynamic, but you can still feel extremely deep notes rumbling away, The opening bass line on Kavinski's “Solli” is usually absent through armatures, but not on the Ara. Not only is extension great, but the texturing is also fantastic helping to give the Ara a lot of range and depth to it's low end presentation. I found it particularly satisfying with some speedy jazz, such as “Moanin” by Mingus Big Band. Lastly, the Ara's low end is insanely quick and well controlled, qualities that are present through to the upper ranges. It doesn't matter how congested or complicated a track got, I couldn't find anything that upset the Ara's impressive stability.
A single armature handles the midrange which is forward and uber clean sounding. While the upper mids see a rise in emphasis, it is not extreme. The result is a reasonably natural, if not mildly bright timbre. Vocals come out smooth and rife with detail, with both male and female vocalists being well represented. Don't expect forgiveness with sibilance-prone tracks or artists though, as the Ara does nothing to hide it. That unfortunately knocks one of my favorites (Aesop Rock) out of the running during Ara listening sessions. His vocals on “Blood Sandwich” end up much too aggressive with piercing tees and esses that are very tiring. That said, on tracks that are not naturally sibilant, vocals absolutely shine. Take Celine Dion on “ashes” for example. Her power and passion shines through. Percussion instruments are also very satisfying through the Ara thanks to the rapidity of their attack and the energy it brings to every track.
Treble is where I see the Ara dividing listeners. Lower treble is smartly emphasized and aids heavily in the outstanding detail and clarity of the Ara's output. Fine details are picked up with nothing being smoothed out or glossed over. The brilliance region sees a peak that gives the presentation the most character with lots of shimmer, sparkle, and air between notes, but it can also be quite tiring at higher volumes. At low volumes it sounds amazing since you still experience plenty of energy and spaciousness between notes. This upper range tuning is ideal for low to moderate volume listeners. Notes attack and decay with impressive speed allowing the Ara to retain incredible clarity and cohesion even on very busy or congested tracks, like the improvisational jazz sections common to many King Crimson tracks. The dual armatures handling the treble region have been dialed in well, though some will undoubtedly find the Ara too bright. The most impressive aspect of the treble region is just how tight and well-controlled everything is. No splashiness, just razor sharp cohesion.
The Ara's sound stage is slightly larger than average with a well-rounded presentation. Thanks to that upper treble boost and somewhat lean presentation, there is a ton of space between notes. This certainly helps with keeping individual instruments and effects separated from one another, and individual tracks elements dynamically layered. At no point did the Ara even come close to sounding congested. Imaging performance is also some of the best I've experienced with very fine movements being clearly displayed. I highly doubt the average buyer would be looking at these for gaming, but if they do they will be rewarded with an extremely accurate presentation that can be used to track movement and sound with great precision.
Overall I absolutely adore the Ara's neutral-bright signature. While it's bass quantity is low, the quality is outstanding. Notes go deep, are heavily textured, and the speed is intense. The midrange is very crisp and clean with flawless vocal clarity, but unforgiving of sibilant recordings. Treble is bright thanks to the brilliance region spike, but pending you listen at low volumes or are tolerant of such a boost, adds plenty of energy and air to the presentation. This keeps the Ara from sounding sterile or overly safe and dull.
Compared To A Peer (volumes matched with Dayton iMM-6)
Campfire Andromeda 2020 (1,099.00 USD): The Andromeda and Ara certainly sound like sibilings but while there are similarities in how they present, they each have their own character. Starting with upper frequencies, the Ara is the more energetic of the two thanks to additional energy in the brilliance region. This gives the Ara a cleaner, crisper sound and improved clarity. They are both exceptionally quick and well-controlled. Dipping into the mids the Andromeda has more presence with vocals having a thicker, warmer presentation. I also find it has ever so slightly superior timbre thanks to the additional warmth on tap. Bass is where the two are quite similar in terms of quantity, extension, and tonality, though I find the Ara to offer more texture and an even more rapid attack and decay. Sound stage goes to the Andromeda which comes across wider and deeper with more space between layers. That said, I still prefer the Ara's imaging which is somehow even tighter and more nuanced. Instrument separation is similar, as is layering, though the Andromeda has a slight edge in the latter.
When it comes to build I have to give it to the Ara. They use the same cable and have more or less the same shell design. The Andromeda rounds off the edges a touch more though which gives it a slightly softer look and a barely perceptible edge in comfort, also helped along by the lower weight. So why do I prefer the build of the Ara? Well, the materials. The Andromeda is made from anodized aluminum versus the Ara's smooth, unpainted titanium. The Ara's materials are straight up denser and more durable, and will be less likely to show scratches and dents. Plus, paint chips and wear won't be a concern, though I do expect it to weather over time.
Overall they are both amazing earphones. While the Andromeda is no longer Campfire's flagship armature-only model, that takes nothing away from how competent it is. That said, they cater to two different listeners. Go for the Andromeda if you want a neutral-warm earphone with good technicalities. Go for the Ara if you prefer neutral-bright with a focus on detail and clarity.
Dunu Luna (1,699.99 USD): The Ara is notably brighter than the Luna, particularly due to a significant amount of additional energy in the brilliance region. This gives chimes, cymbals, etc. a ton more presence in Campfire's offerings vs. the much more downplayed output from the Luna. While notes seems to attack and decay at a similar speed, impressive given the Luna has a single dynamic, the Ara goes about it in a more obvious and aggressive way. The Ara's midrange is more forward, though not to the same extent as the treble region. Vocals out of the Ara are a bit thicker and more weighty with a warmer tonality, with the trade off being that they are not quite a detailed and articulate. Timbre is more natural out of the Luna, but the differences are mild. Bass out of the Luna is only slightly more prominent than on the Ara, but thanks to the lack of treble to counterbalance ends up feeling more boosted than it really is. Both have a very linear presentation with a similar drop in emphasis in subbass regions. The Luna's low end is slower and can't quite match the Ara's lightening quick response, nor does it output as much detail and texture. It does, however, carry more weight and move more air providing a more viscerally satisfying experience on bass-reliant tracks. When listening for soundstage differences, I was surprised to find the Luna felt wider and more spacious allowing additional air between notes and resulting in tracks feeling more layered. The Ara comes across more intimate which plays well to it's razor sharp imaging that the Luna couldn't match.
When it comes to build they are both outstanding examples of top of the line products and I cannot say definitively that one bests the other. They both utilize Titanium for their shells with the Luna having the more understated design compared to Campfire's iconic and awesomely angular look. The Luna's simpler, smaller, lower profile shells lack the visual flair and do not isolate quite as well, but are definitely the more ergonomic and comfortable of the two, and I have zero issues with comfort with the Ara. The cable is where the two separate. Campfire's cable is thinner, lighter, and more flexible. It does a better job of staying out of the way while also being less prone to memory and tangling. On the other hand, the Luna's thicker cable design is more encouraging for long term durability, plus it utilizes Dunu's Quick-Switch modular plug system meaning you don't have to wear out the MMCX ports with cable swaps should you decide to run it balanced.
Overall they are both some of the best sounding products I've ever used. Since their tuning is so different, they compliment each other well and choosing one over the other really comes down to your personal preferences. Do you like a warmer, more mellow sounding earphone? The Luna ticks those boxes well. If you prefer a more analytic, detailed sound the Ara should be the one you look at.
In The Ear Campfire's iconic design language is present in full force, with clean angles wrapped around a low profile design. Whereas other models are aluminum, the Ara goes all-out with titanium, and you can tell. As good as other models sharing this design feel in the hand, like the Polaris II and Andromeda, the Ara's physicality is a step up. There is a weightyness and solidity to it that belies the compact size. I also like the way light spills across the earphone. It seems to dull as it approaches the edges which gives the Ara an oddly ethereal visual appeal. Additional qualities of the Ara are shared with other models in the lineup, such as the long black nozzle with a slatted grill. Campfire's extra-durable beryllium infused MMCX ports make an appearance too. They feel as solid as ever with a tight hold on the plug and clean integration into the body of the earpiece. Unexpectedly, fit and finish is virtually flawless with every part fitting together perfectly and without blemish.
If the cable looks familiar I'm not surprised as it can be found included with a number of different Campfire Audio models. The 90 degree angled jack is smartly designed with an extension to permit compatibility with a wide variety of device cases, though strain relief is still stiffer than I find ideal. That said, I still have yet to experience any issues with it on the numerous cables I've used with it. My experiences with Campfire's cables have shown them to be plenty durable. Within the small, relief-less aluminum y-split, the cable divides sending two strands on each side to the ear pieces. Slotting into the top of the split is a small plastic chin cinch. It moves much more smoothly here than on older Campfire cables and as a result is much more useful. Also useful is the retention of the preformed ear guides we saw on the 2019 Andromeda. While the memory wire used on past Campfire Audio cables worked, I found the “memory” aspect of that title limited at best which led to the wire straightening out over time. Ditching that entirely and sticking with preformed guides has resulted in a much more pleasant experience since I'm not constantly rebending the wire to ensure it stays behind my ear. I am glad Campfire Audio has stuck with this cable and is using it with numerous models in their lineup, however, something more akin to the Solaris 2020's cable would be even more fitting for Campfire's flagship BA model.
Since the Ara uses Campfire's iconic angular shell design, those who have had issues with it in the past won't experience anything new here. For myself, I find it extremely comfortable, though I prefer the short, stubby nozzles of the 2020 Andromeda. Further comparison to that model shows another ergonomic enhancement over the Ara. While at first glance they seem to use the same shell, save for the Ara's additional weight, a closer look shows the Andromeda's edges have been softened up and rounded off giving it a softer, less prominent feel in the ear. Even so, I have had any issues wearing the Ara for very long periods. This shell design and the shape of my outer ear are very much compatible with each other. When it comes to isolation I found the Ara to be pretty outstanding. The shells are sealed and titanium doesn't let a lot of sound through. Pair that with tips that give a decent depth of seal and you can listen to the Ara in noisy environments at normal volumes quite comfortably. Sure, some noise still bleeds in, but I never found it intrusive enough to warrant raising the volume to compensate.
In The Box The packaging for Campfire Audio's 2020 trio follows the format set by 2019's releases with the earphones arriving in a squat, square box, protected by an exterior sheath that is sealed shut by a Campfire Audio seal on the back. While past releases had a clear astronomical theme to them, this year things have gone more psychedelic Hawaiian. On the front of the sheath is a large sticker with an image of the earphones along with the usual branding and model info, all set over top of a vibrantly coloured floral pattern. Another sticker is present around the front edge containing another image of the earphones, some company info, among other details, all set over the same wild background.
Breaking the seal allows the sheath to unfold in four segments revealing the main box within. Lifting it out reveals the same uplifting interior to the sheath that we saw last year; the CA logo dead centre with rays exploding outwards in a dramatic fashion. Looking back at the main box we see Campfire's familiar mountainous scene along with more CA branding. Lift the lid and you're greeted to “Nicely Done” printed on the front flap and their now standard half-moon carrying case, though this time it is made from sustainably harvested cork instead of leather. You also find a smaller cardboard box containing the main suite of accessories. Tucked beneath it all is a warranty card and manual. In all you get:
Final Thoughts The Ara is a strong addition to Campfire's lineup and with it's neutral-bright sound, brings additional variety to the tuning options available. The Atlas is hugely fun with it's bombastic low end and sparkly treble. The Solaris 2020 has shown itself to be the best all-rounder thanks to it's hybrid setup and balanced presentation. The Ara is for those that like to analyze and deconstruct, picking apart a track and every nuance it offers.
It doesn't hurt that Campfire's iconic design is present once again, but dressed up further in a flawless titanium suit. The included cable is great, as it the impressive unboxing experience and plentiful accessory kit. As always, the presentation is as strong as the product, which is to be expected from a flagship product playing in this price range. Once again, nicely done Campfire Audio.
Thanks for reading!
- B9
Disclaimer A huge thanks to Caleb for arranging a sample of the Ara for the purposes of review. The thoughts within this review are my own subjective opinions based on over two months of routine use of the Ara. They do not represent Campfire Audio or any other entity. At the time of writing the Ara was retailing for 1,299.00 USD: https://campfireaudio.com/shop/ara/
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Today we're checking out the new top dog model in Campfire Audio's armature-only lineup, the Ara (air-ah).
Campfire's gear in my experience has mostly been about providing an entertaining, but not necessarily accurate experience. The Atlas and Polaris were hella fun, v-shaped bass monsters, the IO a bright little beast laser focused on mids, and the Andromeda a killer all-rounder with a little bit of everything and some warmth to round it out. The Ara takes a new direction, one that is much more analytic and accurate, without abandoning the entertainment value that makes Campfire Audio's products so special.
Let's take a closer look, shall we?
What I Hear While the Ara's low end isn't strong in terms of raw emphasis, it is still very impressive. Extension is stellar for an armature-only unit, or four in the Ara's case, since four of the seven drivers are dedicated to bass. The drivers used here don't provide the same level of raw, visceral feedback as a big dynamic, but you can still feel extremely deep notes rumbling away, The opening bass line on Kavinski's “Solli” is usually absent through armatures, but not on the Ara. Not only is extension great, but the texturing is also fantastic helping to give the Ara a lot of range and depth to it's low end presentation. I found it particularly satisfying with some speedy jazz, such as “Moanin” by Mingus Big Band. Lastly, the Ara's low end is insanely quick and well controlled, qualities that are present through to the upper ranges. It doesn't matter how congested or complicated a track got, I couldn't find anything that upset the Ara's impressive stability.
A single armature handles the midrange which is forward and uber clean sounding. While the upper mids see a rise in emphasis, it is not extreme. The result is a reasonably natural, if not mildly bright timbre. Vocals come out smooth and rife with detail, with both male and female vocalists being well represented. Don't expect forgiveness with sibilance-prone tracks or artists though, as the Ara does nothing to hide it. That unfortunately knocks one of my favorites (Aesop Rock) out of the running during Ara listening sessions. His vocals on “Blood Sandwich” end up much too aggressive with piercing tees and esses that are very tiring. That said, on tracks that are not naturally sibilant, vocals absolutely shine. Take Celine Dion on “ashes” for example. Her power and passion shines through. Percussion instruments are also very satisfying through the Ara thanks to the rapidity of their attack and the energy it brings to every track.
Treble is where I see the Ara dividing listeners. Lower treble is smartly emphasized and aids heavily in the outstanding detail and clarity of the Ara's output. Fine details are picked up with nothing being smoothed out or glossed over. The brilliance region sees a peak that gives the presentation the most character with lots of shimmer, sparkle, and air between notes, but it can also be quite tiring at higher volumes. At low volumes it sounds amazing since you still experience plenty of energy and spaciousness between notes. This upper range tuning is ideal for low to moderate volume listeners. Notes attack and decay with impressive speed allowing the Ara to retain incredible clarity and cohesion even on very busy or congested tracks, like the improvisational jazz sections common to many King Crimson tracks. The dual armatures handling the treble region have been dialed in well, though some will undoubtedly find the Ara too bright. The most impressive aspect of the treble region is just how tight and well-controlled everything is. No splashiness, just razor sharp cohesion.
The Ara's sound stage is slightly larger than average with a well-rounded presentation. Thanks to that upper treble boost and somewhat lean presentation, there is a ton of space between notes. This certainly helps with keeping individual instruments and effects separated from one another, and individual tracks elements dynamically layered. At no point did the Ara even come close to sounding congested. Imaging performance is also some of the best I've experienced with very fine movements being clearly displayed. I highly doubt the average buyer would be looking at these for gaming, but if they do they will be rewarded with an extremely accurate presentation that can be used to track movement and sound with great precision.
Overall I absolutely adore the Ara's neutral-bright signature. While it's bass quantity is low, the quality is outstanding. Notes go deep, are heavily textured, and the speed is intense. The midrange is very crisp and clean with flawless vocal clarity, but unforgiving of sibilant recordings. Treble is bright thanks to the brilliance region spike, but pending you listen at low volumes or are tolerant of such a boost, adds plenty of energy and air to the presentation. This keeps the Ara from sounding sterile or overly safe and dull.
Compared To A Peer (volumes matched with Dayton iMM-6)
Campfire Andromeda 2020 (1,099.00 USD): The Andromeda and Ara certainly sound like sibilings but while there are similarities in how they present, they each have their own character. Starting with upper frequencies, the Ara is the more energetic of the two thanks to additional energy in the brilliance region. This gives the Ara a cleaner, crisper sound and improved clarity. They are both exceptionally quick and well-controlled. Dipping into the mids the Andromeda has more presence with vocals having a thicker, warmer presentation. I also find it has ever so slightly superior timbre thanks to the additional warmth on tap. Bass is where the two are quite similar in terms of quantity, extension, and tonality, though I find the Ara to offer more texture and an even more rapid attack and decay. Sound stage goes to the Andromeda which comes across wider and deeper with more space between layers. That said, I still prefer the Ara's imaging which is somehow even tighter and more nuanced. Instrument separation is similar, as is layering, though the Andromeda has a slight edge in the latter.
When it comes to build I have to give it to the Ara. They use the same cable and have more or less the same shell design. The Andromeda rounds off the edges a touch more though which gives it a slightly softer look and a barely perceptible edge in comfort, also helped along by the lower weight. So why do I prefer the build of the Ara? Well, the materials. The Andromeda is made from anodized aluminum versus the Ara's smooth, unpainted titanium. The Ara's materials are straight up denser and more durable, and will be less likely to show scratches and dents. Plus, paint chips and wear won't be a concern, though I do expect it to weather over time.
Overall they are both amazing earphones. While the Andromeda is no longer Campfire's flagship armature-only model, that takes nothing away from how competent it is. That said, they cater to two different listeners. Go for the Andromeda if you want a neutral-warm earphone with good technicalities. Go for the Ara if you prefer neutral-bright with a focus on detail and clarity.
Dunu Luna (1,699.99 USD): The Ara is notably brighter than the Luna, particularly due to a significant amount of additional energy in the brilliance region. This gives chimes, cymbals, etc. a ton more presence in Campfire's offerings vs. the much more downplayed output from the Luna. While notes seems to attack and decay at a similar speed, impressive given the Luna has a single dynamic, the Ara goes about it in a more obvious and aggressive way. The Ara's midrange is more forward, though not to the same extent as the treble region. Vocals out of the Ara are a bit thicker and more weighty with a warmer tonality, with the trade off being that they are not quite a detailed and articulate. Timbre is more natural out of the Luna, but the differences are mild. Bass out of the Luna is only slightly more prominent than on the Ara, but thanks to the lack of treble to counterbalance ends up feeling more boosted than it really is. Both have a very linear presentation with a similar drop in emphasis in subbass regions. The Luna's low end is slower and can't quite match the Ara's lightening quick response, nor does it output as much detail and texture. It does, however, carry more weight and move more air providing a more viscerally satisfying experience on bass-reliant tracks. When listening for soundstage differences, I was surprised to find the Luna felt wider and more spacious allowing additional air between notes and resulting in tracks feeling more layered. The Ara comes across more intimate which plays well to it's razor sharp imaging that the Luna couldn't match.
When it comes to build they are both outstanding examples of top of the line products and I cannot say definitively that one bests the other. They both utilize Titanium for their shells with the Luna having the more understated design compared to Campfire's iconic and awesomely angular look. The Luna's simpler, smaller, lower profile shells lack the visual flair and do not isolate quite as well, but are definitely the more ergonomic and comfortable of the two, and I have zero issues with comfort with the Ara. The cable is where the two separate. Campfire's cable is thinner, lighter, and more flexible. It does a better job of staying out of the way while also being less prone to memory and tangling. On the other hand, the Luna's thicker cable design is more encouraging for long term durability, plus it utilizes Dunu's Quick-Switch modular plug system meaning you don't have to wear out the MMCX ports with cable swaps should you decide to run it balanced.
Overall they are both some of the best sounding products I've ever used. Since their tuning is so different, they compliment each other well and choosing one over the other really comes down to your personal preferences. Do you like a warmer, more mellow sounding earphone? The Luna ticks those boxes well. If you prefer a more analytic, detailed sound the Ara should be the one you look at.
In The Ear Campfire's iconic design language is present in full force, with clean angles wrapped around a low profile design. Whereas other models are aluminum, the Ara goes all-out with titanium, and you can tell. As good as other models sharing this design feel in the hand, like the Polaris II and Andromeda, the Ara's physicality is a step up. There is a weightyness and solidity to it that belies the compact size. I also like the way light spills across the earphone. It seems to dull as it approaches the edges which gives the Ara an oddly ethereal visual appeal. Additional qualities of the Ara are shared with other models in the lineup, such as the long black nozzle with a slatted grill. Campfire's extra-durable beryllium infused MMCX ports make an appearance too. They feel as solid as ever with a tight hold on the plug and clean integration into the body of the earpiece. Unexpectedly, fit and finish is virtually flawless with every part fitting together perfectly and without blemish.
If the cable looks familiar I'm not surprised as it can be found included with a number of different Campfire Audio models. The 90 degree angled jack is smartly designed with an extension to permit compatibility with a wide variety of device cases, though strain relief is still stiffer than I find ideal. That said, I still have yet to experience any issues with it on the numerous cables I've used with it. My experiences with Campfire's cables have shown them to be plenty durable. Within the small, relief-less aluminum y-split, the cable divides sending two strands on each side to the ear pieces. Slotting into the top of the split is a small plastic chin cinch. It moves much more smoothly here than on older Campfire cables and as a result is much more useful. Also useful is the retention of the preformed ear guides we saw on the 2019 Andromeda. While the memory wire used on past Campfire Audio cables worked, I found the “memory” aspect of that title limited at best which led to the wire straightening out over time. Ditching that entirely and sticking with preformed guides has resulted in a much more pleasant experience since I'm not constantly rebending the wire to ensure it stays behind my ear. I am glad Campfire Audio has stuck with this cable and is using it with numerous models in their lineup, however, something more akin to the Solaris 2020's cable would be even more fitting for Campfire's flagship BA model.
Since the Ara uses Campfire's iconic angular shell design, those who have had issues with it in the past won't experience anything new here. For myself, I find it extremely comfortable, though I prefer the short, stubby nozzles of the 2020 Andromeda. Further comparison to that model shows another ergonomic enhancement over the Ara. While at first glance they seem to use the same shell, save for the Ara's additional weight, a closer look shows the Andromeda's edges have been softened up and rounded off giving it a softer, less prominent feel in the ear. Even so, I have had any issues wearing the Ara for very long periods. This shell design and the shape of my outer ear are very much compatible with each other. When it comes to isolation I found the Ara to be pretty outstanding. The shells are sealed and titanium doesn't let a lot of sound through. Pair that with tips that give a decent depth of seal and you can listen to the Ara in noisy environments at normal volumes quite comfortably. Sure, some noise still bleeds in, but I never found it intrusive enough to warrant raising the volume to compensate.
In The Box The packaging for Campfire Audio's 2020 trio follows the format set by 2019's releases with the earphones arriving in a squat, square box, protected by an exterior sheath that is sealed shut by a Campfire Audio seal on the back. While past releases had a clear astronomical theme to them, this year things have gone more psychedelic Hawaiian. On the front of the sheath is a large sticker with an image of the earphones along with the usual branding and model info, all set over top of a vibrantly coloured floral pattern. Another sticker is present around the front edge containing another image of the earphones, some company info, among other details, all set over the same wild background.
Breaking the seal allows the sheath to unfold in four segments revealing the main box within. Lifting it out reveals the same uplifting interior to the sheath that we saw last year; the CA logo dead centre with rays exploding outwards in a dramatic fashion. Looking back at the main box we see Campfire's familiar mountainous scene along with more CA branding. Lift the lid and you're greeted to “Nicely Done” printed on the front flap and their now standard half-moon carrying case, though this time it is made from sustainably harvested cork instead of leather. You also find a smaller cardboard box containing the main suite of accessories. Tucked beneath it all is a warranty card and manual. In all you get:
- Ara earphones
- Cork carrying case
- Smoky Jacket Silver Plated Copper Litz Cable
- Final Audio tips (xs/s/m/l/xl)
Campfire Audio Marshmallow tips (s/m/l) - Medium bore single flange silicone tips (s/m/l)
- Campfire Audio lapel pin
- Cleaning tool
- Mesh accessory case (x3)
Final Thoughts The Ara is a strong addition to Campfire's lineup and with it's neutral-bright sound, brings additional variety to the tuning options available. The Atlas is hugely fun with it's bombastic low end and sparkly treble. The Solaris 2020 has shown itself to be the best all-rounder thanks to it's hybrid setup and balanced presentation. The Ara is for those that like to analyze and deconstruct, picking apart a track and every nuance it offers.
It doesn't hurt that Campfire's iconic design is present once again, but dressed up further in a flawless titanium suit. The included cable is great, as it the impressive unboxing experience and plentiful accessory kit. As always, the presentation is as strong as the product, which is to be expected from a flagship product playing in this price range. Once again, nicely done Campfire Audio.
Thanks for reading!
- B9
Disclaimer A huge thanks to Caleb for arranging a sample of the Ara for the purposes of review. The thoughts within this review are my own subjective opinions based on over two months of routine use of the Ara. They do not represent Campfire Audio or any other entity. At the time of writing the Ara was retailing for 1,299.00 USD: https://campfireaudio.com/shop/ara/
Specifications
- Frequency Response: 10Hz-28kHz
- Sensitivity: 94 dB SPL@1kHz: 7.094 mVrms
- Impedance: 8.5ohms @ 1kHz
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Greetings!
Today we're checking out the first of Dunu's entries into the all-armature market, the SA3.
Dunu was a pioneering brand when it came to affordable hybrids competing directly with the high-end market, and also produced their fair share of above average single dynamics. When they announced they were going to try their hand at an armature-only lineup, my ears perked up and I took notice. The DK-3001 Pro and old-school Titan 1 are brilliantly tuned products, and armature-only models like the Brainwavz B400, Astrotec Delphinus5, and Campfire Audio Andromeda dominate my list of favourites. I was surprised it took Dunu this long to try their hand at this style of product, and was curious to see what they would come up with.
I certainly haven't come away disappointed. Let's take a closer look at the SA3, shall we?
What I Hear Way back in June Dunu posted the sound they were going for with the SA3, and it had me excited:
“..The SA3 will be more of a blank slate for us though. As a 3 BA, 2-way design, it's ideally suited for a warm/neutral-ish, non-fatiguing sound signature, so it has a flat bass shelf, a presence region that isn't overly emphasized, and relaxed upper treble. It'll be something that we hope disappears into the background when listening to music, podcasts, or anything else...”
Can't go wrong with a relatively flat, fatigue-free sounding earphone. I've had the chance to spend a solid month with this review unit, and I gotta hand it to Dunu. What they said they wanted to deliver is pretty much exactly what we got.
Treble out of the SA3 is quite relaxed overall, falling in line with the low end in terms of emphasis. I found bias to be towards the presence region with shimmer and sparkle provided by the brilliance region to be fairly mild giving the SA3 a somewhat dry, muted, reasonably detailed colouring. This was evident running the SA3 through King Crimson's live rendition of “Cat Food”. While I found attack and decay on notes and instruments to be plenty quick, it comes across a little slower and more natural than other armature-based earphones on hand for comparison. Control is excellent though, with notes sounding sharp and well-defined, completely absent of any splashiness which can be very distracting and quickly take me out of “the zone”.
Thanks to bumps in emphasis around 1.5k and 3k, the SA3's midrange is its sweet spot. With a relatively thick, timbre rich presentation, vocalists cut through the instrumentals. The same natural attack and decay on instruments we heard above can be found here giving the SA3 an energetic but not fatiguing presentation. The SA3's ability to resolve fine details is a little less apparent than I would like for an all-armature earphone, however, it is still plenty detailed and the presentation fits in with the overall goal of this earphone being non-fatiguing. Thankfully, a lack of sibilance also caters to this. Tossing on Aesop Rock's “Blood Sandwich”, a sizzle-fest though most earphones, is met with a smooth, clean presentation with only a hint of aggressiveness appearing on the occasional s. Songs that are sibilance free remain this way through the SA3.
Dipping into the low end, the SA3 has a reasonably linear presentation with good extension for an armature, but emphasis does dip in sub-bass regions leaving the presentation somewhat lacking in the sort of visceral impact you feel, not hear. Those who enjoy the presentation of balanced armatures will be used to this so there is no point knocking the SA3 for a pretty standard behaviour inherent to the chosen driver type. Midbass regions provide a reasonable level of slam when called for, all backed with nice texturing and detail. The SA3's bass is neatly dynamic, avoiding any semblance of a one-note presentation thanks to clear variance as notes shift.
The SA3's soundstage is fairly average in size with an even balance of width and depth. The forward mids keep the default presentation reasonably intimate, but do not prevent effects from shifting fairly far off into the distance. Broad imaging from channel-to-channel is quite smooth and even with fine shifts, particularly those just off-centre, feeling like they could be a hint more precise. I did use the SA3 while gaming (COD, WOT, CS, etc.) and it performed admirably with only the tracking of subjects coming up from behind proving to be an issue. When it comes to complicated tracks, the SA3 does a good job keeping instruments separated with a depth to it's layering that also keeps things from becoming congested. That said, at volumes I'm not comfortable with the SA3 starts to lose composure somewhat, so I recommend sticking with moderate to low volumes. That should be easy given how well it isolates.
Overall the SA3 makes for a good listen. It provides solid detail retrieval, good bass extension, great mids, non-fatiguing treble, and a somewhat intimate but flexible soundstage. The only aspect of their original goal that I feel they didn't quite hit was the warmth aspect. While the SA3 is not a cold and unfeeling earphone, it is somewhat dry and neutral (by that I mean it feels between cool and warm) in tone. Still, it's a great all-rounder, daily driver, or whatever term with a similar meaning you prefer.
Compared To A Peer (volumes matched with Dayton iMM-6)
Tenhz P4 Pro (150.00 USD): The P4 Pro has a more balanced presentation than the SA3 thanks to lowered emphasis in the mids that put it more in line with the rest of the tune. Cymbals, chimes, etc. seem to have more shimmer and energy to them through the Tenhz, with the SA3 sounding a bit slower, more dense, and with a cleaner/tighter note presentation. Mids on the SA3 are more forward with a thicker, more weighty feel that matches its improved timbre. Detail and overall clarity are in the P4 Pro's camp. The P4 Pro's low end is more linear though it dips sooner in the sub-bass regions and as a result doesn't move air quite as well as the SA3 (though neither will satisfy someone that like the visceral rumble of a good dynamic driver). It is also a slight step behind the SA3 in terms of texture and slam. While its presentation is pretty decent, I definitely prefer how the SA3 handles the low end. Neither earphone has more than an average soundstage, though the SA3 does have an advantage. Width and depth are mildly improved on the SA3, with its more forward mids giving it a more intimate feel on vocal heavy tracks. Imaging quality on the two is very similar in overall quality. Sweeps from channel-to-channel are more apparent and satisfying through the SA3, while small movements off-centre are handled with more nuance on the P4 Pro. Track layering and instrument separation are on par with the P4 Pro having a light edge thanks to its improved mid and treble clarity.
Overall I find the P4 Pro a little better on a technical level. It provides additional detail in the mids and treble, extra upper treble shimmer, and generally improved staging nuance. That said, it lacks in low end dynamics compared to the SA3, treble looser and more fatiguing, it has a more confined sound stage, and it doesn't sound as natural. The improved treble and low end quality of the SA3 have me picking it up over the P4 Pro more often than not.
Shozy & Neo CP w/ alternate treble filters (169.00): The Shozy & Neo CP provides listeners with a similar low end experience. As with the SA3, extension is decent for an armature-based earphone. They are both reasonably linear in their balance with the SA3 stepping out with better texturing and slam. The CP has a slightly warmer edge to the presentation though, which I prefer. Leading into the mids the CP remains quite linear and lacks the bump of the SA3. As a result vocals don't stand out quite to the same extent as they do on the SA3 and blend more into the background instrumentals. The presentation is also a bit thinner and warmer with a hint more detail and similar timbre. They both have really nice mids. Treble is quite different in the presentation with the CP having a clear bias in the brilliance region thanks to a small peak. The SA3 peaks in the presence region, rolling off as you head into higher registers giving it a less vibrant, more easygoing presentation in comparison. Oddly, the SA3 retains a larger sound stage in both width and depth, though this is countered somewhat by the CP's additional air between notes that makes good use of the somewhat limited spacing. Imaging qualities are similar to the SA3 and quite accurate overall. The CP also matches it in layering and instrument separation, again despite the more confined staging.
Overall I slightly prefer the CP. It's a little warmer and smoother sounding, namely in the mids, and I do like a presentation that tilts towards being somewhat thin or lean with a brilliance bias. It's just more in line with my personal preferences. You also get a some more variety in sound thanks to the interchangeable filters, a feature which is not found on the SA3. That said, I think they perform on basically the same level with emphasis shifts that cater to various preferences.
In The Ear Dunu took their time selecting the right OEM to produce the SA3's 3D printed resin shells. The fit and finish is outstanding without a blemish to be found anywhere. The nozzle lip is small but prominent enough to hold 3rd party tips securely in place, something I often have issues with when it comes to earphones designed like this. The 2-pin ports on top are seamlessly integrated and the rest of the shell polished smooth as glass. L and R markings are molded into one of the inner stability protrusions and finished in gold, contrasting perfectly with the ocean blue resin. It's functional and aesthetically pleasing (especially for a Subaru WRC fan). The face plate is hand painted and flawlessly integrated into the rest of the shell. The design reminds me of waves crashing along a shoreline and looks positively fabulous. The brush strokes are very clear and give the SA3 a personal touch that you really only get with boutique products. Dunu outdid themselves with this shell and design.
While the cable follows a modern trend that I'm not a fan of, it's still a good cable. The quad strands are loosely braided (that's the trend) with a tough but flexible clear sheath protecting the silver wiring within. Noise caused by the cable rubbing against your shirt is effectively minimized, and you don't have to worry about it being bouncy or sticky. It's a very well-behaved cable. The hardware Dunu selected is also a plus. The straight jack contains plenty of knurling which gives you a good grip. Strain relief is stubby and a bit too stiff so it's not going to offer much protection, but I find relief is less important with braided cables so I'm not too concerned. The metal y-split and chin cinch carry on the knurled aesthetic. Leading up to the 0.78mm plugs are some aggressively shaped, preformed ear guides that keep the cable hugged tightly around your ear. I found they did a fantastic job of holding the cable in place even while sprinting or jumping. That said, I wouldn't really recommend using the SA3 for exercise since they're not water resistant. On the other hand, the shells are sealed and the metal nozzle grill quite fine so passive moisture resistance is probably quite good.
When it comes to comfort the SA3's ergonomic, lightweight, low profile shells are as outstanding as you'd expect. Like other shells of a similar design, such as those you'd find for the Kinera IDUN or TFZ Secret Garden HD, these earphones are a little on the large side. This is great for stability during excessive movement, and contributes to the impressive isolation (as does the lack of ventilation; the SA3 is fully sealed), but if you have small ears you might run into issues. They're fairly long and tall with prominent protrusions to help lock the housing under the antihelix of the outer ear.
Packaging image provided by Dunu
In The Box The SA3 arrived without any retail packaging but Dunu was keen to provide a sample image for your enjoyment. With the SA3 you receive quite a few accessories. In all you get:
Final Thoughts This is Dunu's first all-armature model, but you'd be hard pressed to tell. The entire experience is very mature and refined, from the gorgeous, hand-painted design and high quality 3D-printed shells, to the well-tuned signature that does basically exactly what Dunu said it would do.
Hybrid and dynamic driver lovers won't be wowed by the low end which is typical of an armature based unit, but the excellent timbre quality and amazing vocals are hard to dispute. Plus, the smooth treble is easy on the ears though I would like a hint more warmth throughout to counter the somewhat dry presentation. A bit more emphasis in the brilliance region wouldn't hurt either for my personal preferences, but that would pull the SA3 away from the relaxed sound Dunu intended for this model. I'll have to settle for some EQ prowess.
In addition to looking, sounding, and feeling great to wear (unless your ears are small), the SA3 comes with an extensive accessory kit that should provide most customers with everything they need out of the box. The quality of the cable is right in line with the competition, and there is decent variety in the included tips. I wouldn't have minded if they swapped out the white single flange set for some bi-flange or foamies though. Lastly, the included carrying case is one of the best in the business in my opinion. It's too bad they're not available separately because it is something I'd happy swap over all my daily drivers to.
Overall I'm quite pleased with the design and performance of the SA3. That fact that it also comes in at a competitive price of 139.99 USD is the icing on the cake. They could have released it at 199.00 USD and it wouldn't have felt out of place in the least. Lots of brands without the same name recognition and professional support are cropping up in this price range, so good on Dunu for keeping the price affordable and providing potential customers with an excellent product from a reputable maker.
Thanks for reading!
- B9
Disclaimer A huge thanks to Thomas with Dunu for arranging a sample of the SA3 for the purposes of review. The thoughts within this review are my own subjective opinions based on a month of consistent use. They do not represent Dunu or any other entity. At the time of writing the SA3 was retailing for 139.99 USD: https://www.dunu-topsound.com/product-page/studio-sa3
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Today we're checking out the first of Dunu's entries into the all-armature market, the SA3.
Dunu was a pioneering brand when it came to affordable hybrids competing directly with the high-end market, and also produced their fair share of above average single dynamics. When they announced they were going to try their hand at an armature-only lineup, my ears perked up and I took notice. The DK-3001 Pro and old-school Titan 1 are brilliantly tuned products, and armature-only models like the Brainwavz B400, Astrotec Delphinus5, and Campfire Audio Andromeda dominate my list of favourites. I was surprised it took Dunu this long to try their hand at this style of product, and was curious to see what they would come up with.
I certainly haven't come away disappointed. Let's take a closer look at the SA3, shall we?
What I Hear Way back in June Dunu posted the sound they were going for with the SA3, and it had me excited:
“..The SA3 will be more of a blank slate for us though. As a 3 BA, 2-way design, it's ideally suited for a warm/neutral-ish, non-fatiguing sound signature, so it has a flat bass shelf, a presence region that isn't overly emphasized, and relaxed upper treble. It'll be something that we hope disappears into the background when listening to music, podcasts, or anything else...”
Can't go wrong with a relatively flat, fatigue-free sounding earphone. I've had the chance to spend a solid month with this review unit, and I gotta hand it to Dunu. What they said they wanted to deliver is pretty much exactly what we got.
Treble out of the SA3 is quite relaxed overall, falling in line with the low end in terms of emphasis. I found bias to be towards the presence region with shimmer and sparkle provided by the brilliance region to be fairly mild giving the SA3 a somewhat dry, muted, reasonably detailed colouring. This was evident running the SA3 through King Crimson's live rendition of “Cat Food”. While I found attack and decay on notes and instruments to be plenty quick, it comes across a little slower and more natural than other armature-based earphones on hand for comparison. Control is excellent though, with notes sounding sharp and well-defined, completely absent of any splashiness which can be very distracting and quickly take me out of “the zone”.
Thanks to bumps in emphasis around 1.5k and 3k, the SA3's midrange is its sweet spot. With a relatively thick, timbre rich presentation, vocalists cut through the instrumentals. The same natural attack and decay on instruments we heard above can be found here giving the SA3 an energetic but not fatiguing presentation. The SA3's ability to resolve fine details is a little less apparent than I would like for an all-armature earphone, however, it is still plenty detailed and the presentation fits in with the overall goal of this earphone being non-fatiguing. Thankfully, a lack of sibilance also caters to this. Tossing on Aesop Rock's “Blood Sandwich”, a sizzle-fest though most earphones, is met with a smooth, clean presentation with only a hint of aggressiveness appearing on the occasional s. Songs that are sibilance free remain this way through the SA3.
Dipping into the low end, the SA3 has a reasonably linear presentation with good extension for an armature, but emphasis does dip in sub-bass regions leaving the presentation somewhat lacking in the sort of visceral impact you feel, not hear. Those who enjoy the presentation of balanced armatures will be used to this so there is no point knocking the SA3 for a pretty standard behaviour inherent to the chosen driver type. Midbass regions provide a reasonable level of slam when called for, all backed with nice texturing and detail. The SA3's bass is neatly dynamic, avoiding any semblance of a one-note presentation thanks to clear variance as notes shift.
The SA3's soundstage is fairly average in size with an even balance of width and depth. The forward mids keep the default presentation reasonably intimate, but do not prevent effects from shifting fairly far off into the distance. Broad imaging from channel-to-channel is quite smooth and even with fine shifts, particularly those just off-centre, feeling like they could be a hint more precise. I did use the SA3 while gaming (COD, WOT, CS, etc.) and it performed admirably with only the tracking of subjects coming up from behind proving to be an issue. When it comes to complicated tracks, the SA3 does a good job keeping instruments separated with a depth to it's layering that also keeps things from becoming congested. That said, at volumes I'm not comfortable with the SA3 starts to lose composure somewhat, so I recommend sticking with moderate to low volumes. That should be easy given how well it isolates.
Overall the SA3 makes for a good listen. It provides solid detail retrieval, good bass extension, great mids, non-fatiguing treble, and a somewhat intimate but flexible soundstage. The only aspect of their original goal that I feel they didn't quite hit was the warmth aspect. While the SA3 is not a cold and unfeeling earphone, it is somewhat dry and neutral (by that I mean it feels between cool and warm) in tone. Still, it's a great all-rounder, daily driver, or whatever term with a similar meaning you prefer.
Compared To A Peer (volumes matched with Dayton iMM-6)
Tenhz P4 Pro (150.00 USD): The P4 Pro has a more balanced presentation than the SA3 thanks to lowered emphasis in the mids that put it more in line with the rest of the tune. Cymbals, chimes, etc. seem to have more shimmer and energy to them through the Tenhz, with the SA3 sounding a bit slower, more dense, and with a cleaner/tighter note presentation. Mids on the SA3 are more forward with a thicker, more weighty feel that matches its improved timbre. Detail and overall clarity are in the P4 Pro's camp. The P4 Pro's low end is more linear though it dips sooner in the sub-bass regions and as a result doesn't move air quite as well as the SA3 (though neither will satisfy someone that like the visceral rumble of a good dynamic driver). It is also a slight step behind the SA3 in terms of texture and slam. While its presentation is pretty decent, I definitely prefer how the SA3 handles the low end. Neither earphone has more than an average soundstage, though the SA3 does have an advantage. Width and depth are mildly improved on the SA3, with its more forward mids giving it a more intimate feel on vocal heavy tracks. Imaging quality on the two is very similar in overall quality. Sweeps from channel-to-channel are more apparent and satisfying through the SA3, while small movements off-centre are handled with more nuance on the P4 Pro. Track layering and instrument separation are on par with the P4 Pro having a light edge thanks to its improved mid and treble clarity.
Overall I find the P4 Pro a little better on a technical level. It provides additional detail in the mids and treble, extra upper treble shimmer, and generally improved staging nuance. That said, it lacks in low end dynamics compared to the SA3, treble looser and more fatiguing, it has a more confined sound stage, and it doesn't sound as natural. The improved treble and low end quality of the SA3 have me picking it up over the P4 Pro more often than not.
Shozy & Neo CP w/ alternate treble filters (169.00): The Shozy & Neo CP provides listeners with a similar low end experience. As with the SA3, extension is decent for an armature-based earphone. They are both reasonably linear in their balance with the SA3 stepping out with better texturing and slam. The CP has a slightly warmer edge to the presentation though, which I prefer. Leading into the mids the CP remains quite linear and lacks the bump of the SA3. As a result vocals don't stand out quite to the same extent as they do on the SA3 and blend more into the background instrumentals. The presentation is also a bit thinner and warmer with a hint more detail and similar timbre. They both have really nice mids. Treble is quite different in the presentation with the CP having a clear bias in the brilliance region thanks to a small peak. The SA3 peaks in the presence region, rolling off as you head into higher registers giving it a less vibrant, more easygoing presentation in comparison. Oddly, the SA3 retains a larger sound stage in both width and depth, though this is countered somewhat by the CP's additional air between notes that makes good use of the somewhat limited spacing. Imaging qualities are similar to the SA3 and quite accurate overall. The CP also matches it in layering and instrument separation, again despite the more confined staging.
Overall I slightly prefer the CP. It's a little warmer and smoother sounding, namely in the mids, and I do like a presentation that tilts towards being somewhat thin or lean with a brilliance bias. It's just more in line with my personal preferences. You also get a some more variety in sound thanks to the interchangeable filters, a feature which is not found on the SA3. That said, I think they perform on basically the same level with emphasis shifts that cater to various preferences.
In The Ear Dunu took their time selecting the right OEM to produce the SA3's 3D printed resin shells. The fit and finish is outstanding without a blemish to be found anywhere. The nozzle lip is small but prominent enough to hold 3rd party tips securely in place, something I often have issues with when it comes to earphones designed like this. The 2-pin ports on top are seamlessly integrated and the rest of the shell polished smooth as glass. L and R markings are molded into one of the inner stability protrusions and finished in gold, contrasting perfectly with the ocean blue resin. It's functional and aesthetically pleasing (especially for a Subaru WRC fan). The face plate is hand painted and flawlessly integrated into the rest of the shell. The design reminds me of waves crashing along a shoreline and looks positively fabulous. The brush strokes are very clear and give the SA3 a personal touch that you really only get with boutique products. Dunu outdid themselves with this shell and design.
While the cable follows a modern trend that I'm not a fan of, it's still a good cable. The quad strands are loosely braided (that's the trend) with a tough but flexible clear sheath protecting the silver wiring within. Noise caused by the cable rubbing against your shirt is effectively minimized, and you don't have to worry about it being bouncy or sticky. It's a very well-behaved cable. The hardware Dunu selected is also a plus. The straight jack contains plenty of knurling which gives you a good grip. Strain relief is stubby and a bit too stiff so it's not going to offer much protection, but I find relief is less important with braided cables so I'm not too concerned. The metal y-split and chin cinch carry on the knurled aesthetic. Leading up to the 0.78mm plugs are some aggressively shaped, preformed ear guides that keep the cable hugged tightly around your ear. I found they did a fantastic job of holding the cable in place even while sprinting or jumping. That said, I wouldn't really recommend using the SA3 for exercise since they're not water resistant. On the other hand, the shells are sealed and the metal nozzle grill quite fine so passive moisture resistance is probably quite good.
When it comes to comfort the SA3's ergonomic, lightweight, low profile shells are as outstanding as you'd expect. Like other shells of a similar design, such as those you'd find for the Kinera IDUN or TFZ Secret Garden HD, these earphones are a little on the large side. This is great for stability during excessive movement, and contributes to the impressive isolation (as does the lack of ventilation; the SA3 is fully sealed), but if you have small ears you might run into issues. They're fairly long and tall with prominent protrusions to help lock the housing under the antihelix of the outer ear.
Packaging image provided by Dunu
In The Box The SA3 arrived without any retail packaging but Dunu was keen to provide a sample image for your enjoyment. With the SA3 you receive quite a few accessories. In all you get:
- SA3 earphones
- High-Purity, Silver-Plated Oxygen-Free Copper (OFC) 2-pin (0.78mm) cable
- Zippered carrying case
- Cleaning tool
- Deep-ish insertion medium bore tips (s/m/l) white
- Medium insertion medium bore tips (s/m/l) blue
- Shallow insertion medium bore tips (s/m/l) black/blue
Final Thoughts This is Dunu's first all-armature model, but you'd be hard pressed to tell. The entire experience is very mature and refined, from the gorgeous, hand-painted design and high quality 3D-printed shells, to the well-tuned signature that does basically exactly what Dunu said it would do.
Hybrid and dynamic driver lovers won't be wowed by the low end which is typical of an armature based unit, but the excellent timbre quality and amazing vocals are hard to dispute. Plus, the smooth treble is easy on the ears though I would like a hint more warmth throughout to counter the somewhat dry presentation. A bit more emphasis in the brilliance region wouldn't hurt either for my personal preferences, but that would pull the SA3 away from the relaxed sound Dunu intended for this model. I'll have to settle for some EQ prowess.
In addition to looking, sounding, and feeling great to wear (unless your ears are small), the SA3 comes with an extensive accessory kit that should provide most customers with everything they need out of the box. The quality of the cable is right in line with the competition, and there is decent variety in the included tips. I wouldn't have minded if they swapped out the white single flange set for some bi-flange or foamies though. Lastly, the included carrying case is one of the best in the business in my opinion. It's too bad they're not available separately because it is something I'd happy swap over all my daily drivers to.
Overall I'm quite pleased with the design and performance of the SA3. That fact that it also comes in at a competitive price of 139.99 USD is the icing on the cake. They could have released it at 199.00 USD and it wouldn't have felt out of place in the least. Lots of brands without the same name recognition and professional support are cropping up in this price range, so good on Dunu for keeping the price affordable and providing potential customers with an excellent product from a reputable maker.
Thanks for reading!
- B9
Disclaimer A huge thanks to Thomas with Dunu for arranging a sample of the SA3 for the purposes of review. The thoughts within this review are my own subjective opinions based on a month of consistent use. They do not represent Dunu or any other entity. At the time of writing the SA3 was retailing for 139.99 USD: https://www.dunu-topsound.com/product-page/studio-sa3
Specifications
- Frequency Response: 5Hz – 40kHz
- Impedance: 13 ohms
- Sensitivity: 112 +/- 1dB @ 1kHz
- Driver: Three Knowles balanced armatures (2x lows/mids, 1x highs) w/ 2-way crossover
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Greetings!
Today we’re checking out a new single dynamic earphone from Astrotec, the Volans.
Rolling with the astronomy-based theme they’ve been using on-and-off for a while now (ex. Lyra and Delphinus5), Volans is a southern constellation representing a flying fish. Interesting to me is is that its composition includes two galaxies as well as two double stars, the latter of which are apparently visible with a fairly basic telescope.
The Volans earphone contains a single driver per side, in particular a new 10.5mm Tesla dynamic with brass driver unit and biological diaphragm. I’ve been using it for the better part of a month and have found its smooth, non-fatiguing tune to fill a niche that has been more-or-less completely ignored by other prominent hi-fi brands.
Let us take a closer look, shall we?
What I Hear The Volans is characterized by the tune that does nothing in the extreme. Sub-bass emphasis is downplayed, as is the entirety of the treble region, leaving the midrange the main focal point without going so far as to have me consider this a mid-focused earphone. Why is that? Well, while the lower bass takes a dive in emphasis, mid-bass retains a strong presence in the overall sound giving the Volans a warm, coloured presentation that really benefits the mids.
Tips: If you find the Volans too relaxed sounding with the included Sony Hybrids, you will be happy to know it is quite receptive to different tip designs. While I conducted my testing with the included tips, my preferred set was the wide bore, bi-flange Sennheiser style tip included with a number of earphones, most recently those from ADV. You can find them on AliExpress for a couple bucks if you snoop around. They helped bring up the treble presentation and lower midbass resulting in a more balanced sound overall.
Treble on the Volans is very much downplayed through the presence and brilliance regions letting other aspects of the tuning shine, namely the midrange. It all sounds very polite and about as inoffensive as it gets without shifting the tune into a dark and moody style of presentation. There is just enough energy left to keep the Volans from sounding boring as noticed on King Crimson’s live rendition of “Cat Food”. Unfortunately, this relaxed presentation does hinder overall detail levels leaving the Volans very smooth and almost entirely free of any grit. If you like iems for the purposes of deep track analysis, the Volans will be lacking the clarity and raw detail retrieval needed for that role. Note attack is fairly soft though not slow, with a similarly brisk but not rapid decay. Notes are well controlled and clean, but they’re quiet and as a result the upper ranges pretty much stay out of the way.
The midrange is more exciting and my favourite aspect of the Volans. Vocals are dense, warm, and forward and instruments are met with a heavy, natural timbre. Raw detail is again a bit of a low point of the presentation, but it fits in with the overall auditory aesthetic Astrotec was going for; smooth and relaxing. Even the most sibilant of vocals, like those on Aesop Rock’s “Blood Sandwich” sound positively relaxing and inoffensive. While detail levels are low, I never found the Volans lacking articulation. Lyrics come through clean and clear and individual notes do not blend together.
The Volans’ low end is clearly midbass biased with less emphasis than I personally prefer in subbass regions. As a result the presentation is lacking visceral feedback on the deepest of notes which fall off early. This is especially evident in the opening moments of Kavinsky’s “Solli” and throughout Massive Attack’s “Teardrop”. The midbass region is full and rich giving the overall presentation a decent amount of warmth, though attack and decay qualities are on the soft side leaving the low end easy on the ears even on very bassy tracks. Again, this is right in line with the general presentation everywhere else. I’ve got to praise Astrotec for their consistency with the tune in this regard. Note texturing in general could be better but overall satisfactory for most tracks, keeping the low end from sounding one-note and flat. Not really a low end I’d choose an earphone for, but it does the job.
The Volans’ soundstage isn’t huge, yet it still manages to provide a good sense of space. Vocals are set just outside the inner ear by default which pulls the staging out a bit, allowing sounds and effects to pass in front and behind the vocalist, and soar off into the distance. Channel-to-channel imaging is clean and smooth with decent nuance, but hindered somewhat to the Volans’ smooth sound and reserved upper regions. Tossing some EQ in the mix and raising both presence and brilliance regions makes the imaging sharper and more precise. Track layering and instrument separation are both perfectly satisfactory for the price range and nothing to write home about. I had no issues with congestion or notes smearing into each other.
Compared To A Peer (volumes matched with Dayton iMM-6)
ADV GT3 Superbass, red “treble” filter (349.00 USD): Neither earphone offers much in the way of treble prominence and as a result presence drops off heavily once you pass through the upper mids leading to a muted level of sparkle and shimmer with moderate detail and clarity. It’s there, it’s just very much downplayed compared to the other frequencies. The GT3 seems a little quicker when it comes to attack and decay with a tighter upper range presentation overall. Either would be a good choice for treble sensitive listeners. The Volan’s midrange is more forward, less warm, and with a less dense, more natural feel to vocals and instruments. Detail out of either isn’t particularly spectacular with micro-details being glossed over, though there is definitely more information coming from the Volans. This presentation further plays into the non-fatiguing nature set by the treble regions. Bass is where the two go in completely different directions. The GT3’s Superbass tagline shows where it’s priorities lay. Bass presence is significantly greater out of the GT3, especially in subbass regions where the Volans rolls off heavily leaving the thumpy midbass region to carry the beat. Both are moderately well-textured and fast enough with the Volans showing off a hint more slam compared to the GT3’s consistent, sub-woofer like rumble that underlies mostly everything played through it. Soundstage goes to the GT3 Superbass which is surprisingly wide and deep. The Volans is much more in your face thanks to the forward midrange. It still does a good job of tossing effects off into the distance, it just doesn’t do it as well as the GT3 Superbass. While ADV’s single dynamic bass monster provides a cleaner imaging experience, Astrotec’s copper clad single dynamic is a little better at pulling apart tracks and keeping instruments well separated and layered.
These are two flavours of sound aimed at the same audience; treble sensitive listeners. If you prefer bass to be the main focus, the GT3 Superbass provide a much bolder, more visceral low end, and you can dial out the treble even more if you want utilizing the filter system. If you prefer the midrange to be the main focus, the Volans is deemed superior.
Fidue A85 Virgo (399.00 USD): While neither iem is a treble monster, the triple-driver hybrid Virgo is notably less reserved in the upper ranges when compared to the Volans, particularly in the brilliance region. Fidue’s choice of balanced armatures give their earphone’s presentation a more natural shimmer and sparkle to instruments and effects. Add to that the more rapid pace inherent to armatures and the Virgo’s treble presentation ends up sharper and more vibrant. It adds air and space to the sound that the Volans misses out on given just how relaxed its presentation can be. Through the mids the Virgo has more presence thanks to a rise between 1k and 3k. Unfortunately, boosting that area results in a less natural vocal presentation that verges on sounding hollow, with a timbre that sounds somewhat wooden next to the much more natural and realistic Volans. Qualms with tonality aside, the Virgo’s mids are quite a bit more detailed and it does a better job of articulating fine details that the Volans takes a more laid back approach at replicating. Heading into the lower registers, I have to say the Fidue came away impressing. While it too rolls off earlier than I’d like in sub-bass regions, the midbass presentation is better balanced letting what rumble there is stand out as much as possible. The lowered midbass hump also keeps the Virgo sounding cooler overall. In terms of texture the Virgo comes out a step ahead with it’s low end having more grit and variation to it, though neither is particularly rich in this regard. Both are also fairly soft when it comes to attack, and not particularly quick, though the Volans comes out ahead in these regards. Despite not being super quick, neither trips up on complicated, rapid basslines. Sound stage presentation on both is surprisingly different. The Virgo’s forward mids keep vocals close and intimate with effects and instruments cascading well off into the distance. The Volans’ vocals sit notably further from the inner ear, with instruments and effects moving in front and behind. The Volans’ soundscape presentation as a result feels somewhat more dynamic and varied, though less spacious. As a result I found it to image channel-to-channel more accurately, with the Virgo’s multiple drivers giving it an edge in instrument separation and layering.
While the Virgo is somewhat of a midrange specialist, the Volans’ superior timbre and tonality have me selecting it over the Virgo when I’m in the mood to listen to lyrics. The Virgos stronger performance in the lows and highs results in a product that is a little more versatile from genre to genre. They’re more complimentary than they are competition, yet despite the Virgo’s more impressive technical performance, I feel the Volans’ more natural sound will win it favour in the ears of listeners.
Image provided by Astrotec
In The Ear The three piece shell used for the Volans utilizes a low profile, over-ear cable design similar in overall size and depth to the BQEYZ Spring II. The lightning blue colour tone and plenty of rounded, soft curves, lack of sharp edges, and a light wavelette design on the face plate properly reflect the fairly relaxed signature coming from the full copper, biological diaphragm equipped driver unit within. Note that the retail unit will have “Brass Driver” printed around the base of the nozzle, as shown in the image kindly provided by Astrotec. Fit and finish is quite good with tight, even seams, no blemishes, and laser printed lettering that won’t wear off over time. The MMCX ports re reinforced with plastic rings to prevent damage if dropped, and click together with a satisfying snick. The connection is tight enough to ensure the earpieces stay in place and do not swivel about annoyingly, though they are free to rotate.
The cable takes some queues from the one included with the Dephinus5 with a fairly loose braid and semi-stiff sheath. That said, this one is a definite upgrade thanks to its added flexibility. There is still some memory if bent sharply, but you can easily just bend it back without worry. The hardware used for this cable is a big plus in my opinion as well. The 90 degree angled jack is quite small with effective strain relief and a long extension to ensure DAP/phone case accommodation. The metal, Astrotec branded y-split does not have any strain relief and seems mostly in place just to hide the four strands splitting into two for each channel as they lead up to your ears. Resting above it is a clear plastic chin cinch which does a good job of tightening up slack. Further up the cable are flexible, comfortable preformed ear guides that lead into compact, metal MMCX plugs that are colour coded for each channel by small, painted bands wrapping around them; red for right, blue for left.
When it comes to comfort it is very hard to fault the Volans in any way. The smooth shells and rounded design sit naturally in the outer ear and do a great job of spreading weight evenly to keep the earphone stable even during heavy activity. While I personally prefer a shorter nozzle, I know I’m in the minority and feel many will appreciate the reasonable reach you get with the Volans. Isolation is pretty mediocre though. Sitting in my office with the window open I could clearly hear cars driving by the busy roadway four floors down. Tossing on the included foams tips helps things out somewhat, but these still wouldn’t be my choice for a noisy commute should those ever become commonplace again.
In The Box The Volans arrives in a large box with what looks to be an aerial view of a shoreline adorning the exterior sheath. Fitting, given the Volans constellation represents ‘flying fish’. On the front of the sheath is nothing more than Volans and Astrotec branding. The left side highlights the Volans’ two year warranty, while the back highlights a few features and a detailed specifications list. Unfortunately I noticed some spelling errors that I hope will be corrected by the time the Volans is released; “Product Festures” instead of Features, and “…Tesla magnetic cooper driver…” instead of copper. To any companies reading this, if you want someone to edit your packaging prior to release, I’ll help you out for a heck of a lot less than it would cost to hire an editor.
Sliding off the sheath reveals a black monolith of a box with Astrotec in silver foil written on the front, and a security seal down the side securing the magnetically sealed flap shut. Cutting the seal and flipping back the lid you find a slip of black cardboard with wearing instructions printed on the back. This is set over top a foam insert protecting a Pelican style carrying case within which are the Volans earpieces and Sony hybrid eartips. There is also a smaller cardboard insert hiding a few additional accessories. In all you get:
Final Thoughts While I definitely prefer a more lively and energetic sounding earphone, the Volans fills a niche that is almost completely absent of options. There are few earphones I’ve used that have as smooth and easy going sound as the Volans. While it does come at the expense of detail, something most products in this price range tend to prioritize and plenty of cheaper products do better, the loss of detail never felt like it was eating away at clarity or hindering the overall presentation significantly. I can see this being the perfect earphone for someone that is very treble sensitive, or simply wants a mid-range earphone that they can use for long periods without any risk of fatigue. On numerous occasions I forgot that I was supposed to be analyzing the Volans and taking down notes because I got lost in the music and whatever else I was doing at the time.
I really wish I had a set of these with me back in my university days because they also have the comfort levels needed to back up the fatigue-free sound that is necessary for marathon listening sessions. Build quality is also fantastic with well put together metal shells and a high quality cable, though the isolation they offer is quite poor.
Overall, I have quite enjoyed my time with the Volans. They have a very niche tune that won’t please everyone, but those specifically looking for this breed of completely innocuous sound will likely find themselves thrilled with what the Volans offers.
Thanks for reading!
– B9
Disclaimer A huge thanks to Astrotec for reaching out to see if I would be interested in covering the Volans, and for arranging a sample unit. The thoughts within this review are my subjective impressions and do not represent Astrotec or any other entity. At the time of writing the Volans was retailing for 329.00 USD; https://astrotecglobal.com/products...XUgtBzOstmHeKQi_H7yU03zcqSigkCI1XL5bebHEHfSlE
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Today we’re checking out a new single dynamic earphone from Astrotec, the Volans.
Rolling with the astronomy-based theme they’ve been using on-and-off for a while now (ex. Lyra and Delphinus5), Volans is a southern constellation representing a flying fish. Interesting to me is is that its composition includes two galaxies as well as two double stars, the latter of which are apparently visible with a fairly basic telescope.
The Volans earphone contains a single driver per side, in particular a new 10.5mm Tesla dynamic with brass driver unit and biological diaphragm. I’ve been using it for the better part of a month and have found its smooth, non-fatiguing tune to fill a niche that has been more-or-less completely ignored by other prominent hi-fi brands.
Let us take a closer look, shall we?
What I Hear The Volans is characterized by the tune that does nothing in the extreme. Sub-bass emphasis is downplayed, as is the entirety of the treble region, leaving the midrange the main focal point without going so far as to have me consider this a mid-focused earphone. Why is that? Well, while the lower bass takes a dive in emphasis, mid-bass retains a strong presence in the overall sound giving the Volans a warm, coloured presentation that really benefits the mids.
Tips: If you find the Volans too relaxed sounding with the included Sony Hybrids, you will be happy to know it is quite receptive to different tip designs. While I conducted my testing with the included tips, my preferred set was the wide bore, bi-flange Sennheiser style tip included with a number of earphones, most recently those from ADV. You can find them on AliExpress for a couple bucks if you snoop around. They helped bring up the treble presentation and lower midbass resulting in a more balanced sound overall.
Treble on the Volans is very much downplayed through the presence and brilliance regions letting other aspects of the tuning shine, namely the midrange. It all sounds very polite and about as inoffensive as it gets without shifting the tune into a dark and moody style of presentation. There is just enough energy left to keep the Volans from sounding boring as noticed on King Crimson’s live rendition of “Cat Food”. Unfortunately, this relaxed presentation does hinder overall detail levels leaving the Volans very smooth and almost entirely free of any grit. If you like iems for the purposes of deep track analysis, the Volans will be lacking the clarity and raw detail retrieval needed for that role. Note attack is fairly soft though not slow, with a similarly brisk but not rapid decay. Notes are well controlled and clean, but they’re quiet and as a result the upper ranges pretty much stay out of the way.
The midrange is more exciting and my favourite aspect of the Volans. Vocals are dense, warm, and forward and instruments are met with a heavy, natural timbre. Raw detail is again a bit of a low point of the presentation, but it fits in with the overall auditory aesthetic Astrotec was going for; smooth and relaxing. Even the most sibilant of vocals, like those on Aesop Rock’s “Blood Sandwich” sound positively relaxing and inoffensive. While detail levels are low, I never found the Volans lacking articulation. Lyrics come through clean and clear and individual notes do not blend together.
The Volans’ low end is clearly midbass biased with less emphasis than I personally prefer in subbass regions. As a result the presentation is lacking visceral feedback on the deepest of notes which fall off early. This is especially evident in the opening moments of Kavinsky’s “Solli” and throughout Massive Attack’s “Teardrop”. The midbass region is full and rich giving the overall presentation a decent amount of warmth, though attack and decay qualities are on the soft side leaving the low end easy on the ears even on very bassy tracks. Again, this is right in line with the general presentation everywhere else. I’ve got to praise Astrotec for their consistency with the tune in this regard. Note texturing in general could be better but overall satisfactory for most tracks, keeping the low end from sounding one-note and flat. Not really a low end I’d choose an earphone for, but it does the job.
The Volans’ soundstage isn’t huge, yet it still manages to provide a good sense of space. Vocals are set just outside the inner ear by default which pulls the staging out a bit, allowing sounds and effects to pass in front and behind the vocalist, and soar off into the distance. Channel-to-channel imaging is clean and smooth with decent nuance, but hindered somewhat to the Volans’ smooth sound and reserved upper regions. Tossing some EQ in the mix and raising both presence and brilliance regions makes the imaging sharper and more precise. Track layering and instrument separation are both perfectly satisfactory for the price range and nothing to write home about. I had no issues with congestion or notes smearing into each other.
Compared To A Peer (volumes matched with Dayton iMM-6)
ADV GT3 Superbass, red “treble” filter (349.00 USD): Neither earphone offers much in the way of treble prominence and as a result presence drops off heavily once you pass through the upper mids leading to a muted level of sparkle and shimmer with moderate detail and clarity. It’s there, it’s just very much downplayed compared to the other frequencies. The GT3 seems a little quicker when it comes to attack and decay with a tighter upper range presentation overall. Either would be a good choice for treble sensitive listeners. The Volan’s midrange is more forward, less warm, and with a less dense, more natural feel to vocals and instruments. Detail out of either isn’t particularly spectacular with micro-details being glossed over, though there is definitely more information coming from the Volans. This presentation further plays into the non-fatiguing nature set by the treble regions. Bass is where the two go in completely different directions. The GT3’s Superbass tagline shows where it’s priorities lay. Bass presence is significantly greater out of the GT3, especially in subbass regions where the Volans rolls off heavily leaving the thumpy midbass region to carry the beat. Both are moderately well-textured and fast enough with the Volans showing off a hint more slam compared to the GT3’s consistent, sub-woofer like rumble that underlies mostly everything played through it. Soundstage goes to the GT3 Superbass which is surprisingly wide and deep. The Volans is much more in your face thanks to the forward midrange. It still does a good job of tossing effects off into the distance, it just doesn’t do it as well as the GT3 Superbass. While ADV’s single dynamic bass monster provides a cleaner imaging experience, Astrotec’s copper clad single dynamic is a little better at pulling apart tracks and keeping instruments well separated and layered.
These are two flavours of sound aimed at the same audience; treble sensitive listeners. If you prefer bass to be the main focus, the GT3 Superbass provide a much bolder, more visceral low end, and you can dial out the treble even more if you want utilizing the filter system. If you prefer the midrange to be the main focus, the Volans is deemed superior.
Fidue A85 Virgo (399.00 USD): While neither iem is a treble monster, the triple-driver hybrid Virgo is notably less reserved in the upper ranges when compared to the Volans, particularly in the brilliance region. Fidue’s choice of balanced armatures give their earphone’s presentation a more natural shimmer and sparkle to instruments and effects. Add to that the more rapid pace inherent to armatures and the Virgo’s treble presentation ends up sharper and more vibrant. It adds air and space to the sound that the Volans misses out on given just how relaxed its presentation can be. Through the mids the Virgo has more presence thanks to a rise between 1k and 3k. Unfortunately, boosting that area results in a less natural vocal presentation that verges on sounding hollow, with a timbre that sounds somewhat wooden next to the much more natural and realistic Volans. Qualms with tonality aside, the Virgo’s mids are quite a bit more detailed and it does a better job of articulating fine details that the Volans takes a more laid back approach at replicating. Heading into the lower registers, I have to say the Fidue came away impressing. While it too rolls off earlier than I’d like in sub-bass regions, the midbass presentation is better balanced letting what rumble there is stand out as much as possible. The lowered midbass hump also keeps the Virgo sounding cooler overall. In terms of texture the Virgo comes out a step ahead with it’s low end having more grit and variation to it, though neither is particularly rich in this regard. Both are also fairly soft when it comes to attack, and not particularly quick, though the Volans comes out ahead in these regards. Despite not being super quick, neither trips up on complicated, rapid basslines. Sound stage presentation on both is surprisingly different. The Virgo’s forward mids keep vocals close and intimate with effects and instruments cascading well off into the distance. The Volans’ vocals sit notably further from the inner ear, with instruments and effects moving in front and behind. The Volans’ soundscape presentation as a result feels somewhat more dynamic and varied, though less spacious. As a result I found it to image channel-to-channel more accurately, with the Virgo’s multiple drivers giving it an edge in instrument separation and layering.
While the Virgo is somewhat of a midrange specialist, the Volans’ superior timbre and tonality have me selecting it over the Virgo when I’m in the mood to listen to lyrics. The Virgos stronger performance in the lows and highs results in a product that is a little more versatile from genre to genre. They’re more complimentary than they are competition, yet despite the Virgo’s more impressive technical performance, I feel the Volans’ more natural sound will win it favour in the ears of listeners.
Image provided by Astrotec
In The Ear The three piece shell used for the Volans utilizes a low profile, over-ear cable design similar in overall size and depth to the BQEYZ Spring II. The lightning blue colour tone and plenty of rounded, soft curves, lack of sharp edges, and a light wavelette design on the face plate properly reflect the fairly relaxed signature coming from the full copper, biological diaphragm equipped driver unit within. Note that the retail unit will have “Brass Driver” printed around the base of the nozzle, as shown in the image kindly provided by Astrotec. Fit and finish is quite good with tight, even seams, no blemishes, and laser printed lettering that won’t wear off over time. The MMCX ports re reinforced with plastic rings to prevent damage if dropped, and click together with a satisfying snick. The connection is tight enough to ensure the earpieces stay in place and do not swivel about annoyingly, though they are free to rotate.
The cable takes some queues from the one included with the Dephinus5 with a fairly loose braid and semi-stiff sheath. That said, this one is a definite upgrade thanks to its added flexibility. There is still some memory if bent sharply, but you can easily just bend it back without worry. The hardware used for this cable is a big plus in my opinion as well. The 90 degree angled jack is quite small with effective strain relief and a long extension to ensure DAP/phone case accommodation. The metal, Astrotec branded y-split does not have any strain relief and seems mostly in place just to hide the four strands splitting into two for each channel as they lead up to your ears. Resting above it is a clear plastic chin cinch which does a good job of tightening up slack. Further up the cable are flexible, comfortable preformed ear guides that lead into compact, metal MMCX plugs that are colour coded for each channel by small, painted bands wrapping around them; red for right, blue for left.
When it comes to comfort it is very hard to fault the Volans in any way. The smooth shells and rounded design sit naturally in the outer ear and do a great job of spreading weight evenly to keep the earphone stable even during heavy activity. While I personally prefer a shorter nozzle, I know I’m in the minority and feel many will appreciate the reasonable reach you get with the Volans. Isolation is pretty mediocre though. Sitting in my office with the window open I could clearly hear cars driving by the busy roadway four floors down. Tossing on the included foams tips helps things out somewhat, but these still wouldn’t be my choice for a noisy commute should those ever become commonplace again.
In The Box The Volans arrives in a large box with what looks to be an aerial view of a shoreline adorning the exterior sheath. Fitting, given the Volans constellation represents ‘flying fish’. On the front of the sheath is nothing more than Volans and Astrotec branding. The left side highlights the Volans’ two year warranty, while the back highlights a few features and a detailed specifications list. Unfortunately I noticed some spelling errors that I hope will be corrected by the time the Volans is released; “Product Festures” instead of Features, and “…Tesla magnetic cooper driver…” instead of copper. To any companies reading this, if you want someone to edit your packaging prior to release, I’ll help you out for a heck of a lot less than it would cost to hire an editor.
Sliding off the sheath reveals a black monolith of a box with Astrotec in silver foil written on the front, and a security seal down the side securing the magnetically sealed flap shut. Cutting the seal and flipping back the lid you find a slip of black cardboard with wearing instructions printed on the back. This is set over top a foam insert protecting a Pelican style carrying case within which are the Volans earpieces and Sony hybrid eartips. There is also a smaller cardboard insert hiding a few additional accessories. In all you get:
- Volans earphones
- MMCX high purity OFC cable
- Pelican-style carrying case
- Cleaning tool
- Sony hybrid tips (s/m/l)
- Foam tips (m)
- Mesh ear piece bag
- Velcro cable tie
Final Thoughts While I definitely prefer a more lively and energetic sounding earphone, the Volans fills a niche that is almost completely absent of options. There are few earphones I’ve used that have as smooth and easy going sound as the Volans. While it does come at the expense of detail, something most products in this price range tend to prioritize and plenty of cheaper products do better, the loss of detail never felt like it was eating away at clarity or hindering the overall presentation significantly. I can see this being the perfect earphone for someone that is very treble sensitive, or simply wants a mid-range earphone that they can use for long periods without any risk of fatigue. On numerous occasions I forgot that I was supposed to be analyzing the Volans and taking down notes because I got lost in the music and whatever else I was doing at the time.
I really wish I had a set of these with me back in my university days because they also have the comfort levels needed to back up the fatigue-free sound that is necessary for marathon listening sessions. Build quality is also fantastic with well put together metal shells and a high quality cable, though the isolation they offer is quite poor.
Overall, I have quite enjoyed my time with the Volans. They have a very niche tune that won’t please everyone, but those specifically looking for this breed of completely innocuous sound will likely find themselves thrilled with what the Volans offers.
Thanks for reading!
– B9
Disclaimer A huge thanks to Astrotec for reaching out to see if I would be interested in covering the Volans, and for arranging a sample unit. The thoughts within this review are my subjective impressions and do not represent Astrotec or any other entity. At the time of writing the Volans was retailing for 329.00 USD; https://astrotecglobal.com/products...XUgtBzOstmHeKQi_H7yU03zcqSigkCI1XL5bebHEHfSlE
Specifications
- Frequency Response: 8Hz – 40,000Hz
- Impedance: 32 ohms
- Sensitivity: 110dB/mW @ 1KHz
- Driver: 10.5mm Tesla dynamic driver with brass driver unit and biological diaphragm
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
JMCIII
Me bad, you're right. there it is. Thanks for pointing it out. Appreciate it.
Lucozade 1
Thanks for the honest and comprehenive review ,looks like an intersting set with a nice selection of excessories ,i dont think the tuning would really be to my tastes unless it was very responsive to eq in the upper regions though.
Greetings,
Today we're checking out TinHiFi's newest model in their popular T Series of earphones, the T2 Plus.
TinHiFi became a sensation shortly after the release of the T2 thanks to its neutral-bright signature that was very much a novelty in the price range. With the exception of the T1 which is the warm, bassy, red-headed stepchild in the lineup, every release following the T2 has maintained the neutral-bright sound that put Tin on the map in the first place. With the T4 they added in some additional bass and dialed down the treble bit, but that bright-ish quality remained. The T2 Plus pulls A LOT from the sound of the T4, but I'll dive into that in the comparisons section.
Let's take a closer look at what makes the T2 Plus one of the better budget-minded products on the market right now.
What I Hear Treble out of the T2 Plus has a light and sparkly feel to it that is in no way lacking detail. Whereas it is quite common for brands to elevate the brilliance region to artificially bump perceived detail and clarity, there is none of that going on here. It's the real deal. That said, upper treble has been restrained somewhat compared to earlier models like the T2 Pro, T3, and P1, with the focus residing mostly in the presence region. Combine this with a robust low end that we'll get to later, and the T2 Plus stands alongside the T4 as the most balanced earphone in Tin's lineup. Notes have a lean, light, and airy presentation resulting in something that feels very nimble. Regardless of how complicated a track may get, the T2 Plus holds composure giving it a very well-controlled and peppy presentation. Decay is maybe too quick and more in line with what we expect from a balanced armature. The result is something that isn't as accurate as it could be. I'm fine with that since is results in a level of technical prowess matched by few in this price range.
In line with the T1, T2, T3, T4, and P1, so nearly every earphone in the lineup, the T2 Plus has pretty damn good mids. They are linear, prominent, and are technically quite awesome. Male vocals take up most of the warmth on tap leaving female vocals often coming across a little cooler than I prefer, but for the most part they go tit for tat and neither benefits more than the other from the tuning found in this region. Clarity and detail are area where Tin products rarely falter, and the T2 Plus is no different. Fine details are retained and ready for trained ears to enjoy their nuances. The presentation is analytic without tossing entertainment value to the wayside, something that is very hard to do well. Timbre is quite accurate though a hint brighter than what I consider correct. Still, it works in the context of the overall tune and is kept from veering in the wrong direction thanks to an injection of warmth from the midbass.
Bass is an area where Tin products often get the most negative feedback and while I don't think the T2 Plus is going to satisfy those who want a powerful, robust low end, those who enjoyed the T2 and P1 but wanted a bit more emphasis will be happy little clams. Extension is stellar though subbass emphasis is on the polite side. This keeps the presentation from being too visceral but when called for, can still rumble. Midbass outputs enough texture and detail for grungy beats from the likes of Malibu Ken, but like it's relatives, is somewhat lean and only adds a smidge of warmth to the overall signature. The outstanding speed on tap keeps it fairly punchy, though not a bare knuckle punch. There is definitely some padding in place that keeps notes from hitting hard. The aforementioned speed matches another model in the lineup resulting in some of the most articulate and well-defined bass I've heard from in a single dynamic.
One area where I was expecting the find some faults with the T2 Plus was sound stage and the technical abilities that go along with it. I was very happy to hear that this is (probably) where the new 10mm “NanoPure” nickel-zinc alloy plated dynamic driver truly earns it's keep. The T2 Plus' sound stage is wide and fairly deep giving sounds plenty of room to move around. This is one of those rare earphones that makes me remove an earphone thinking I heard someone call my name, or enter the room behind me. The imaging quality is a massive step up over the T4 which was oddly subpar and well below average. Channel-to-channel transitions are nuanced and precise making the T2 Plus a good pick for somewhat competitive gaming. The excellent instrument layering and separation aid in this too since track elements rarely congest and meld together.
Thanks to the improved technical ability of the T2 Plus, the T4 hands it the “best in lineup” torch. Given the price gap between the two, that's pretty frickin' impressive and elevates the T2 Plus to one of the best value earphones in portable audio. One of... That brings us to the next section.
Compared To A Peer (volume matched using a Dayton iMM-6)
Moondrop SSR (39.99 USD): Comparing two juggernauts is hella tough. Both of these earphones are truly awesome offerings and probably the best things available around 50 USD. Depending on what you value, the T2 Plus is probably what you're going to want to drop your cash on if bass is what you value most in your neutral-leaning earphone. Both extend well but the T2 Plus offers up more subbass presence and a hint more texture. The SSR's midbass warmth is better carried through into the mids though, resulting is a more natural and timbre-accurate presentation. And that is where the SSR will be the pick for some. As good as the T2 Plus is in the mids, the SSR is so much smoother and more refined while giving up nothing in terms of coherence and detail. Some say it's shouty. It's forward, not shouty. The T2 Plus comes closer to being shouty thanks to the near breakup that occurs at higher volumes, but it's still not shouty. Treble quality also falls into the SSR's camp in my opinion, though the difference here isn't particularly vast. The T2 Plus is brighter and more aggressive thanks to the additional brilliance region emphasis which makes it more fatiguing than the SSR over long listening sessions, or on particularly treble heavy tracks. The SSR's presence region bias also gives it a bit more detail to my ears, though the difference is small. Both offer up plenty of information and texture. The SSR has a pretty killer sound stage but it doesn't necessarily overshadow the equally excellent T2 Plus. The SSR's vocals have a further default positioning giving it a more spacious feel off the hop. Sounds cascade further into the distance and move from channel-to-channel with even greater accuracy, but the T2 Plus sounds deeper and more layered. Instrument separation is on par.
When it comes to build I'm not sure which I prefer. The T2 Plus certainly looks cleaner with some impressively tight seams and better implemented L/R designations, but the use of MMCX is a sore point for many past TinHiFi customers. The SSR has a more industrial feel with the deep seams and prominent hex screw holding the faceplate on. I suspect it'll be the more durable of the two. I also prefer the use of standard 0.78mm plugs which tend to be more reliable. Both have great cables, though for different reasons. I'd be perfectly happy with either. Comfort of the T2 Plus is a step up from past T Series models thanks to the move to a smooth, rounded, low profile design, but the short nozzle still proves to be a bit of an issue at times. The SSR fits me perfectly, slotting into place without issue and remaining stable and comfy at all times.
Both of these are killer earphones and equally deserving of your time. The SSR is my personal favorite though. Why? The midrange is so clean and the overall presentation smooth and refined. The T2 Plus has a rougher overall feel to it but makes up for this with it's technical prowess and subbass. I would be happy with either but since I'm in a position to choose, SSR gets the vote.
BQEYZ KC2 (~45.00 USD): The KC2 has seen an odd resurgence in popularity lately. Not a bad thing because it's a good earphone, but worthy competition for the T2 Plus? Kinda. Sub-bass is handled well but despite some fairly linear measurements, doesn't feel like it's enough to properly counter-balance the midbass which sounds overly prominent, looser, less textured, and somewhat bloated next to the T2 Plus. The midrange fairs better with similar emphasis and timbre quality, though detail sits firmly in the T2 Plus camp, and in general it sounds more coherent. I will give the KC2 an edge in weight since vocals certainly sound thicker and more beefy than what you hear from the T2 Plus. I suspect this is due mostly to the presence region which sees a huge dip on the KC2 nerfing detail and clarity next to TinHiFi's newest T series model. The brilliance region sees the KC2 spike back up making it more sparkly, but also harsher and more fatiguing. Sound stage is also in the T2 Plus' corner coming across wider and deeper, backed with better imaging and improved separation, though I find the KC2 layers about as well.
When it comes to build they are both wonderfully constructed. Fit and finish on the KC2's shell is just as impressive and while the cable is significantly cheaper feeling, they went with a 2-pin design which I prefer. I also find the KC2 more comfortable and stable design being quite a bit larger and heavier.
Overall I like the KC2. Despite it's age it is still plenty competitive and am glad to see if finally getting it's dues. Still, the T2 Plus handily outperforms it in my opinion and is absolutely worth the extra cost.
TinHiFi T4 (109.00 USD): I'm going to keep this one simple; if you've been thinking of getting the T4, save your money and buy the T2 Plus instead. The tuning is nearly identical save for a slight decrease in the upper mids and presence regions on the T2 Plus that results in the perception of a bit more bass. Putting the T4 in one ear and the T2 Plus in the other, my brain quickly adjusted and compensated for the differences, save for what sounded like a very mild channel imbalance due to their sensitivity variances. The biggest gulf between the two is the T2 Plus' improvement to the imaging quality which alone is probably a good enough reason to pick it up over the T4. If the T4 had a similar shell design to the T2 Plus, I would say there was no real reason for it to remain in TinHiFi's lineup. The Plus does everything the T4 does, and more. That's high praise coming from someone that adores the T4.
In The Ear The T2 Plus makes some serious headway for the brand when it comes to design and ergonomics. I find all of their past models to be attractive, well-build earphones, but each and every one has ergonomics issues; T1's nozzle is too stubby for such a broad body, T2/T3/T4 are unstable for many thanks to the length and weight distribution, and the P1 is quite heavy with proportions that lead to instability. While the T2 Plus could benefit from a longer nozzle, you can compensate with longer tips. Everything else about it is a massive step in the right direction in my opinion. The low profile, light weight, and smooth, rounded edges make it very comfortable. This is one of few low-profile designs that I don't have to fiddle with on the regular to retain a good seal.
The excellent build quality is nothing new for TinHiFi with its neatly machined aluminum alloy housings. I especially like the velvety pebbled finish, though it does make them quite slippery. Fit and finish is top tier with extremely tight seams between the two halves of the shell. The fine metal filters are neatly applied and will be a prime target for removal by tuners and tinkerers who want to “open” the sound further. Outside of TinHiFi laser printed into the top of the housing in tiny writing, there isn't any obvious branding or logo work showing off the shiny new TinHiFi earphones you're rocking. Tin once again went with MMCX connectors which will turn away some given the apparent issues with other models in the past. I've been quite lucky with mine as only the T4 had slightly sloppy connectors, though nothing near as bad as the Whizzer A15 Pro which would detach at random. The T2 Plus I have here has very tight ports with zero play or even the ability to swivel without help from the user. It feels good.
The cable is also another step back in right direction for TinHiFi. After the T3, the quality of their cable took a bi of a dive. The P1's cable had a very loose braid which screamed cost cutting, and the crinkly preformed ear guides could be annoying. The T4's cable has a loose braid too, but added in a sticky, bouncy sheath to add insult to injury. With the T2 Plus, the cable still features a loose braid but it's considerably tighter than on the T4. The sheath is much improved too. It is now extremely flexible, transmits next to no noise, isn't at all sticky, and best of all, weighs next to nothing. The straight jack has is wrapped in a fine knurling that adds a moderate amount of extra grip. It is topped off with a beefy, clear strain relief that provides ample protection from bends and pulls. Within the aluminum y-split the braiding splits with two strands heading to each ear piece. A bead-like chin cinch is present to help provide an even more secure fit if needed. Leading up to the earpieces are flexible preformed ear guides that effectively hold the cable in place behind your ear. The MMCX plugs are aluminum wrapped for style and durability, with clear and red rings at the base to help determine channel. They follow the alternative industry standard with red for right, clear for left (instead of blue).
Isolation is pretty average at best. While wearing them I can comfortably hold a conversation with someone (without music playing). The snicking of a keyboard and cars driving by my window are still audible. Slightly dulled, but still very much present. Tossing on the included foam tips helps boost isolation a bit, but not enough for these to be a recommended pick for routine transit riders.
In The Box The T2 Plus goes back to Tin's roots when it comes to packaging. The neat white box with minimal branding in gold foil lettering looks classy and simple, and feels like TinHiFi of old. Inside is a neat blue box with gold accents. Sure, it's not the unique book-like case you got with the T2 and a couple other models, but it still evokes the same upscale feelings that belay the low price tag. Lifting off the lid you find the T2 Plus' shapely ear pieces nestled in a insert. The main body of the insert is foam with a cardboard backing and pleather upper surface. While it looks nice, the pleather material doesn't adhere to the foam particularly well and peels up while removing the earphones, or just naturally around the edges. Not something 99% of buyers would care about, so let's move on. Lifting out the foam insert you find the accessories individually stored in high quality, Tin branded Ziplock baggies. In all you get:
Final Thoughts The legend continues. The T2 Plus is yet another outstanding entry in TinHiFi's lineup. While it doesn't stray from what the T4 did before it, it does so at half the price and with arguably better ergonomics, further solidifying my impression of TinHiFi as one of the most reliable and consistent brands on the market. That is of course, pending you enjoy their house sound. And not every release is sunshine and rainbows as we will find out in my next TinHiFi review...
Regardless, the neutral-bright signature Tin is known for, and found once again in the T2 Plus, may lack the robust bass you are used to if coming from your average v-shaped, mainstream tuned product. If seeking a different experience, one that is more traditionally considered “hi-fi”, you will be rewarded with an open stage, plenty of detail, stellar vocals, and a mature bass tuning.
If shopping around for a new earphone under 100 USD, you'd be hard-pressed to find something that bests the T2 Plus.
Thanks for reading!
- B9
Disclaimer A big thanks to Lillian with Linsoul for arranging a sample of the T2 Plus and for sending it for review. The thoughts within this review are my subjective impressions based on time spent listening to the T2 Plus. They do not represent Linsoul, TinHiFi, or any other entity. At the time of writing the T2 Plus was retailing for 59.99 USD, but on sale for 49.99 USD: https://www.linsoul.com/products/tinhifi-t2-plus
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Today we're checking out TinHiFi's newest model in their popular T Series of earphones, the T2 Plus.
TinHiFi became a sensation shortly after the release of the T2 thanks to its neutral-bright signature that was very much a novelty in the price range. With the exception of the T1 which is the warm, bassy, red-headed stepchild in the lineup, every release following the T2 has maintained the neutral-bright sound that put Tin on the map in the first place. With the T4 they added in some additional bass and dialed down the treble bit, but that bright-ish quality remained. The T2 Plus pulls A LOT from the sound of the T4, but I'll dive into that in the comparisons section.
Let's take a closer look at what makes the T2 Plus one of the better budget-minded products on the market right now.
What I Hear Treble out of the T2 Plus has a light and sparkly feel to it that is in no way lacking detail. Whereas it is quite common for brands to elevate the brilliance region to artificially bump perceived detail and clarity, there is none of that going on here. It's the real deal. That said, upper treble has been restrained somewhat compared to earlier models like the T2 Pro, T3, and P1, with the focus residing mostly in the presence region. Combine this with a robust low end that we'll get to later, and the T2 Plus stands alongside the T4 as the most balanced earphone in Tin's lineup. Notes have a lean, light, and airy presentation resulting in something that feels very nimble. Regardless of how complicated a track may get, the T2 Plus holds composure giving it a very well-controlled and peppy presentation. Decay is maybe too quick and more in line with what we expect from a balanced armature. The result is something that isn't as accurate as it could be. I'm fine with that since is results in a level of technical prowess matched by few in this price range.
In line with the T1, T2, T3, T4, and P1, so nearly every earphone in the lineup, the T2 Plus has pretty damn good mids. They are linear, prominent, and are technically quite awesome. Male vocals take up most of the warmth on tap leaving female vocals often coming across a little cooler than I prefer, but for the most part they go tit for tat and neither benefits more than the other from the tuning found in this region. Clarity and detail are area where Tin products rarely falter, and the T2 Plus is no different. Fine details are retained and ready for trained ears to enjoy their nuances. The presentation is analytic without tossing entertainment value to the wayside, something that is very hard to do well. Timbre is quite accurate though a hint brighter than what I consider correct. Still, it works in the context of the overall tune and is kept from veering in the wrong direction thanks to an injection of warmth from the midbass.
Bass is an area where Tin products often get the most negative feedback and while I don't think the T2 Plus is going to satisfy those who want a powerful, robust low end, those who enjoyed the T2 and P1 but wanted a bit more emphasis will be happy little clams. Extension is stellar though subbass emphasis is on the polite side. This keeps the presentation from being too visceral but when called for, can still rumble. Midbass outputs enough texture and detail for grungy beats from the likes of Malibu Ken, but like it's relatives, is somewhat lean and only adds a smidge of warmth to the overall signature. The outstanding speed on tap keeps it fairly punchy, though not a bare knuckle punch. There is definitely some padding in place that keeps notes from hitting hard. The aforementioned speed matches another model in the lineup resulting in some of the most articulate and well-defined bass I've heard from in a single dynamic.
One area where I was expecting the find some faults with the T2 Plus was sound stage and the technical abilities that go along with it. I was very happy to hear that this is (probably) where the new 10mm “NanoPure” nickel-zinc alloy plated dynamic driver truly earns it's keep. The T2 Plus' sound stage is wide and fairly deep giving sounds plenty of room to move around. This is one of those rare earphones that makes me remove an earphone thinking I heard someone call my name, or enter the room behind me. The imaging quality is a massive step up over the T4 which was oddly subpar and well below average. Channel-to-channel transitions are nuanced and precise making the T2 Plus a good pick for somewhat competitive gaming. The excellent instrument layering and separation aid in this too since track elements rarely congest and meld together.
Thanks to the improved technical ability of the T2 Plus, the T4 hands it the “best in lineup” torch. Given the price gap between the two, that's pretty frickin' impressive and elevates the T2 Plus to one of the best value earphones in portable audio. One of... That brings us to the next section.
Compared To A Peer (volume matched using a Dayton iMM-6)
Moondrop SSR (39.99 USD): Comparing two juggernauts is hella tough. Both of these earphones are truly awesome offerings and probably the best things available around 50 USD. Depending on what you value, the T2 Plus is probably what you're going to want to drop your cash on if bass is what you value most in your neutral-leaning earphone. Both extend well but the T2 Plus offers up more subbass presence and a hint more texture. The SSR's midbass warmth is better carried through into the mids though, resulting is a more natural and timbre-accurate presentation. And that is where the SSR will be the pick for some. As good as the T2 Plus is in the mids, the SSR is so much smoother and more refined while giving up nothing in terms of coherence and detail. Some say it's shouty. It's forward, not shouty. The T2 Plus comes closer to being shouty thanks to the near breakup that occurs at higher volumes, but it's still not shouty. Treble quality also falls into the SSR's camp in my opinion, though the difference here isn't particularly vast. The T2 Plus is brighter and more aggressive thanks to the additional brilliance region emphasis which makes it more fatiguing than the SSR over long listening sessions, or on particularly treble heavy tracks. The SSR's presence region bias also gives it a bit more detail to my ears, though the difference is small. Both offer up plenty of information and texture. The SSR has a pretty killer sound stage but it doesn't necessarily overshadow the equally excellent T2 Plus. The SSR's vocals have a further default positioning giving it a more spacious feel off the hop. Sounds cascade further into the distance and move from channel-to-channel with even greater accuracy, but the T2 Plus sounds deeper and more layered. Instrument separation is on par.
When it comes to build I'm not sure which I prefer. The T2 Plus certainly looks cleaner with some impressively tight seams and better implemented L/R designations, but the use of MMCX is a sore point for many past TinHiFi customers. The SSR has a more industrial feel with the deep seams and prominent hex screw holding the faceplate on. I suspect it'll be the more durable of the two. I also prefer the use of standard 0.78mm plugs which tend to be more reliable. Both have great cables, though for different reasons. I'd be perfectly happy with either. Comfort of the T2 Plus is a step up from past T Series models thanks to the move to a smooth, rounded, low profile design, but the short nozzle still proves to be a bit of an issue at times. The SSR fits me perfectly, slotting into place without issue and remaining stable and comfy at all times.
Both of these are killer earphones and equally deserving of your time. The SSR is my personal favorite though. Why? The midrange is so clean and the overall presentation smooth and refined. The T2 Plus has a rougher overall feel to it but makes up for this with it's technical prowess and subbass. I would be happy with either but since I'm in a position to choose, SSR gets the vote.
BQEYZ KC2 (~45.00 USD): The KC2 has seen an odd resurgence in popularity lately. Not a bad thing because it's a good earphone, but worthy competition for the T2 Plus? Kinda. Sub-bass is handled well but despite some fairly linear measurements, doesn't feel like it's enough to properly counter-balance the midbass which sounds overly prominent, looser, less textured, and somewhat bloated next to the T2 Plus. The midrange fairs better with similar emphasis and timbre quality, though detail sits firmly in the T2 Plus camp, and in general it sounds more coherent. I will give the KC2 an edge in weight since vocals certainly sound thicker and more beefy than what you hear from the T2 Plus. I suspect this is due mostly to the presence region which sees a huge dip on the KC2 nerfing detail and clarity next to TinHiFi's newest T series model. The brilliance region sees the KC2 spike back up making it more sparkly, but also harsher and more fatiguing. Sound stage is also in the T2 Plus' corner coming across wider and deeper, backed with better imaging and improved separation, though I find the KC2 layers about as well.
When it comes to build they are both wonderfully constructed. Fit and finish on the KC2's shell is just as impressive and while the cable is significantly cheaper feeling, they went with a 2-pin design which I prefer. I also find the KC2 more comfortable and stable design being quite a bit larger and heavier.
Overall I like the KC2. Despite it's age it is still plenty competitive and am glad to see if finally getting it's dues. Still, the T2 Plus handily outperforms it in my opinion and is absolutely worth the extra cost.
TinHiFi T4 (109.00 USD): I'm going to keep this one simple; if you've been thinking of getting the T4, save your money and buy the T2 Plus instead. The tuning is nearly identical save for a slight decrease in the upper mids and presence regions on the T2 Plus that results in the perception of a bit more bass. Putting the T4 in one ear and the T2 Plus in the other, my brain quickly adjusted and compensated for the differences, save for what sounded like a very mild channel imbalance due to their sensitivity variances. The biggest gulf between the two is the T2 Plus' improvement to the imaging quality which alone is probably a good enough reason to pick it up over the T4. If the T4 had a similar shell design to the T2 Plus, I would say there was no real reason for it to remain in TinHiFi's lineup. The Plus does everything the T4 does, and more. That's high praise coming from someone that adores the T4.
In The Ear The T2 Plus makes some serious headway for the brand when it comes to design and ergonomics. I find all of their past models to be attractive, well-build earphones, but each and every one has ergonomics issues; T1's nozzle is too stubby for such a broad body, T2/T3/T4 are unstable for many thanks to the length and weight distribution, and the P1 is quite heavy with proportions that lead to instability. While the T2 Plus could benefit from a longer nozzle, you can compensate with longer tips. Everything else about it is a massive step in the right direction in my opinion. The low profile, light weight, and smooth, rounded edges make it very comfortable. This is one of few low-profile designs that I don't have to fiddle with on the regular to retain a good seal.
The excellent build quality is nothing new for TinHiFi with its neatly machined aluminum alloy housings. I especially like the velvety pebbled finish, though it does make them quite slippery. Fit and finish is top tier with extremely tight seams between the two halves of the shell. The fine metal filters are neatly applied and will be a prime target for removal by tuners and tinkerers who want to “open” the sound further. Outside of TinHiFi laser printed into the top of the housing in tiny writing, there isn't any obvious branding or logo work showing off the shiny new TinHiFi earphones you're rocking. Tin once again went with MMCX connectors which will turn away some given the apparent issues with other models in the past. I've been quite lucky with mine as only the T4 had slightly sloppy connectors, though nothing near as bad as the Whizzer A15 Pro which would detach at random. The T2 Plus I have here has very tight ports with zero play or even the ability to swivel without help from the user. It feels good.
The cable is also another step back in right direction for TinHiFi. After the T3, the quality of their cable took a bi of a dive. The P1's cable had a very loose braid which screamed cost cutting, and the crinkly preformed ear guides could be annoying. The T4's cable has a loose braid too, but added in a sticky, bouncy sheath to add insult to injury. With the T2 Plus, the cable still features a loose braid but it's considerably tighter than on the T4. The sheath is much improved too. It is now extremely flexible, transmits next to no noise, isn't at all sticky, and best of all, weighs next to nothing. The straight jack has is wrapped in a fine knurling that adds a moderate amount of extra grip. It is topped off with a beefy, clear strain relief that provides ample protection from bends and pulls. Within the aluminum y-split the braiding splits with two strands heading to each ear piece. A bead-like chin cinch is present to help provide an even more secure fit if needed. Leading up to the earpieces are flexible preformed ear guides that effectively hold the cable in place behind your ear. The MMCX plugs are aluminum wrapped for style and durability, with clear and red rings at the base to help determine channel. They follow the alternative industry standard with red for right, clear for left (instead of blue).
Isolation is pretty average at best. While wearing them I can comfortably hold a conversation with someone (without music playing). The snicking of a keyboard and cars driving by my window are still audible. Slightly dulled, but still very much present. Tossing on the included foam tips helps boost isolation a bit, but not enough for these to be a recommended pick for routine transit riders.
In The Box The T2 Plus goes back to Tin's roots when it comes to packaging. The neat white box with minimal branding in gold foil lettering looks classy and simple, and feels like TinHiFi of old. Inside is a neat blue box with gold accents. Sure, it's not the unique book-like case you got with the T2 and a couple other models, but it still evokes the same upscale feelings that belay the low price tag. Lifting off the lid you find the T2 Plus' shapely ear pieces nestled in a insert. The main body of the insert is foam with a cardboard backing and pleather upper surface. While it looks nice, the pleather material doesn't adhere to the foam particularly well and peels up while removing the earphones, or just naturally around the edges. Not something 99% of buyers would care about, so let's move on. Lifting out the foam insert you find the accessories individually stored in high quality, Tin branded Ziplock baggies. In all you get:
- T2 Plus earphones
- MMCX 4-core silver-plated 22 AWG copper cable with inner Kevlar braiding
- Single flangle silicone tips (2x s/m/l)
- Medium foam tips
- Velcro cable tie
- Manual
Final Thoughts The legend continues. The T2 Plus is yet another outstanding entry in TinHiFi's lineup. While it doesn't stray from what the T4 did before it, it does so at half the price and with arguably better ergonomics, further solidifying my impression of TinHiFi as one of the most reliable and consistent brands on the market. That is of course, pending you enjoy their house sound. And not every release is sunshine and rainbows as we will find out in my next TinHiFi review...
Regardless, the neutral-bright signature Tin is known for, and found once again in the T2 Plus, may lack the robust bass you are used to if coming from your average v-shaped, mainstream tuned product. If seeking a different experience, one that is more traditionally considered “hi-fi”, you will be rewarded with an open stage, plenty of detail, stellar vocals, and a mature bass tuning.
If shopping around for a new earphone under 100 USD, you'd be hard-pressed to find something that bests the T2 Plus.
Thanks for reading!
- B9
Disclaimer A big thanks to Lillian with Linsoul for arranging a sample of the T2 Plus and for sending it for review. The thoughts within this review are my subjective impressions based on time spent listening to the T2 Plus. They do not represent Linsoul, TinHiFi, or any other entity. At the time of writing the T2 Plus was retailing for 59.99 USD, but on sale for 49.99 USD: https://www.linsoul.com/products/tinhifi-t2-plus
Specifications
- Driver: 10mm NanoPure” nickel-zinc alloy plated dynamic driver
- Impedance: 32Ω ±15%
- Sensitivity: 104 ±3dB @1kHz 0.126v
- Frequency Response: 10Hz-20KHz
- Max Distortion: 1% @1kHz, 0.126v
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Greetings!
Today we’re checking out another new release from Tin HiFi, the T4.
Back in 2017, a great sounding earphone was released on the world. That earphone was the TinAudio T2. Despite receiving almost unanimously positive feedback, it flew under the radar until a few key hypsters got their hands on it. It has since become a staple recommendation to anyone wanting a well-built, neutral-leaning earphone for under 100 USD. Tin did not rest on their laurels and over the years have developed a handful of excellent followups like the single dynamic T1 and the planar magnetic P1. They rebranded to Tin HiFi, and have become one of the more highly respected Chinese hifi brands.
The T4 is the fifth earphone in the T Series and the culmination of everything Tin HiFi has learned from their past products. Is the T4 yet another outstanding release from Tin HiFi? Yes it is. Let’s look at why, shall we?
What I Hear I’ve been a big fan of Tin HiFi since the original T2 was released. It had a near-neutral signature that was a rarity for the price. The use of dual dynamics was also somewhat of a novelty since at the time, hybrids were still dominating the new release market. The T4 continues the Tin HiFi trend of neutral-bright signatures, but with only a single 10mm dynamic driver powering each side. The use of a carbon nanotube coating is kinda old school too since that was at it’s peak popularity in the early to mid 2010s.
Treble out of the T4 is light and sparkly with plenty of real detail, not just perceived detail because of some elevation in the brilliance region. That said, it has still been dialed back compared to earlier models like the T2 Pro, T3, and P1, and focus resides mostly in the lower treble. When combined with the improved low end performance that we’ll get to later, this makes the T4 the most balanced earphone in Tin’s lineup imo. Notes are lean with tons of air and space between them. This lightness translates into something that feels very nimble and well-controlled, regardless of how busy a track may get, and as such gives the T4 a very snappy presentation. Decay is maybe too quick. Not necessarily accurate, but it results in some impressive technical handling. While I know the treble here will bother some, I find it surprisingly non-fatiguing.
Like its predecessors, the T4 has pretty spectacular mids. They are forward, balanced and linear, have reasonably accurate timbre, and are technically capable. Female vocals turn out slightly cooler than I prefer, but are consistent in presentation with male vocals so neither ends up benefiting more from the T4’s style of tune. Clarity and detail are both above average with the T4 pulling the slightest nuances forward. It’s reasonably analytic, but not tiring in the process. As noted, timbre is fairly accurate but ends up making instruments sound slightly brighter than is correct. Still, it works in the context of the overall tune and minimal warmth injected into the overall sound presentation.
Bass is the aspect of the T4 I’m most impressed with when comparing to past Tin HiFi earphones. Extension is excellent and while sub-bass isn’t strongly emphasized and doesn’t overwhelm, it still gives off a proper rumble. Midbass is lean but extremely detailed and well-textured. It is fairly punchy for the most part, only occasionally lacking impact. It is very fast too and never drags it’s feet on rapid basslines, resulting in some of the most articulate and well-defined bass I’ve heard from in a single dynamic. Texture and detail is another positive, with the sort of grungy, low-res basslines your hear in tracks by The Prodigy and Malibu Ken coming out as offensively trashy as they’re supposed to.
When it comes to soundstage and related abilities, the T4’s weaknesses show. The soundstage itself is satisfyingly large with songs playing just around your head by default. Effects are effectively tossed off into the distance thanks to the width available. Depth is a bit more on the average side. More than workable since tracks still sound layered and there are no issues with instruments and effects blending together and losing their separation. But alas, now we come to imaging. This is where the T4 is a let down. While sound unquestionably moves from channel to channel, the process lacks precision and definition. Sounds sort of fade from one channel while becoming louder in the other, but without the impression of movement that usually accommodates that process. This was painfully obvious listening to BT’s ethereal “If The Stars Are Eternal Then So Are You And I”.
Imaging issues aside, this is to my ears the best earphone Tin HiFi has released to date. While it still retains the neutral-bright signature I have come to associate with the brand, brightness has been toned down and sub-bass improved both in terms of extension and emphasis. Where the T3 improved on everything I disliked about the T2 Pro, the T4 does a good job of tackling the T2s foibles.
Compared to a Peer (volumes matched with Dayton Audio iMM-6)
KB EAR Diamond (79.00 USD): Bass out of the T4 is notably less prominent, but slightly more impressive in my opinion. Like the Diamond it hits low notes with ease, but holds back the mid-bass and dials up the texture and speed. The T4’s driver gives off the impression of being exceptionally light and nimble, and feels like it runs circles around the Diamond when it comes to complex passages. That said, I can see the more weighty, thumpy presentation of the Diamond finding more fans because it’s a straight up more fun way to tune a low end. The T4’s mids are smoother and more refined. Upper and lower balance is improved benefiting both male and female vocals. Clarity is also a step up. Lastly, in my opinion, timbre also sounds more natural out of the T4. I was very surprised to find the T4 had less upper treble energy than the Diamond, with lower treble being similarly emphasized. Normally that would put the Diamond right into my preference crosshairs, but the midbass ends up being too distracting. The T4 also has better note control and is free of the slight splashiness present in the Diamond. Lastly, sound stage sits firmly in the T4’s favour with it being much more spacious all around. However, it has vague imaging with limited channel to channel differentiation that doesn’t hold a candle to the Diamond. Layering and separation are more in line though.
The T4 is definitely my preferred listen of the two thanks to it’s more balanced tune and all the extra detail it provides. Can’t help but be disappointed by the imaging though which the Diamond does much, much better.
In terms of build, the T4 is smaller, lighter, doesn’t isolate as well, is less comfortable, and has better fit and finish. I think the Diamond has a more appealing design though, and feels like the more premium product. A big part of that is the cable. The T4’s cable sucks. It is sticky, bouncy, and the loose braid is sloppy and gives the impression of cost cutting. Very similar to the P1’s cable, but worse due to the stickiness. Bleh…
Moondrop Starfield (109.00 USD): Bass on the Starfield is a little heavier and warmer with similar extension. The T4 is more textured and faster handling rapid notes even better, but like the Starfield can lack impact at times. The T4’s midrange is more forward with more upper mid emphasis. It has a cooler tonality and less accurate timbre as a result. Clarity and detail are similar with the T4 having a very slight edge. While neither earphone adds sibilance to a track, it’s more prominent through the T4. Overall a much less forgiving midrange than the Starfields is. Treble out of the T4 is more prominent from lower to upper giving it’s presentation extra energy and sparkle. Attack and decay are snappier than they are out of the Starfield giving it a more analytic feel. Sound stage is pretty even between the two with the Starfield’s less forward mids giving the impression of a more distant and rounded stage. The T4 can toss effects further away despite a more intimate starting point. Imaging is notably more nuanced out of the Starfield while both provide excellent layering and separation.
I’ll give the Starfield a slight edge in overall sound quality due to the T4’s mediocre imaging, but otherwise they trade blow for blow and are both outstanding earphones. Go with the T4 if you like a more neutral leaning sound, and the Starfield if you prefer some extra low end and general warmth.
In terms of build, both are great. The T4’s design isn’t as eye catching but fit and finish is better, and since it features bare metal, you won’t have to worry about paint chips as seems to be an issue for some with the Starfield. While I like MMCX connectors, the T4’s have too much play and feel nowhere near as secure as the Starfield’s excellent recessed 0.78mm 2-pin ports. The Starfield’s cable is also nicer.
While the T4’s cable is thicker and has a nice chin cinch, it’s also quite bouncy and sticky. The Starfield’s cable is light and lean and rarely gets in the way. Both have well-designed preformed ear guides.
In The Ear Modern earphones have really stepped things up in the build quality game. There are sub-20 USD earphones out there with full metal shells and a level of fit and finish that pretty easily shame pricier gear, without resorting to a generic design or shell that is shared with various other brands and products (see BGVP YSP04). The T4 is a good example of this with bare, polished aluminum shells that have taken inspiration from automotive and aviation realms. Fit and finish is excellent with a design that incorporates seams in a way that they are naturally hidden. My only complaint about the build centres around the MMCX ports. With the cable connected, there is a fair bit of play and I worry about longevity. I’d be totally okay with Tin HiFi moving over to a 2-pin design for future products.
Well, I guess I can complain about the cable too. In my opinion it’s a big step back for the brand. While it features quality materials, the sheath is loosely wound like it was on the P1. It makes the cable look somewhat sloppy and feels like they cut some corners to save on manufacturing costs since there is quite a bit less material being uses. The sheath is also quite bouncy AND sticky. The worst of all worlds really. Outside of the nice metal hardware, useful chin cinch, and well-formed ear guides, there isn’t much I like about this cable at all.
Even though the general barrel-like shape of the earphone doesn’t stray far from other models in the T Series, Tin HiFi did make at least one major change that improves the overall wearing experience, and that is their use of aluminum. The T4 is light. Almost worryingly so upon first grasp. When I took them out of the package for the first time the feathery weight came as a shock compared to its predecessors. It felt kinda cheap to be honest. However, pull out a past T Series model and you find that the T4 is just as solid, though the latter model’s matte finish is more appealing in my opinion. The turbofan texturing on the back adds some cool factor missing from the notably more plain T2, and to a lesser extent the T3 as well. Back to the point; the low weight combined with very similar ergonomics to the T2 and T3 fixes some of the stability issues with those models. The T4 is still somewhat reliant on your tip choice for a consistent and reliable seal that isn’t affected by movement, just not to the extent of past models.
Isolation is below average, which could be attributed to the ample ventilation and shallow fit. I’m guessing the aluminum shells are quite thin too, a decision that would help keep the weight as low as it is. Using them as earplugs with no music playing, I can go about my day more or less normally, only having to remove the earphones once in a while to hear something I missed. Tossing on foam tips helps, but still doesn’t make the T4 suitable for use in very noisy areas. With music playing things fare better, but I still wouldn’t be inclined to pick these up for a bus ride. A study session at the library or walk through the park would be more appropriate.
In The Box In the past Tin HiFi has shipped their earphones in some pretty unique packages. The blue book-like cases that came with the T2, T2 Pro, and T3 were like nothing else on the market. The T4’s packaging is nice, no doubt, but isn’t anything we haven’t seen elsewhere.
The matte black box has Tin HiFi and T4 branding and model information printed on the front in gold lettering, while various Tin HiFi logos can be found in white around the sides. Lifting off the lid you’re greeted to the T4 ear pieces set within a foam insert, with a snazzy new leatherette case down a little further. Lifting out the upper foam insert reveals a slew of tips. In all you get:
Final Thoughts Let’s get the bad out of the way first; imaging quality is sorely lacking, the cable needs to be replaced asap, and isolation is minimal at best. Other than that, the T4 is amazing. The light weight aluminum housings improve fit over the similarly shaped T2 and T3, and the turbofan inspired backing looks pretty slick. While the general signature follows the Tin HiFi trend of neutral-bright, upper treble has been toned down and lower bass enhanced. Detail and clarity are above average for the segment. All of this results in what I think is one of the most balanced and capable earphone in their lineup.
Nicely done yet again Tin HiFi, and thanks for reading!
– B9
Disclaimer Thanks to Lillian with Linsoul audio for arranging a sample of the T4 for the purposes of review. The thoughts within this review are my subjective opinions based on nearly two months of time spent with the T4. They do not represent Linsoul, Tin HiFi, or any other entity. At the time of writing the T4 was retailing for 109.00 USD: https://www.linsoul.com/pages/tin-hifi-t4
Specifications
The T4 was easy to drive so there is no need for an amp, HOWEVER, tossing it on something more capable than a basic phone or DAP did help VERY slightly with imaging.
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Today we’re checking out another new release from Tin HiFi, the T4.
Back in 2017, a great sounding earphone was released on the world. That earphone was the TinAudio T2. Despite receiving almost unanimously positive feedback, it flew under the radar until a few key hypsters got their hands on it. It has since become a staple recommendation to anyone wanting a well-built, neutral-leaning earphone for under 100 USD. Tin did not rest on their laurels and over the years have developed a handful of excellent followups like the single dynamic T1 and the planar magnetic P1. They rebranded to Tin HiFi, and have become one of the more highly respected Chinese hifi brands.
The T4 is the fifth earphone in the T Series and the culmination of everything Tin HiFi has learned from their past products. Is the T4 yet another outstanding release from Tin HiFi? Yes it is. Let’s look at why, shall we?
What I Hear I’ve been a big fan of Tin HiFi since the original T2 was released. It had a near-neutral signature that was a rarity for the price. The use of dual dynamics was also somewhat of a novelty since at the time, hybrids were still dominating the new release market. The T4 continues the Tin HiFi trend of neutral-bright signatures, but with only a single 10mm dynamic driver powering each side. The use of a carbon nanotube coating is kinda old school too since that was at it’s peak popularity in the early to mid 2010s.
Treble out of the T4 is light and sparkly with plenty of real detail, not just perceived detail because of some elevation in the brilliance region. That said, it has still been dialed back compared to earlier models like the T2 Pro, T3, and P1, and focus resides mostly in the lower treble. When combined with the improved low end performance that we’ll get to later, this makes the T4 the most balanced earphone in Tin’s lineup imo. Notes are lean with tons of air and space between them. This lightness translates into something that feels very nimble and well-controlled, regardless of how busy a track may get, and as such gives the T4 a very snappy presentation. Decay is maybe too quick. Not necessarily accurate, but it results in some impressive technical handling. While I know the treble here will bother some, I find it surprisingly non-fatiguing.
Like its predecessors, the T4 has pretty spectacular mids. They are forward, balanced and linear, have reasonably accurate timbre, and are technically capable. Female vocals turn out slightly cooler than I prefer, but are consistent in presentation with male vocals so neither ends up benefiting more from the T4’s style of tune. Clarity and detail are both above average with the T4 pulling the slightest nuances forward. It’s reasonably analytic, but not tiring in the process. As noted, timbre is fairly accurate but ends up making instruments sound slightly brighter than is correct. Still, it works in the context of the overall tune and minimal warmth injected into the overall sound presentation.
Bass is the aspect of the T4 I’m most impressed with when comparing to past Tin HiFi earphones. Extension is excellent and while sub-bass isn’t strongly emphasized and doesn’t overwhelm, it still gives off a proper rumble. Midbass is lean but extremely detailed and well-textured. It is fairly punchy for the most part, only occasionally lacking impact. It is very fast too and never drags it’s feet on rapid basslines, resulting in some of the most articulate and well-defined bass I’ve heard from in a single dynamic. Texture and detail is another positive, with the sort of grungy, low-res basslines your hear in tracks by The Prodigy and Malibu Ken coming out as offensively trashy as they’re supposed to.
When it comes to soundstage and related abilities, the T4’s weaknesses show. The soundstage itself is satisfyingly large with songs playing just around your head by default. Effects are effectively tossed off into the distance thanks to the width available. Depth is a bit more on the average side. More than workable since tracks still sound layered and there are no issues with instruments and effects blending together and losing their separation. But alas, now we come to imaging. This is where the T4 is a let down. While sound unquestionably moves from channel to channel, the process lacks precision and definition. Sounds sort of fade from one channel while becoming louder in the other, but without the impression of movement that usually accommodates that process. This was painfully obvious listening to BT’s ethereal “If The Stars Are Eternal Then So Are You And I”.
Imaging issues aside, this is to my ears the best earphone Tin HiFi has released to date. While it still retains the neutral-bright signature I have come to associate with the brand, brightness has been toned down and sub-bass improved both in terms of extension and emphasis. Where the T3 improved on everything I disliked about the T2 Pro, the T4 does a good job of tackling the T2s foibles.
Compared to a Peer (volumes matched with Dayton Audio iMM-6)
KB EAR Diamond (79.00 USD): Bass out of the T4 is notably less prominent, but slightly more impressive in my opinion. Like the Diamond it hits low notes with ease, but holds back the mid-bass and dials up the texture and speed. The T4’s driver gives off the impression of being exceptionally light and nimble, and feels like it runs circles around the Diamond when it comes to complex passages. That said, I can see the more weighty, thumpy presentation of the Diamond finding more fans because it’s a straight up more fun way to tune a low end. The T4’s mids are smoother and more refined. Upper and lower balance is improved benefiting both male and female vocals. Clarity is also a step up. Lastly, in my opinion, timbre also sounds more natural out of the T4. I was very surprised to find the T4 had less upper treble energy than the Diamond, with lower treble being similarly emphasized. Normally that would put the Diamond right into my preference crosshairs, but the midbass ends up being too distracting. The T4 also has better note control and is free of the slight splashiness present in the Diamond. Lastly, sound stage sits firmly in the T4’s favour with it being much more spacious all around. However, it has vague imaging with limited channel to channel differentiation that doesn’t hold a candle to the Diamond. Layering and separation are more in line though.
The T4 is definitely my preferred listen of the two thanks to it’s more balanced tune and all the extra detail it provides. Can’t help but be disappointed by the imaging though which the Diamond does much, much better.
In terms of build, the T4 is smaller, lighter, doesn’t isolate as well, is less comfortable, and has better fit and finish. I think the Diamond has a more appealing design though, and feels like the more premium product. A big part of that is the cable. The T4’s cable sucks. It is sticky, bouncy, and the loose braid is sloppy and gives the impression of cost cutting. Very similar to the P1’s cable, but worse due to the stickiness. Bleh…
Moondrop Starfield (109.00 USD): Bass on the Starfield is a little heavier and warmer with similar extension. The T4 is more textured and faster handling rapid notes even better, but like the Starfield can lack impact at times. The T4’s midrange is more forward with more upper mid emphasis. It has a cooler tonality and less accurate timbre as a result. Clarity and detail are similar with the T4 having a very slight edge. While neither earphone adds sibilance to a track, it’s more prominent through the T4. Overall a much less forgiving midrange than the Starfields is. Treble out of the T4 is more prominent from lower to upper giving it’s presentation extra energy and sparkle. Attack and decay are snappier than they are out of the Starfield giving it a more analytic feel. Sound stage is pretty even between the two with the Starfield’s less forward mids giving the impression of a more distant and rounded stage. The T4 can toss effects further away despite a more intimate starting point. Imaging is notably more nuanced out of the Starfield while both provide excellent layering and separation.
I’ll give the Starfield a slight edge in overall sound quality due to the T4’s mediocre imaging, but otherwise they trade blow for blow and are both outstanding earphones. Go with the T4 if you like a more neutral leaning sound, and the Starfield if you prefer some extra low end and general warmth.
In terms of build, both are great. The T4’s design isn’t as eye catching but fit and finish is better, and since it features bare metal, you won’t have to worry about paint chips as seems to be an issue for some with the Starfield. While I like MMCX connectors, the T4’s have too much play and feel nowhere near as secure as the Starfield’s excellent recessed 0.78mm 2-pin ports. The Starfield’s cable is also nicer.
While the T4’s cable is thicker and has a nice chin cinch, it’s also quite bouncy and sticky. The Starfield’s cable is light and lean and rarely gets in the way. Both have well-designed preformed ear guides.
In The Ear Modern earphones have really stepped things up in the build quality game. There are sub-20 USD earphones out there with full metal shells and a level of fit and finish that pretty easily shame pricier gear, without resorting to a generic design or shell that is shared with various other brands and products (see BGVP YSP04). The T4 is a good example of this with bare, polished aluminum shells that have taken inspiration from automotive and aviation realms. Fit and finish is excellent with a design that incorporates seams in a way that they are naturally hidden. My only complaint about the build centres around the MMCX ports. With the cable connected, there is a fair bit of play and I worry about longevity. I’d be totally okay with Tin HiFi moving over to a 2-pin design for future products.
Well, I guess I can complain about the cable too. In my opinion it’s a big step back for the brand. While it features quality materials, the sheath is loosely wound like it was on the P1. It makes the cable look somewhat sloppy and feels like they cut some corners to save on manufacturing costs since there is quite a bit less material being uses. The sheath is also quite bouncy AND sticky. The worst of all worlds really. Outside of the nice metal hardware, useful chin cinch, and well-formed ear guides, there isn’t much I like about this cable at all.
Even though the general barrel-like shape of the earphone doesn’t stray far from other models in the T Series, Tin HiFi did make at least one major change that improves the overall wearing experience, and that is their use of aluminum. The T4 is light. Almost worryingly so upon first grasp. When I took them out of the package for the first time the feathery weight came as a shock compared to its predecessors. It felt kinda cheap to be honest. However, pull out a past T Series model and you find that the T4 is just as solid, though the latter model’s matte finish is more appealing in my opinion. The turbofan texturing on the back adds some cool factor missing from the notably more plain T2, and to a lesser extent the T3 as well. Back to the point; the low weight combined with very similar ergonomics to the T2 and T3 fixes some of the stability issues with those models. The T4 is still somewhat reliant on your tip choice for a consistent and reliable seal that isn’t affected by movement, just not to the extent of past models.
Isolation is below average, which could be attributed to the ample ventilation and shallow fit. I’m guessing the aluminum shells are quite thin too, a decision that would help keep the weight as low as it is. Using them as earplugs with no music playing, I can go about my day more or less normally, only having to remove the earphones once in a while to hear something I missed. Tossing on foam tips helps, but still doesn’t make the T4 suitable for use in very noisy areas. With music playing things fare better, but I still wouldn’t be inclined to pick these up for a bus ride. A study session at the library or walk through the park would be more appropriate.
In The Box In the past Tin HiFi has shipped their earphones in some pretty unique packages. The blue book-like cases that came with the T2, T2 Pro, and T3 were like nothing else on the market. The T4’s packaging is nice, no doubt, but isn’t anything we haven’t seen elsewhere.
The matte black box has Tin HiFi and T4 branding and model information printed on the front in gold lettering, while various Tin HiFi logos can be found in white around the sides. Lifting off the lid you’re greeted to the T4 ear pieces set within a foam insert, with a snazzy new leatherette case down a little further. Lifting out the upper foam insert reveals a slew of tips. In all you get:
- T4 earphones
- Silver-plated MMCX cable (0.03/63C+200D enamelled wire*1C+0.08/28C silver-plated enamelled winding)
- Leatherette carrying case
- Foam tips (m)
- White single flange silicone tips (s/m/l)
- Grey single flange silicone tips (s/m/l)
Final Thoughts Let’s get the bad out of the way first; imaging quality is sorely lacking, the cable needs to be replaced asap, and isolation is minimal at best. Other than that, the T4 is amazing. The light weight aluminum housings improve fit over the similarly shaped T2 and T3, and the turbofan inspired backing looks pretty slick. While the general signature follows the Tin HiFi trend of neutral-bright, upper treble has been toned down and lower bass enhanced. Detail and clarity are above average for the segment. All of this results in what I think is one of the most balanced and capable earphone in their lineup.
Nicely done yet again Tin HiFi, and thanks for reading!
– B9
Disclaimer Thanks to Lillian with Linsoul audio for arranging a sample of the T4 for the purposes of review. The thoughts within this review are my subjective opinions based on nearly two months of time spent with the T4. They do not represent Linsoul, Tin HiFi, or any other entity. At the time of writing the T4 was retailing for 109.00 USD: https://www.linsoul.com/pages/tin-hifi-t4
Specifications
- Driver: 10mm Carbon Nanotube Dynamic Driver
- Impedance: 32Ω ±15%
- Sensitivity: 102 ±3dB @1kHz 0.126v
- Frequency Response: 10Hz-20KHz
- Max Distortion: 1% @1kHz, 0.126v
The T4 was easy to drive so there is no need for an amp, HOWEVER, tossing it on something more capable than a basic phone or DAP did help VERY slightly with imaging.
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
ngoshawk
As always, stellar review!
B9Scrambler
Thank ya sir. When I posting the T2 Plus review I realized I never posted the T4 review here. Oops...
senorx12562
Great review. Thanks for your efforts. I love these iems. Recommended them to my son, and of course, they were insufficient in the low-end for a 25 year-old hip-hop/edm fan (I forgot. So sue me, I got free iems out of it.) He gave them to me, and for the $80 he paid, they are stellar. I don't listen to much bass-heavy music tho, so horses for courses I guess. These are my every day carry iems. Not as forgiving as the Arias, but more revealing, especially from the mids up. Bass is not huge in quantity, but it's tight and controlled. I think they would be a bargain at twice the price.
Greetings!
Today we’re checking out another inexpensive hybrid earphone from the Kobe Bryant inspired brand, KB EAR.
The KS2 is a 1+1 hybrid with one balanced armature and one dynamic driver per side. Coming in at under 30 USD, the KS2 has to square up with heavy hitters from brands like KZ, TRN, Moondrop, and more. Oddly, some of the strongest competition comes from KB EAR themselves in the KB04, another recently released 1+1 hybrid.
Does the KS2 warrant release so soon after the KB04, or will its metal-bodied relative retain top dog status in KB EAR’s budget segment. Let’s find out, shall we?
What I Hear The KS2 has a fairly prominent v-shaped tune with massive bass and strong treble that keeps it feeling lively and energetic. It’s fun and competent, but won’t satisfying those looking for something that falls under the realm of “balanced”.
As noted, bass presence here is quite prominent. The KS2 extends very well into subbass regions giving listeners quite a visceral, physical presentation. Midbass keeps up well adding some needed warmth to the presentation and showing just how punchy the dynamic in this budget friendly earphone can be. Texturing is pretty good too giving grungy notes an appropriate level of grit to them. The low end is fairly quick, with rapid notes retaining composure quite well, though on the rapid double bass common to speed metal the KS2 starts to get a bit smeary.
The midrange is a bit less impressive. While vocals are articulate and detailed, they feel set back too far, too often. That’s fine on tracks where they are secondary and used more like another instrument (common to breakbeat and similar EDM genres), but with other genres I found myself raising the volume a hint to bring them up. Doing so highlighted another problem area; sibilance. “T”s can be quite sizzly through the KS2, “s” less so. While less naturally sibilant tracks remain fine through the KS2, inherently sibilant tracks like Aesop Rock’s “Blood Sandwich” can be downright unpleasant, especially at higher volumes. Timbre is handled fairly well, though slightly dry sounding at times giving the presentation an unnatural edge. Still better than most though, so it get s thumbs up from me.
Treble fairs better with the KS2’s armatures providing a solid experience. The presence / brilliance region balance is handled well with enough lower treble emphasis to give the KS2 good detail. There is enough upper treble emphasis to provide some shimmer without sounding boosted for the sake of artificially enhancing clarity and/or detail. In typical armature fashion notes attack and decay fairly quick without any unnecessary lingering. Control is good but the KS2 can sound splashy and loose at times. General emphasis is a bit much too and could stand to be dialed down to allow the midrange more room to play.
Sound stage performance is pretty decent for a budget earphone, but it’s not the cavernous beast I was led to believe. Vocals have a default presentation just inside the ear with notes spreading off into the distance, generally to around my shoulders. Channel-to-channel movement is accurate enough and perfectly suitable for light gaming. For something a bit more serious or competitive, it’s worth spending a little bit more for the Moondrop SSR which walk circles around the KS2 in this section, but for 25 bucks the KS2 does a good job. That goes double for layering and instrument separation which are also quite nice for something in this price range. On really busy or bassy tracks it can sound a bit confined, but this is more of an exception than the rule.
Overall I find the KS2 to be a well-tuned v-shaped earphone. I don’t think it does anything particularly new or special and it certainly isn’t my cup of tea, which is fine. I don’t expect manufacturers to be overly ambitious with their budget gear. The KS2 plays it safe and provides buyers with a tune that is sure to please the majority.
Compared To A Peer
KZ ZSN (19 USD): ZSN has more subbass, less midbass and is more textured. Speed and general punchiness are about the same. ZNS’s mids are more forward, thicker, and less subject to be overshadowed by upper regions. KS2 is more sibilant. Timbre is similarly fine, but neither are perfectly accurate; dry on the KS2, slightly light on the ZSN. Treble on the KS2 is notably more boosted, particularly in the brilliance region. I find it hides the mids slightly which is not the case on the ZSN. The ZSN is less forgiving of lower quality files than the KS2, which results in the ZSN’s treble sounding cleaner on higher quality files, but worse (i.e. splashy) on lower quality files. When it comes to sound stage the ZSN has the edge. Default vocal positioning is slightly further from the ear giving off a very subtle element of extra space. Imaging, layering and separation all feel just a bit more accurate and defined through the ZSN.
Overall I prefer the tuning of the ZSN. Performance is close, but the ZSN ends up sounding like the more refined, mature product. It’s an even better value too. Performance is slightly better, build is more impressive (higher quality plastics, metal faceplates, thicker cable) and it’s even more affordable.
TRN V30 (25 USD): V30 doesn’t extend quite as well as the KS2 but subbass presence is still solid. Midbass is a bit punchier out of the V30. Texturing is similarly good with the KS2 having a slight edge. I find the V30 slightly more nimble and coherent on rapid double-bass notes. Mids are more forward and warmer on the V30 giving it a more natural timbre and overall presentation. KS2 wins on detail though, leaving the V30’s mids sounding almost veiled. Treble is in general less boosted on the V30 but with a similar presence/brilliance region balance. Like the KS2 it can be a bit harsh at high volumes. I’d say their treble quality is about on par with the V30 being slightly more enjoyable due to the reduced emphasis. The V30 has a wider sound stage, thanks in part to vocals having a less intimate default positioning. Imaging is more accurate out of the V30 and individual track elements feel better separated, but the KS2 does a better job with layering.
Overall I’ve got to give the V30 thanks to the improved timbre quality and less aggressive treble. Neither is in any way special when it comes to build, though the V30’s cable is slightly improved; more flexible with better strain relief. Ergonomics go to the KS2 though. V30’s fit is a little odd without ideal tips.
KB EAR KB04 (39.99 USD): Bass out of the KB04 is tighter and more refined sounding with a better mid/subbass balance. It’s more textured too, and doesn’t fall short in terms of extension. Midrange placement, detail, and timbre quality is similar between the two, but it works better on the KB04 thanks to less emphasis at the extremes. I don’t find myself increasing the volume to the same extent to bring up vocals. Treble on the KS2 is brighter but less well-controlled leading to notes sounding slashy. The KB04 could benefit from more emphasis in the brilliance region to bring it more in line with the KS2, especially since it has a clear edge in detail and clarity. Neither has a particularly special sound stage but again, a slight edge goes to the KB04. I find the presentation wider and similarly deep with cleaner channel-to-channel transitions and improved instrument layering and separation.
Overall the KB04 is the better product in nearly every way. The improvements aren’t particularly vast, but given the KB04 can routinely be found for only a few bucks more and comes with beautiful metal shells, better tips, and a nicer cable, I see no reason to pick up the KS2 over it.
In The Ear The KS2 has a very familiar silhouette with the same shape and design to its face plate used by brands like KZ, FiiO, TFZ, among others. The rest of the shell doesn’t stray far either, except that it is quite a bit thinner giving the KS2 a tighter, lower profile fit. The plastics used feel in line in quality with KZs and CCAs, behind brands like FiiO with the FH1S, and above TRN with the V30. Fit and finish is quite good with all component parts lining up perfectly. Seams are impressively, well, pretty much absent. Can barely feel them even with a fingernail.
The twisted copper cable also bares comparison with similarly priced models from KZ, CCA, Tripowin, among others. The light sheath looks and feels basically the same with a low y-split, easily tangled above thanks to some aggressively formed ear guides. The y-split is nicely relieved out the top, while entry below is more or less reliefless. It’s there, but too stubby and tough to do anything. Absent is a chin cinch, which is a little disappointing since the KB04 had one. The 90 degree angled jack is one I haven’t seen in quite a few years, back when KZs were still branded with their early G.K. Affiliation. It’s a solid rubber jack that is quite compact with a long extension to allow wide compatibility with DAP and phone cases. Strain relief isn’t great, again too stubby and tough, which is about the only thing I can knock this jack for. One thing I appreciate about this cable and the ear guide design is that cable noise is kept to a minimum.
Comfort is a big plus with the KS2. The ergonomic shape, low weight, and overall slenderness results in an earphone that is quite easy to wear for long periods. The sharply angled ear guides keep the cable tight to your ear without causing discomfort, and help ensure a stable fit even when going for a run. Isolation is passable, falling into the slightly below average category in my experience. I can easily hold a conversation with someone (no music playing of course) without struggling to comprehend what they’re saying. Key strokes on a keyboard are dulled slightly but still quite audible. Cars passing by are too. Tossing on some foam tips helps, but expect to have to increase volume to drown out your surroundings if using the KS2 in noisy areas.
In The Box The KS2 comes in what has quickly become a very common style of packaging for earphones of this style and in this price range. The exterior sheath contains an image of the left earpiece with a neat looking clear tip installed, along with the usual branding and model information. On the rear are the specs in three languages, along with location and contact information for KB EAR.
Sliding the sheath off sees the earphones under a clear plastic window, neatly tucked into a cardboard covered foam insert, and a smaller KB EAR branded cardboard box containing the included accessories. In all you get:
Final Thoughts The KS2 is a perfectly fine earphone for the price. As a daily driver it ticks all the right boxes; light, comfortable, and with a tune that does well out in the real world. The big bass isn’t lost when outside noises bleed in, and the emphasized treble keeps detail levels satisfactory. I really wish the midrange was less recessed though, as vocals are pretty easily overshadowed.
I don’t think the KS2 is a class leader in any way, but that doesn’t really matter when it is inexpensive, sounds good, and should provide users with plenty of entertainment. Plus, it can match and possibly exceed the performance of the MS1 – Rainbow at a third of the cost (read about that in my early impressions post), so good on KB EAR for that.
Thanks for reading!
– B9
Disclaimer Thank you to Wendy with KB EAR for reaching out to see if I would be interested in covering the KS2. For a discounted review sample price (10 cents CAD), it was purchased through their AliExpress store and shipped off to Canada. The thoughts within this review are my own subjective opinions based on time spent listening to the KS2. They do not represent KB EAR or any other entity. At the time of writing it was retailing for 23.99 – 24.99 USD: https://www.aliexpress.com/item/4001209302741.html
Specifications
Frequency response: 20-20Hz
Impedance: 16ohms
Sensitivity: 106dB +/- 3dB
Gear Used For Testing LG Q70, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Today we’re checking out another inexpensive hybrid earphone from the Kobe Bryant inspired brand, KB EAR.
The KS2 is a 1+1 hybrid with one balanced armature and one dynamic driver per side. Coming in at under 30 USD, the KS2 has to square up with heavy hitters from brands like KZ, TRN, Moondrop, and more. Oddly, some of the strongest competition comes from KB EAR themselves in the KB04, another recently released 1+1 hybrid.
Does the KS2 warrant release so soon after the KB04, or will its metal-bodied relative retain top dog status in KB EAR’s budget segment. Let’s find out, shall we?
What I Hear The KS2 has a fairly prominent v-shaped tune with massive bass and strong treble that keeps it feeling lively and energetic. It’s fun and competent, but won’t satisfying those looking for something that falls under the realm of “balanced”.
As noted, bass presence here is quite prominent. The KS2 extends very well into subbass regions giving listeners quite a visceral, physical presentation. Midbass keeps up well adding some needed warmth to the presentation and showing just how punchy the dynamic in this budget friendly earphone can be. Texturing is pretty good too giving grungy notes an appropriate level of grit to them. The low end is fairly quick, with rapid notes retaining composure quite well, though on the rapid double bass common to speed metal the KS2 starts to get a bit smeary.
The midrange is a bit less impressive. While vocals are articulate and detailed, they feel set back too far, too often. That’s fine on tracks where they are secondary and used more like another instrument (common to breakbeat and similar EDM genres), but with other genres I found myself raising the volume a hint to bring them up. Doing so highlighted another problem area; sibilance. “T”s can be quite sizzly through the KS2, “s” less so. While less naturally sibilant tracks remain fine through the KS2, inherently sibilant tracks like Aesop Rock’s “Blood Sandwich” can be downright unpleasant, especially at higher volumes. Timbre is handled fairly well, though slightly dry sounding at times giving the presentation an unnatural edge. Still better than most though, so it get s thumbs up from me.
Treble fairs better with the KS2’s armatures providing a solid experience. The presence / brilliance region balance is handled well with enough lower treble emphasis to give the KS2 good detail. There is enough upper treble emphasis to provide some shimmer without sounding boosted for the sake of artificially enhancing clarity and/or detail. In typical armature fashion notes attack and decay fairly quick without any unnecessary lingering. Control is good but the KS2 can sound splashy and loose at times. General emphasis is a bit much too and could stand to be dialed down to allow the midrange more room to play.
Sound stage performance is pretty decent for a budget earphone, but it’s not the cavernous beast I was led to believe. Vocals have a default presentation just inside the ear with notes spreading off into the distance, generally to around my shoulders. Channel-to-channel movement is accurate enough and perfectly suitable for light gaming. For something a bit more serious or competitive, it’s worth spending a little bit more for the Moondrop SSR which walk circles around the KS2 in this section, but for 25 bucks the KS2 does a good job. That goes double for layering and instrument separation which are also quite nice for something in this price range. On really busy or bassy tracks it can sound a bit confined, but this is more of an exception than the rule.
Overall I find the KS2 to be a well-tuned v-shaped earphone. I don’t think it does anything particularly new or special and it certainly isn’t my cup of tea, which is fine. I don’t expect manufacturers to be overly ambitious with their budget gear. The KS2 plays it safe and provides buyers with a tune that is sure to please the majority.
Compared To A Peer
KZ ZSN (19 USD): ZSN has more subbass, less midbass and is more textured. Speed and general punchiness are about the same. ZNS’s mids are more forward, thicker, and less subject to be overshadowed by upper regions. KS2 is more sibilant. Timbre is similarly fine, but neither are perfectly accurate; dry on the KS2, slightly light on the ZSN. Treble on the KS2 is notably more boosted, particularly in the brilliance region. I find it hides the mids slightly which is not the case on the ZSN. The ZSN is less forgiving of lower quality files than the KS2, which results in the ZSN’s treble sounding cleaner on higher quality files, but worse (i.e. splashy) on lower quality files. When it comes to sound stage the ZSN has the edge. Default vocal positioning is slightly further from the ear giving off a very subtle element of extra space. Imaging, layering and separation all feel just a bit more accurate and defined through the ZSN.
Overall I prefer the tuning of the ZSN. Performance is close, but the ZSN ends up sounding like the more refined, mature product. It’s an even better value too. Performance is slightly better, build is more impressive (higher quality plastics, metal faceplates, thicker cable) and it’s even more affordable.
TRN V30 (25 USD): V30 doesn’t extend quite as well as the KS2 but subbass presence is still solid. Midbass is a bit punchier out of the V30. Texturing is similarly good with the KS2 having a slight edge. I find the V30 slightly more nimble and coherent on rapid double-bass notes. Mids are more forward and warmer on the V30 giving it a more natural timbre and overall presentation. KS2 wins on detail though, leaving the V30’s mids sounding almost veiled. Treble is in general less boosted on the V30 but with a similar presence/brilliance region balance. Like the KS2 it can be a bit harsh at high volumes. I’d say their treble quality is about on par with the V30 being slightly more enjoyable due to the reduced emphasis. The V30 has a wider sound stage, thanks in part to vocals having a less intimate default positioning. Imaging is more accurate out of the V30 and individual track elements feel better separated, but the KS2 does a better job with layering.
Overall I’ve got to give the V30 thanks to the improved timbre quality and less aggressive treble. Neither is in any way special when it comes to build, though the V30’s cable is slightly improved; more flexible with better strain relief. Ergonomics go to the KS2 though. V30’s fit is a little odd without ideal tips.
KB EAR KB04 (39.99 USD): Bass out of the KB04 is tighter and more refined sounding with a better mid/subbass balance. It’s more textured too, and doesn’t fall short in terms of extension. Midrange placement, detail, and timbre quality is similar between the two, but it works better on the KB04 thanks to less emphasis at the extremes. I don’t find myself increasing the volume to the same extent to bring up vocals. Treble on the KS2 is brighter but less well-controlled leading to notes sounding slashy. The KB04 could benefit from more emphasis in the brilliance region to bring it more in line with the KS2, especially since it has a clear edge in detail and clarity. Neither has a particularly special sound stage but again, a slight edge goes to the KB04. I find the presentation wider and similarly deep with cleaner channel-to-channel transitions and improved instrument layering and separation.
Overall the KB04 is the better product in nearly every way. The improvements aren’t particularly vast, but given the KB04 can routinely be found for only a few bucks more and comes with beautiful metal shells, better tips, and a nicer cable, I see no reason to pick up the KS2 over it.
In The Ear The KS2 has a very familiar silhouette with the same shape and design to its face plate used by brands like KZ, FiiO, TFZ, among others. The rest of the shell doesn’t stray far either, except that it is quite a bit thinner giving the KS2 a tighter, lower profile fit. The plastics used feel in line in quality with KZs and CCAs, behind brands like FiiO with the FH1S, and above TRN with the V30. Fit and finish is quite good with all component parts lining up perfectly. Seams are impressively, well, pretty much absent. Can barely feel them even with a fingernail.
The twisted copper cable also bares comparison with similarly priced models from KZ, CCA, Tripowin, among others. The light sheath looks and feels basically the same with a low y-split, easily tangled above thanks to some aggressively formed ear guides. The y-split is nicely relieved out the top, while entry below is more or less reliefless. It’s there, but too stubby and tough to do anything. Absent is a chin cinch, which is a little disappointing since the KB04 had one. The 90 degree angled jack is one I haven’t seen in quite a few years, back when KZs were still branded with their early G.K. Affiliation. It’s a solid rubber jack that is quite compact with a long extension to allow wide compatibility with DAP and phone cases. Strain relief isn’t great, again too stubby and tough, which is about the only thing I can knock this jack for. One thing I appreciate about this cable and the ear guide design is that cable noise is kept to a minimum.
Comfort is a big plus with the KS2. The ergonomic shape, low weight, and overall slenderness results in an earphone that is quite easy to wear for long periods. The sharply angled ear guides keep the cable tight to your ear without causing discomfort, and help ensure a stable fit even when going for a run. Isolation is passable, falling into the slightly below average category in my experience. I can easily hold a conversation with someone (no music playing of course) without struggling to comprehend what they’re saying. Key strokes on a keyboard are dulled slightly but still quite audible. Cars passing by are too. Tossing on some foam tips helps, but expect to have to increase volume to drown out your surroundings if using the KS2 in noisy areas.
In The Box The KS2 comes in what has quickly become a very common style of packaging for earphones of this style and in this price range. The exterior sheath contains an image of the left earpiece with a neat looking clear tip installed, along with the usual branding and model information. On the rear are the specs in three languages, along with location and contact information for KB EAR.
Sliding the sheath off sees the earphones under a clear plastic window, neatly tucked into a cardboard covered foam insert, and a smaller KB EAR branded cardboard box containing the included accessories. In all you get:
- KS2 earphones
- 0.78mm 2-pin 4 core OFC cable
- Single flange silicone tips (s/m/l)
- Manual
Final Thoughts The KS2 is a perfectly fine earphone for the price. As a daily driver it ticks all the right boxes; light, comfortable, and with a tune that does well out in the real world. The big bass isn’t lost when outside noises bleed in, and the emphasized treble keeps detail levels satisfactory. I really wish the midrange was less recessed though, as vocals are pretty easily overshadowed.
I don’t think the KS2 is a class leader in any way, but that doesn’t really matter when it is inexpensive, sounds good, and should provide users with plenty of entertainment. Plus, it can match and possibly exceed the performance of the MS1 – Rainbow at a third of the cost (read about that in my early impressions post), so good on KB EAR for that.
Thanks for reading!
– B9
Disclaimer Thank you to Wendy with KB EAR for reaching out to see if I would be interested in covering the KS2. For a discounted review sample price (10 cents CAD), it was purchased through their AliExpress store and shipped off to Canada. The thoughts within this review are my own subjective opinions based on time spent listening to the KS2. They do not represent KB EAR or any other entity. At the time of writing it was retailing for 23.99 – 24.99 USD: https://www.aliexpress.com/item/4001209302741.html
Specifications
Frequency response: 20-20Hz
Impedance: 16ohms
Sensitivity: 106dB +/- 3dB
Gear Used For Testing LG Q70, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Greetings!
Today we’re checking out one of FiiO’s newest releases, the FD1.
The FD1 pull its physical side from the FH1S sharing the same low profile, ergonomic shell with unique celluloid faceplates, 0.78mm 2-pin system, and snazzy cable. Where the FH1S was a 1+1 hybrid, the FD1 rolls with a single dynamic. What sets it apart on the specs sheet is the use of beryllium plating on the diaphragm, tech which is generally reserved for much more expensive products.
I’ve spent nearly a month with the FD1 and have come away quite satisfied with the performance on hand. Let us take a closer look, shall we?
What I Hear The FD1 has a strong low end with a focus on sub-bass over mid-bass. As a result the experience is quite physical with deep notes providing plenty of visceral feedback, though I would like just a hint more midbass emphasis to really dial in that punchiness, and add a smidge more warmth. Still, you can really feel the rumble in the subterranean bass notes on Massive Attack’s “Teardrop”. The piano chords are given a powerful presence too, lingering appropriately and perfectly backing the emotional performance from Elizabeth Fraser. Unlike some other reviewers, I also found this driver quite quick and snappy, easily tackling the rapid bass notes of Sepultura’s “Lobotomy”. Lesser earphones will smear individual hits lending to a very messy and one-note sounding track. The FD1 does a good job retaining clarity start to finish. It’s no slouch in the texture department either. The heavily textured and distorted bass on The Prodigy’s “World On Fire” sounds adequately dirty and low-fi.
The mid-range is pulled back compared to the rest of the frequency range with an upper mid lift that helps it retain presence. Vocals are clear and articulate with only the occasional track running into a mild veil from bass bleed, such as on Felt’s “Whaleface”. I found the presentation here best suited to male vocalists. Female vocalists can sound a little too aggressive at times, particularly those with particularly high pitched voices. K-Pop fans will probably want to heed this warning. While leaning towards a thinner sound, there is enough body to keep the FD1 from sounding lean and overly light. Sibilance is handled very well here. The FD1 doesn’t introduce anything that isn’t already there, and what is there is minimized considerably. This is very evident on Aesop Rock’s “Blood Sandwich” which is quite unforgiving of sibilant earphones. I’d say the FD1 goes toe to toe with the KB EAR Diamond in this aspect, which is very impressive. Timbre is similarly accurate too, though here it is a hint dry vs. the Diamond’s lightness.
Treble out of the FD1 is nice and clean sounding with a well-defined structure to notes. There is none of the splashiness I find common to inexpensive single dynamics present here. This makes listening to King Crimson’s live rendition of “Cat Food” a joy since it is heavy on cymbals that often sound splashy and loose through the wrong earphone. Again the FD1’s snappiness and control shines, with notes decaying quickly. It ensures the FD1 remains coherent and articulate, even when things get busy. My only complaint here is a lack of upper treble emphasis. This leaves the detailed lower treble to carry the upper ranges giving the FD1 it’s slightly dry tonality. There isn’t much sparkle to be found here.
When it comes to sound stage the FD1 again provides a satisfying experience. On Andrea Gabrieli’s “Communion: O sacrum convivium a 5” I get the impression I’m sitting a few rows from the stage. The layered vocals display impressive depth and width, temping me to turn my head to locate vocalists at either end of the procession. I had similar experiences using the FD1 while gaming and could fairly easily track enemies in PUBG as they moved around the house I was camping in, or to track shots of in the distance, helping me avoid combat when unwise to engage. While I find the FD1 to image, layer and separate quite well, I’m keen to try in on a game with truly advanced sound design, such as Hunt: Showdown which used binaural recording to craft it’s intense soundscape.
Overall I quite enjoy the way the FD1 sounds. The v-shaped tune on hand doesn’t do anything particularly new and exciting instead giving you a very competent example of that type of sound to point to. Bass depth is excellent with good control and texture. The slightly recessed mids can be a bit harsh with female vocalists, but sibilance is handled very well and there is plenty of detail on tap. Treble is also well done with great control and speed. There could stand to be a hint more emphasis in the brilliance region, but as is I found the upper ranges detailed and non-fatiguing. The sound stage is also quite good with plenty of depth and width on tap, backed by a layered feel and well separated instruments. Imaging is also decent too making tracking sounds crossing from channel-to-channel a mostly painless experience.
Compared To A Peer (volumes matched with Dayton iMM-6)
FiiO FH1S (85.99 USD): The FD1 has significantly more bass presence, though they both seem to extend similarly well. The FH1s’ low end lacks the punch and weight found on the FD1 leaving it to play a secondary role in the overall signature. Despite the lessened presence, it doesn’t feel any quicker or better controlled, with a similarly good texturing. Mids are more audibly forward on the FH1s with a leaner, less bodied presence, though they feel more spacious and spread out, almost to the point of being echoey. It is reminiscent of turning on a present EQ function. The FD1 sounds considerably more natural with more accurate timbre, though detail takes a step back. The FH1S is also more subject to sibilance and shoutiness, especially on female vocals, making it uncomfortable in instances where the FD1 is fine. Treble out of the FD1 lacks the extension and representation in the brilliance region, though it is cleaner and better controlled. Detail again goes to the FH1S though. Sound stage is notably larger out of the FH1S thanks to vocals that are set further back by default, a leaner note weight, and all that additional treble energy. That said, I prefer the cleaner imaging and instrument separation of the FD1, though it doesn’t sound as well layered.
Overall I think the FD1 is a pretty significant step up from the FH1S. It has a more refined, well-rounded tune without any of the midrange quirks, though those who liked the FH1S’ somewhat laid back bass might feel the FD1 is a bit heavy handed down low.
Shozy Form 1.1 (74.99 USD): The Form 1.1 has more upper treble emphasis providing more sparkle and shimmer than the FD1, though lower treble is comparable if not slightly more prominent on the FD1. Control and general refinement are in the 1.1’s camp. Detail and clarity go to the 1.1 though, in addition to sounding a bit tighter and cleaner on each note. Mids are slightly more forward out of the FD1. They’re more dry though, lacking the warmth and natural timbre of the 1.1, though I’ll give the FD1 a very light edge in terms of vocal detail. Bass out of the Form 1.1 extends well but rolls off before reaching the outstanding depths of the FD1. Balance is shifted towards midbass vs. the FD1’s subbass bias giving them very different presentations. I find the FD1 faster and more visceral with better texture, though the 1.1 has a more even mid/subbass balance leaving it feeling more well-rounded overall. Sound stage is wider and deeper on the FD1 with its generally more spacious feel being helped along by a less intimate vocal presentation. Imaging is similarly good while I find the Form 1.1 slightly more competent when it comes to layering and separating sounds.
Overall I find these two both quite good, though the 1.1s improved timbre quality and generally more balanced sound has me picking it up over the FD1 more often than not.
KB EAR Diamond (79.00 USD): These two I find quite comparable and similarly tuned. Extension from the FD1 is a bit better with a balanced shifted more towards sub-bass compared to the Diamond’s midbass hump that grabs your attention. The FD1 is more textured and punchy leaving the Diamond feeling a hint soft and overly smooth. Grungy textures lack the same animation heard through the FD1. The FD1’s mids are more forward and a bit thicker. Detail is similarly okay on both, with neither really having an upper hand. I also find both a little on the lighter side when it comes to timbre, though the Diamond is a bit ahead here. Neither seem shouty and both do an excellent job minimizing sibilance. Treble out of the FD1 is also slightly more forward and has a grittier texture to it. I prefer the Diamond’s presence/brilliance region balance with feels more even. While the FD1’s presentation is a little tighter and more detailed, I found myself preferring the Diamond’s more laid back, completely non-fatiguing treble. Sound stage goes to the FD1. While its default vocal positioning is closer to the ear, it does a better job tossing effects off into the distance, though depth is similarly presented. The Diamond always feels a bit closed in. This is somewhat beneficial in showing off imaging and separation qualities which edge out the FD1, though it falls behind when it comes to instrument layering.
Overall I find myself enjoying the FD1 more thanks to the additional texture, subbass emphasis, and more spacious presentation.
In The Ear The FD1 uses the same shell as the FH1s before it. The low profile design conforms to the natural shape of the outer ear providing a stable fit that is only helped further by the use of preformed ear guides. Those who have particularly small ears or outer ears with an unusual shape might have troubles wearing the FD1, but for the majority they should provide a comfortable wearing experience.
That’s helped along by the fact they are so light thanks primarily to the use of plastics for the construction. Fit and finish is excellent with tight seams between the inner half of the shell and face plate. The metal nozzles are glued neatly in place without any excess glue having seeped out. The 2-pin ports are slightly raised and about the only area of concern since I have seen numerous images of this style of port cracking. That said, the raise is fairly conservative with thick sidewalls surrounding the actual ports, so I have faith they’ll hold up. One aesthetic touch that FiiO rightly seems proud of is the layered celluloid face plates which are unique from model to model. This is apparently the same material used for guitar picks so durability should be very high.
FiiO always goes the extra yard with their included cables and the FD1’s is no exception. This cable is outstanding for a product under 100 USD, and I would have been plenty happy to see it included with something notably more expensive. The twisted design is thick but very flexible and not so weighty that it tugs at the earphones while you walk. The 90 degree angled jack in one that FiiO has been using for a while now and has ample strain relief in place to protect the cable. The plug also extends slightly to help ensure good fitment with a variety of phone and DAP cases. The FiiO branded metal y-split doesn’t have any strain relief, but with cables of this style and with splits this compact I’ve never found it an issue. Sitting just above the y-split is a compact metal chin cinch that moves with just enough resistance to ensure it stays in place while remaining easy to adjust when needed. Leading up to the 2-pin plugs that angle at ~45 degrees are preformed ear guides. Since FiiO went with shrink wrap instead of the hard plastic some manufacturers use, they remain flexible and soft but stiff enough to keep the cable from bouncing out of place. Another nice touch is the redundant left/right markings. On the inside of each plug is a small letter to denote the channel, while on the base of each plug is a coloured pad; red for right, blue for left. It is always nice when companies go out of their way to add various methods of determining channel. Shows an attention to detail that is sometimes lacking in the industry. The only complaint I have is that the plugs sit flush with the raised ports on the earphone instead of wrapping around them like you’ll see on similar designs from a few other manufacturers. Leaving this out means the pins are more easily damaged, but treat the product with a modicum of care (ex. use the case and don’t simply toss them into a pocket) and you shouldn’t have to worry.
Lastly, the FD1’s isolation is not amazing. I’d put it into the “average to slightly below” camp thanks to the reasonably shallow fit inherent to this particular shell design. There is also ample ventilation through a pinhole in front of the driver, and another cleverly hidden behind the 2-pin ports. On the plus side, wind noise is kept to a minimum which is cool. They’re definitely usable in noisy areas, but you may have to compensate with added volume (less so if you opt for foam tips).
In The Box The FD1 comes in the same magnetically sealed flip-top style box that the FH1S came in before it. On the front is an image of the left earpiece, as well as the usual branding and model information, as well as a Hi-Res Audio logo, set on a black backdrop. The rest of the package contains nothing noteworthy. Flipping back to lid you are greeted by a large manual within which you find information in the correct way to wear the FD1, how to property attach the 2-pin cables, as well as warranty information among other details. Lifting this out you find the FD1 set tightly within a cardboard coated foam insert. The cable is attached and neatly wrapped within a separate enclosure below. There is also a second, smaller cardboard box in which you find the accessories. In all you get:
Final Thoughts The FD1 is a well-rounded earphone that is plenty competitive within it’s segment. It has an attractive, well-designed, comfortable shell with a high quality cable. Included are a wide variety of tips and sizes with a great Pelican-style case, though some might appreciate if FiiO included a smaller, more pocketable option too.
Sound is tuned with a familiar v-shape. Sub-bass steals the show, digging deep and providing plenty of visceral feedback with lots of texture and good control along the way. Mids could stand to be a hint more balanced, lacking emphasis but still a bit harsh with some female vocalists. Sibilance is very well-managed though and mostly absent. Treble is clean and well controlled with good detail, though the focus is clearly on the presence region. There isn’t a ton of sparkle to be had with the FD1, surprising given the reasonably vast staging present.
Unless you’re going in expecting something neutral, I can’t see too many being disappointed with what FiiO has released here.
Thanks for reading!
– B9
Disclaimer A big thanks to Sunny with FiiO for reaching out to see if I would be interested in covering the FD1, and for sending over a sample for review. The thoughts within this review are my subjective impressions based on nearly a month of use. They do not represent FiiO or any other entity. At the time of writing you could pick up the FD1 for 89.99 USD: https://www.fiio.com/fd1 / https://fiio.aliexpress.com/store/group/FD1-Dynamic-Earphone/1473108_517614113.html
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Today we’re checking out one of FiiO’s newest releases, the FD1.
The FD1 pull its physical side from the FH1S sharing the same low profile, ergonomic shell with unique celluloid faceplates, 0.78mm 2-pin system, and snazzy cable. Where the FH1S was a 1+1 hybrid, the FD1 rolls with a single dynamic. What sets it apart on the specs sheet is the use of beryllium plating on the diaphragm, tech which is generally reserved for much more expensive products.
I’ve spent nearly a month with the FD1 and have come away quite satisfied with the performance on hand. Let us take a closer look, shall we?
What I Hear The FD1 has a strong low end with a focus on sub-bass over mid-bass. As a result the experience is quite physical with deep notes providing plenty of visceral feedback, though I would like just a hint more midbass emphasis to really dial in that punchiness, and add a smidge more warmth. Still, you can really feel the rumble in the subterranean bass notes on Massive Attack’s “Teardrop”. The piano chords are given a powerful presence too, lingering appropriately and perfectly backing the emotional performance from Elizabeth Fraser. Unlike some other reviewers, I also found this driver quite quick and snappy, easily tackling the rapid bass notes of Sepultura’s “Lobotomy”. Lesser earphones will smear individual hits lending to a very messy and one-note sounding track. The FD1 does a good job retaining clarity start to finish. It’s no slouch in the texture department either. The heavily textured and distorted bass on The Prodigy’s “World On Fire” sounds adequately dirty and low-fi.
The mid-range is pulled back compared to the rest of the frequency range with an upper mid lift that helps it retain presence. Vocals are clear and articulate with only the occasional track running into a mild veil from bass bleed, such as on Felt’s “Whaleface”. I found the presentation here best suited to male vocalists. Female vocalists can sound a little too aggressive at times, particularly those with particularly high pitched voices. K-Pop fans will probably want to heed this warning. While leaning towards a thinner sound, there is enough body to keep the FD1 from sounding lean and overly light. Sibilance is handled very well here. The FD1 doesn’t introduce anything that isn’t already there, and what is there is minimized considerably. This is very evident on Aesop Rock’s “Blood Sandwich” which is quite unforgiving of sibilant earphones. I’d say the FD1 goes toe to toe with the KB EAR Diamond in this aspect, which is very impressive. Timbre is similarly accurate too, though here it is a hint dry vs. the Diamond’s lightness.
Treble out of the FD1 is nice and clean sounding with a well-defined structure to notes. There is none of the splashiness I find common to inexpensive single dynamics present here. This makes listening to King Crimson’s live rendition of “Cat Food” a joy since it is heavy on cymbals that often sound splashy and loose through the wrong earphone. Again the FD1’s snappiness and control shines, with notes decaying quickly. It ensures the FD1 remains coherent and articulate, even when things get busy. My only complaint here is a lack of upper treble emphasis. This leaves the detailed lower treble to carry the upper ranges giving the FD1 it’s slightly dry tonality. There isn’t much sparkle to be found here.
When it comes to sound stage the FD1 again provides a satisfying experience. On Andrea Gabrieli’s “Communion: O sacrum convivium a 5” I get the impression I’m sitting a few rows from the stage. The layered vocals display impressive depth and width, temping me to turn my head to locate vocalists at either end of the procession. I had similar experiences using the FD1 while gaming and could fairly easily track enemies in PUBG as they moved around the house I was camping in, or to track shots of in the distance, helping me avoid combat when unwise to engage. While I find the FD1 to image, layer and separate quite well, I’m keen to try in on a game with truly advanced sound design, such as Hunt: Showdown which used binaural recording to craft it’s intense soundscape.
Overall I quite enjoy the way the FD1 sounds. The v-shaped tune on hand doesn’t do anything particularly new and exciting instead giving you a very competent example of that type of sound to point to. Bass depth is excellent with good control and texture. The slightly recessed mids can be a bit harsh with female vocalists, but sibilance is handled very well and there is plenty of detail on tap. Treble is also well done with great control and speed. There could stand to be a hint more emphasis in the brilliance region, but as is I found the upper ranges detailed and non-fatiguing. The sound stage is also quite good with plenty of depth and width on tap, backed by a layered feel and well separated instruments. Imaging is also decent too making tracking sounds crossing from channel-to-channel a mostly painless experience.
Compared To A Peer (volumes matched with Dayton iMM-6)
FiiO FH1S (85.99 USD): The FD1 has significantly more bass presence, though they both seem to extend similarly well. The FH1s’ low end lacks the punch and weight found on the FD1 leaving it to play a secondary role in the overall signature. Despite the lessened presence, it doesn’t feel any quicker or better controlled, with a similarly good texturing. Mids are more audibly forward on the FH1s with a leaner, less bodied presence, though they feel more spacious and spread out, almost to the point of being echoey. It is reminiscent of turning on a present EQ function. The FD1 sounds considerably more natural with more accurate timbre, though detail takes a step back. The FH1S is also more subject to sibilance and shoutiness, especially on female vocals, making it uncomfortable in instances where the FD1 is fine. Treble out of the FD1 lacks the extension and representation in the brilliance region, though it is cleaner and better controlled. Detail again goes to the FH1S though. Sound stage is notably larger out of the FH1S thanks to vocals that are set further back by default, a leaner note weight, and all that additional treble energy. That said, I prefer the cleaner imaging and instrument separation of the FD1, though it doesn’t sound as well layered.
Overall I think the FD1 is a pretty significant step up from the FH1S. It has a more refined, well-rounded tune without any of the midrange quirks, though those who liked the FH1S’ somewhat laid back bass might feel the FD1 is a bit heavy handed down low.
Shozy Form 1.1 (74.99 USD): The Form 1.1 has more upper treble emphasis providing more sparkle and shimmer than the FD1, though lower treble is comparable if not slightly more prominent on the FD1. Control and general refinement are in the 1.1’s camp. Detail and clarity go to the 1.1 though, in addition to sounding a bit tighter and cleaner on each note. Mids are slightly more forward out of the FD1. They’re more dry though, lacking the warmth and natural timbre of the 1.1, though I’ll give the FD1 a very light edge in terms of vocal detail. Bass out of the Form 1.1 extends well but rolls off before reaching the outstanding depths of the FD1. Balance is shifted towards midbass vs. the FD1’s subbass bias giving them very different presentations. I find the FD1 faster and more visceral with better texture, though the 1.1 has a more even mid/subbass balance leaving it feeling more well-rounded overall. Sound stage is wider and deeper on the FD1 with its generally more spacious feel being helped along by a less intimate vocal presentation. Imaging is similarly good while I find the Form 1.1 slightly more competent when it comes to layering and separating sounds.
Overall I find these two both quite good, though the 1.1s improved timbre quality and generally more balanced sound has me picking it up over the FD1 more often than not.
KB EAR Diamond (79.00 USD): These two I find quite comparable and similarly tuned. Extension from the FD1 is a bit better with a balanced shifted more towards sub-bass compared to the Diamond’s midbass hump that grabs your attention. The FD1 is more textured and punchy leaving the Diamond feeling a hint soft and overly smooth. Grungy textures lack the same animation heard through the FD1. The FD1’s mids are more forward and a bit thicker. Detail is similarly okay on both, with neither really having an upper hand. I also find both a little on the lighter side when it comes to timbre, though the Diamond is a bit ahead here. Neither seem shouty and both do an excellent job minimizing sibilance. Treble out of the FD1 is also slightly more forward and has a grittier texture to it. I prefer the Diamond’s presence/brilliance region balance with feels more even. While the FD1’s presentation is a little tighter and more detailed, I found myself preferring the Diamond’s more laid back, completely non-fatiguing treble. Sound stage goes to the FD1. While its default vocal positioning is closer to the ear, it does a better job tossing effects off into the distance, though depth is similarly presented. The Diamond always feels a bit closed in. This is somewhat beneficial in showing off imaging and separation qualities which edge out the FD1, though it falls behind when it comes to instrument layering.
Overall I find myself enjoying the FD1 more thanks to the additional texture, subbass emphasis, and more spacious presentation.
In The Ear The FD1 uses the same shell as the FH1s before it. The low profile design conforms to the natural shape of the outer ear providing a stable fit that is only helped further by the use of preformed ear guides. Those who have particularly small ears or outer ears with an unusual shape might have troubles wearing the FD1, but for the majority they should provide a comfortable wearing experience.
That’s helped along by the fact they are so light thanks primarily to the use of plastics for the construction. Fit and finish is excellent with tight seams between the inner half of the shell and face plate. The metal nozzles are glued neatly in place without any excess glue having seeped out. The 2-pin ports are slightly raised and about the only area of concern since I have seen numerous images of this style of port cracking. That said, the raise is fairly conservative with thick sidewalls surrounding the actual ports, so I have faith they’ll hold up. One aesthetic touch that FiiO rightly seems proud of is the layered celluloid face plates which are unique from model to model. This is apparently the same material used for guitar picks so durability should be very high.
FiiO always goes the extra yard with their included cables and the FD1’s is no exception. This cable is outstanding for a product under 100 USD, and I would have been plenty happy to see it included with something notably more expensive. The twisted design is thick but very flexible and not so weighty that it tugs at the earphones while you walk. The 90 degree angled jack in one that FiiO has been using for a while now and has ample strain relief in place to protect the cable. The plug also extends slightly to help ensure good fitment with a variety of phone and DAP cases. The FiiO branded metal y-split doesn’t have any strain relief, but with cables of this style and with splits this compact I’ve never found it an issue. Sitting just above the y-split is a compact metal chin cinch that moves with just enough resistance to ensure it stays in place while remaining easy to adjust when needed. Leading up to the 2-pin plugs that angle at ~45 degrees are preformed ear guides. Since FiiO went with shrink wrap instead of the hard plastic some manufacturers use, they remain flexible and soft but stiff enough to keep the cable from bouncing out of place. Another nice touch is the redundant left/right markings. On the inside of each plug is a small letter to denote the channel, while on the base of each plug is a coloured pad; red for right, blue for left. It is always nice when companies go out of their way to add various methods of determining channel. Shows an attention to detail that is sometimes lacking in the industry. The only complaint I have is that the plugs sit flush with the raised ports on the earphone instead of wrapping around them like you’ll see on similar designs from a few other manufacturers. Leaving this out means the pins are more easily damaged, but treat the product with a modicum of care (ex. use the case and don’t simply toss them into a pocket) and you shouldn’t have to worry.
Lastly, the FD1’s isolation is not amazing. I’d put it into the “average to slightly below” camp thanks to the reasonably shallow fit inherent to this particular shell design. There is also ample ventilation through a pinhole in front of the driver, and another cleverly hidden behind the 2-pin ports. On the plus side, wind noise is kept to a minimum which is cool. They’re definitely usable in noisy areas, but you may have to compensate with added volume (less so if you opt for foam tips).
In The Box The FD1 comes in the same magnetically sealed flip-top style box that the FH1S came in before it. On the front is an image of the left earpiece, as well as the usual branding and model information, as well as a Hi-Res Audio logo, set on a black backdrop. The rest of the package contains nothing noteworthy. Flipping back to lid you are greeted by a large manual within which you find information in the correct way to wear the FD1, how to property attach the 2-pin cables, as well as warranty information among other details. Lifting this out you find the FD1 set tightly within a cardboard coated foam insert. The cable is attached and neatly wrapped within a separate enclosure below. There is also a second, smaller cardboard box in which you find the accessories. In all you get:
- FD1 earphones
- 0.78mm 4 strand, 120 core, OFC Litz cable
- HB1 carrying case
- Small bore single flange tips (s/m/l)
- Wide bore single flange tips (s/m/l)
- Memory foam tips (m)
- Velcro cable tie
Final Thoughts The FD1 is a well-rounded earphone that is plenty competitive within it’s segment. It has an attractive, well-designed, comfortable shell with a high quality cable. Included are a wide variety of tips and sizes with a great Pelican-style case, though some might appreciate if FiiO included a smaller, more pocketable option too.
Sound is tuned with a familiar v-shape. Sub-bass steals the show, digging deep and providing plenty of visceral feedback with lots of texture and good control along the way. Mids could stand to be a hint more balanced, lacking emphasis but still a bit harsh with some female vocalists. Sibilance is very well-managed though and mostly absent. Treble is clean and well controlled with good detail, though the focus is clearly on the presence region. There isn’t a ton of sparkle to be had with the FD1, surprising given the reasonably vast staging present.
Unless you’re going in expecting something neutral, I can’t see too many being disappointed with what FiiO has released here.
Thanks for reading!
– B9
Disclaimer A big thanks to Sunny with FiiO for reaching out to see if I would be interested in covering the FD1, and for sending over a sample for review. The thoughts within this review are my subjective impressions based on nearly a month of use. They do not represent FiiO or any other entity. At the time of writing you could pick up the FD1 for 89.99 USD: https://www.fiio.com/fd1 / https://fiio.aliexpress.com/store/group/FD1-Dynamic-Earphone/1473108_517614113.html
Specifications
- Driver: 10mm dynamic with Beryllium-plated diaphragm +N50 magnet
- Impedance: 32Ω@1kHz
- Sensitivity: 109dB (1kHz@1mW)
- Frequency Response: 10Hz~40kHz
- Cable: 0.78mm 2-pin 4-strand high-purity monocrystalline copper
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
NymPHONOmaniac
Listening to ''Let's get physical'' on the FD1: Niiiiiiiiiiiiiiiiiiice!
Fahmi Misbah Bangsar
Hi There , how this FD1 compared to Tin T4 or the new Reecho sg03
Greetings!
Today we're checking out an earphone that I was very excited to receive, the SSR, or Super Spaceship Reference.
That second S for 'Spaceship' is why I was so pumped to review the SSR. The original Spaceship was one of my favourite purchases in 2019 and served as a near perfect daily driver for my listening needs. Small, comfy, and with a level of sound quality that belied the very low price tag. It reminded me of the sort of hidden gems I'd find back when I first dove into the hobby when Chinese hi-fi products were just starting to build steam. A time when there was nowhere near the coverage and hype we see nowadays.
The SSR at 39.99 USD isn't quite as budget friendly as the Spaceship or some of my now obsolete gems, but with the slight price increase came some significant changes to aspects that people disliked about the Spaceship. The SSR has a more stylish, low profile shell with an over ear design that helps provide a more secure fit. The cable is also removable now, and uses a common 0.78mm pin size so you have lots of third party options available should you break it.
I'm not going to mince words; the SSR is awesome and easily up there as one of my favourite earphones of the year so far. Read on the find out why.
What I Hear The SSR does not stray far from the signature found in it's predecessor, the Spaceship. That is very much a good thing in my opinion, as I quite enjoy that wallet-friendly, micro-dynamic equipped earphone. That said, there are some notable differences that lead me to expect the SSR will be slightly more universally appreciated.
Like the regular Spaceship, the SSR presents its treble with a smooth, grit-free sound that is tight and well controlled. No splash, no harshness. I find the SSR a hint warmer with a bit more weight to notes, yet it loses none of the airiness and space between notes. As a result, the SSR handles congested tracks just as comfortably. As with the original, I find the SSR to place more focus on the presence region instead of that upper treble brilliance, through the transition from one region to the other has been improved and balanced out. This combined with the slightly warmer sound results in similar detail, but within a more refined, smoother presentation. While detail is quite similar, I find the regular Spaceship just a hint more textured thanks to it's slightly cooler sound. Regardless, the SSR's treble presentation is maturely tuned and an absolute massage for the ears. I can listen for hours without fatigue settling in.
For the most part I find the general midrange emphasis basically identical to the original Spaceship. That is, the SSR pushes the mids forward, particularly vocals. The drop of additional warmth I was hearing in the treble is present here too, and I've been enjoying it more than I was expecting. I tend to enjoy a slightly, lean, dry sounding midrange, descriptors I cannot levy at the SSR in any way. Vocals aren't thick per say, but they've got weight and girth to them with female vocalists carrying the torch. Sweet and intimate, with plenty of detail. Because I enjoy the SSR so much and find it entirely non-fatiguing, for a good chunk of my testing I was listening at much higher levels than the usual “is anything even playing” volumes I prefer. Sibilance was impressively well-controlled, even on Aesop Rock's notoriously unforgiving “Blood Sandwich”. Since pretty much everyone says the SSR can be shouty, I looked for comments that actually included the tracks where they tested this. I know I'm not particularly sensitive to peaks, but even raising the volume to levels that caused clear distortion, nothing sounded shouty. Loud, oh yes, but shouty? Na. You want to hear something shouty pick up a Blue Ever Blue 2000EX and set yourself a new bassline. I hear this midrange as tonally accurate with great timbre, and with an absence of the occasional tinniness I heard in the previous model.
Despite nearly identical low end measurements to the Spaceship, I perceived the SSR as the warmer, bassier of the two. Extension is similarly good with some roll off in the lowest regions. Like the Spaceship the SSR can provide some decent thump and solid visceral feedback, but it's not going to rattle your eardrums. Where they really differ is in how that low end is presented. To my ears, the SSR is slower and softer with less texture. It seems to handle rapid double bass just as well, but grungy notes from The Prodigy and Tobacco are smoother. The differences aren't terribly vast, but they're certainly noticeable and give each a unique character, especially when you bring back in the mids and treble which are a hint cooler and less refined on the Spaceship.
The SSR's sound stage houses some similarities to the Spaceship, but in general I find it clearly superior here. Like the Spaceship the presentation is quite wide with effects able to careen off into the distance. There is a depth to the SSR's sound that the Spaceship lacks, giving the SSR a more dynamic and natural feel, especially with live recordings. I found imaging to be quite good with vast sweeps of movement channel-to-channel. Instrument separation is also quite impressive for such an inexpensive earphone, though a hint behind the Spaceship, with layering falling clearly into the SSR's favour. Where the Spaceship could sound a little confined on particularly busy tracks, the SSR remains open a spacious.
Overall I think this is a brilliantly tuned earphone. While not unanimously better than the original Spaceship, the SSR will without question proudly join it on my list of favourites under 50 USD. It can also now be the one I point people to when they say they wanted to try the Spaceship, but were turned off by the bullet-shaped shell or fixed cable.
Compared To A Peer (volumes matched with Dayton iMM-6)
Kinera SIF (39.99 USD): I quite enjoy the Sif and while I think it's a good earphone, the SSR outclasses it. Treble out of the SSR is smoother and cleaner sounding with a better overall balance. The Sif's midrange is less forward with slightly less warm tone. Detail and clarity are good, but a step behind the SSR, as is timbre which takes on a lighter feel than is otherwise natural. Close, but not as nice as what the SSR outputs. Bass is where the Sif is going to win many over since it offers up notably more presence in both mid and sub regions. The presentation is more forceful and powerful with an even more visceral response to the deepest notes. Midbass is a little bloated feeling compared to the SSR, but it offers up more punch and a bit more texture. Neither sound particularly quick, though the SSR has a clear edge when it comes to rapid double bass notes thanks to the extra definition it provides between each hit. The Sif has a good sound stage, but the SSR's less intimate default vocal positioning gives it a better sense of space. Imaging is similarly clean between the two, while I find the SSR more layered and dynamic and instruments better defined and separated on congested tracks.
When it comes to build the Sif's plastic housings match the SSR in terms of fit and finish, though I prefer 2-pin designs to MMCX so I'll give the SSR the edge. Isolation is much better on the Sif with overall comfort being quite similar. The SSR will probably suit more users though since it has a distinct size advantage, despite the Sif not being particularly large. Cables are bout on par. The Sif's twisted cable looks fantastic and shares a similar aesthetic while being even softer and more pliable. The sharply angled preformed ear guides do result in even more annoying tangles to deal with should you store the Sif carelessly.
As you probably gathered, I prefer the SSR. It sounds more mature and refined with better technical capabilities. Other aspects like design, shape, cable, and comfort are a bit more personal or preference driven.
TinHifi T2 (49.90 USD): The T2 has been a staple recommendation of mine since I first covered it way back in October of 2017. In this hobby, that is some pretty ridiculous staying power. The T2 earned it though thanks to excellent build quality and a neutral-leaning tune that was unlike pretty much anything else on the market, all at a price that most could comfortably afford. I think it's time to let the old dog retire though, as to my ears the SSR is a step up in many ways. Treble is smoother and tighter with just as much detail and none of the roughness, though the T2 provides more sparkle and general energy to the sound it outputs. The midrange is more forward and vocals more coherent out of the SSR, and instruments presented with more accurate timbre. Bass digs deeper, is tighter, faster, and overall more refined, though I'll give T2 the nod for texture. The T2 holds it's own when it comes to sound stage though, offering up an experience that is just as spacious and more even when it comes to width and depth. I'd say the imaging out of the T2 is a hair more accurate and laying a hint improved, though I find the SSR to better separate individual instruments.
When it comes to build both are very well done, though the T2 gets the edge. Fit and finish is better with less visible seams and a design that works just as well cable up as it does in a more traditional cable down setting. I love the cable on my original T2, but I get why it was replaced for later iterations. It is somewhat stiff, rough to the touch, and has a great memory for sharp bends and kinks. Newer versions come with a much more flexible and manageable cable, though one with less character. When it comes to fit the T2 has not developed a particularly favourable reputation in the community. Personally, I find it fine for a product of that design. Stability is okay and I don't have to constantly reseat it. Others were not so lucky. I suspect those who own both will find the fit of the SSR to be greatly superior.
I love the T2. It was a revelation and I hope it's never forgotten. That said, it is starting to show it's age next to products like the SSR and even Tin's own T2 Plus that was recently released. It's still better than 90% of the offerings in the price range though.
In The Ear The SSR features well-constructed, liquid metal alloy housings. Forged from two pieces and held together with a single hex screw, it looks and feels very study though the seam between the two parts is quite visible. Spacing is uniform and tight all the way around though. The cables plug in tightly and with a recessed design should be well-protected from accidental bends. The metal nozzle grills with integrated tuning damper have been neatly installed, as have the inner filters and vents found just under the L/R markings which have been forged into the body instead of printed or painted on. I have no issues with the way the SSR has been constructed, and also enjoy the design which pulls clear inspiration from the FLC 8S in terms of the general shape. The placement of the various vents/filters/screws also mirror the filter location on the 8S, further strengthening the similarities. That said, the SSR is not a ripoff given it is significantly smaller, does not feature an in-depth filter system, and is overall much more blocky around the edges.
The silver-plated cable I am quite fond of being that it is very similar to those found on a few favourites from my past. It is soft and pliable though the preformed ear guides, while flexible and comfortable, do lead to easy tangles if you aren't careful when putting them away. The clear sheath also works in this cables favour allowing you to see the silver-plated strands within. It is quite visually striking when you take a close look. The hardware Moondrop selected is also a plus, as least in most areas. The 90 degree angled jack is compact and well-relieved, as are the tiny 0.78mm 2-pin plugs carried over from the Starfield (though here they are clear, not blue). While the plugs are labelled with L and R lettering to denote channel, it is extremely difficult to see so Moondrop added a red rubber ring to the right size to help out. That's a thoughtful touch. The y-split is my only area of concern since it is quite sizable and lacks strain relief out either end. A chin cinch would have also been a welcome addition, but one is absent here. It's easy enough to make one with a twist tie or something similar though, if you feel it is needed.
When it comes to comfort, I found the SSR to be quite nice to wear. The small size and light weight combined with rounded edges and a reasonably long nozzle means it is quite stable during heavy movement. I can also comfortably lay my head on a pillow with them in since they sit so flush with the outer ear. Isolation is pretty sub-par though, at least without music playing. Since there are vents all over the place, plenty of sound leaks through. I can pause my music to chat with my wife while leaving them in, for example. Not too many earphones out there I can do that with. Now, bring music back into the equation and oddly, isolation feels pretty good. Little volume compensation seems to be needed to block outside noise, especially if you opt to squeeze on some foam tips.
In The Box The SSR arrives in a squat, square box with the usual flair Moondrop is known for on the front; attractive fonts and anime artwork. This little lady was so popular, they even made an acrylic stand of her. If I saw this in a store I would have no idea it was earphone packaging. Honestly, it's really quite refreshing and a welcome change of pace from the usual packaging trends. Flip around to the back and you find more traditional and helpful details; an exploded image of the SSR showing off it's component parts, an accurate frequency response graph (not the usual marketing-guided fakery we typically see), and a spec list.
Lift the lid off and you find the SSR's earphones with cable attached resting comfortably in a foam insert. Alongside the foam insert is a smaller cardboard box embossed with the Moondrop logo in silver foil, inside which you find the included extras. In all you get:
Final Thoughts The SSR is yet another class leading product from Moondrop. Like the Starfield, its performance is so very clean and reliable with few faults, all of them minor. My only real complains are levied at somewhat pointless stuff, like a lack of extras and a carrying pouch that is barely large enough to cram the SSR into. Other than that, it's all good. The SSR is small and comfortable, well-built with a quality cable, and sounds great thanks to a creamy midrange and refined treble. Bass could use a hint more slam and texture, but that is just in comparison to the regular Spaceship. It is still quite satisfying, even on bass heavy tracks where you feel the SSR might be out of its element. It all sounds quite spacious too with excellent technical presence for such an affordable earphone.
This is one happily joins the Shozy Form 1.4 as one of my personal favorites of 2020, and as a result gets an easy recommendation. If you're looking for something in this price range, the SSR is well worth checking out.
Thanks for reading!
- B9
Disclaimer Big thanks to Moondrop for sending over a sample of the SSR for review. The thoughts within this review are my own subjective opinions based on a couple weeks of use. They do not represent Moondrop or any other entity. At the time of writing the SSR was temporarily removed from sale due to some issues with a recent batch of cables, but when it returns it will retail for 39.99 USD on Moondrop's official AliExpress store: https://moondrop.aliexpress.com/store/4980017
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Today we're checking out an earphone that I was very excited to receive, the SSR, or Super Spaceship Reference.
That second S for 'Spaceship' is why I was so pumped to review the SSR. The original Spaceship was one of my favourite purchases in 2019 and served as a near perfect daily driver for my listening needs. Small, comfy, and with a level of sound quality that belied the very low price tag. It reminded me of the sort of hidden gems I'd find back when I first dove into the hobby when Chinese hi-fi products were just starting to build steam. A time when there was nowhere near the coverage and hype we see nowadays.
The SSR at 39.99 USD isn't quite as budget friendly as the Spaceship or some of my now obsolete gems, but with the slight price increase came some significant changes to aspects that people disliked about the Spaceship. The SSR has a more stylish, low profile shell with an over ear design that helps provide a more secure fit. The cable is also removable now, and uses a common 0.78mm pin size so you have lots of third party options available should you break it.
I'm not going to mince words; the SSR is awesome and easily up there as one of my favourite earphones of the year so far. Read on the find out why.
What I Hear The SSR does not stray far from the signature found in it's predecessor, the Spaceship. That is very much a good thing in my opinion, as I quite enjoy that wallet-friendly, micro-dynamic equipped earphone. That said, there are some notable differences that lead me to expect the SSR will be slightly more universally appreciated.
Like the regular Spaceship, the SSR presents its treble with a smooth, grit-free sound that is tight and well controlled. No splash, no harshness. I find the SSR a hint warmer with a bit more weight to notes, yet it loses none of the airiness and space between notes. As a result, the SSR handles congested tracks just as comfortably. As with the original, I find the SSR to place more focus on the presence region instead of that upper treble brilliance, through the transition from one region to the other has been improved and balanced out. This combined with the slightly warmer sound results in similar detail, but within a more refined, smoother presentation. While detail is quite similar, I find the regular Spaceship just a hint more textured thanks to it's slightly cooler sound. Regardless, the SSR's treble presentation is maturely tuned and an absolute massage for the ears. I can listen for hours without fatigue settling in.
For the most part I find the general midrange emphasis basically identical to the original Spaceship. That is, the SSR pushes the mids forward, particularly vocals. The drop of additional warmth I was hearing in the treble is present here too, and I've been enjoying it more than I was expecting. I tend to enjoy a slightly, lean, dry sounding midrange, descriptors I cannot levy at the SSR in any way. Vocals aren't thick per say, but they've got weight and girth to them with female vocalists carrying the torch. Sweet and intimate, with plenty of detail. Because I enjoy the SSR so much and find it entirely non-fatiguing, for a good chunk of my testing I was listening at much higher levels than the usual “is anything even playing” volumes I prefer. Sibilance was impressively well-controlled, even on Aesop Rock's notoriously unforgiving “Blood Sandwich”. Since pretty much everyone says the SSR can be shouty, I looked for comments that actually included the tracks where they tested this. I know I'm not particularly sensitive to peaks, but even raising the volume to levels that caused clear distortion, nothing sounded shouty. Loud, oh yes, but shouty? Na. You want to hear something shouty pick up a Blue Ever Blue 2000EX and set yourself a new bassline. I hear this midrange as tonally accurate with great timbre, and with an absence of the occasional tinniness I heard in the previous model.
Despite nearly identical low end measurements to the Spaceship, I perceived the SSR as the warmer, bassier of the two. Extension is similarly good with some roll off in the lowest regions. Like the Spaceship the SSR can provide some decent thump and solid visceral feedback, but it's not going to rattle your eardrums. Where they really differ is in how that low end is presented. To my ears, the SSR is slower and softer with less texture. It seems to handle rapid double bass just as well, but grungy notes from The Prodigy and Tobacco are smoother. The differences aren't terribly vast, but they're certainly noticeable and give each a unique character, especially when you bring back in the mids and treble which are a hint cooler and less refined on the Spaceship.
The SSR's sound stage houses some similarities to the Spaceship, but in general I find it clearly superior here. Like the Spaceship the presentation is quite wide with effects able to careen off into the distance. There is a depth to the SSR's sound that the Spaceship lacks, giving the SSR a more dynamic and natural feel, especially with live recordings. I found imaging to be quite good with vast sweeps of movement channel-to-channel. Instrument separation is also quite impressive for such an inexpensive earphone, though a hint behind the Spaceship, with layering falling clearly into the SSR's favour. Where the Spaceship could sound a little confined on particularly busy tracks, the SSR remains open a spacious.
Overall I think this is a brilliantly tuned earphone. While not unanimously better than the original Spaceship, the SSR will without question proudly join it on my list of favourites under 50 USD. It can also now be the one I point people to when they say they wanted to try the Spaceship, but were turned off by the bullet-shaped shell or fixed cable.
Compared To A Peer (volumes matched with Dayton iMM-6)
Kinera SIF (39.99 USD): I quite enjoy the Sif and while I think it's a good earphone, the SSR outclasses it. Treble out of the SSR is smoother and cleaner sounding with a better overall balance. The Sif's midrange is less forward with slightly less warm tone. Detail and clarity are good, but a step behind the SSR, as is timbre which takes on a lighter feel than is otherwise natural. Close, but not as nice as what the SSR outputs. Bass is where the Sif is going to win many over since it offers up notably more presence in both mid and sub regions. The presentation is more forceful and powerful with an even more visceral response to the deepest notes. Midbass is a little bloated feeling compared to the SSR, but it offers up more punch and a bit more texture. Neither sound particularly quick, though the SSR has a clear edge when it comes to rapid double bass notes thanks to the extra definition it provides between each hit. The Sif has a good sound stage, but the SSR's less intimate default vocal positioning gives it a better sense of space. Imaging is similarly clean between the two, while I find the SSR more layered and dynamic and instruments better defined and separated on congested tracks.
When it comes to build the Sif's plastic housings match the SSR in terms of fit and finish, though I prefer 2-pin designs to MMCX so I'll give the SSR the edge. Isolation is much better on the Sif with overall comfort being quite similar. The SSR will probably suit more users though since it has a distinct size advantage, despite the Sif not being particularly large. Cables are bout on par. The Sif's twisted cable looks fantastic and shares a similar aesthetic while being even softer and more pliable. The sharply angled preformed ear guides do result in even more annoying tangles to deal with should you store the Sif carelessly.
As you probably gathered, I prefer the SSR. It sounds more mature and refined with better technical capabilities. Other aspects like design, shape, cable, and comfort are a bit more personal or preference driven.
TinHifi T2 (49.90 USD): The T2 has been a staple recommendation of mine since I first covered it way back in October of 2017. In this hobby, that is some pretty ridiculous staying power. The T2 earned it though thanks to excellent build quality and a neutral-leaning tune that was unlike pretty much anything else on the market, all at a price that most could comfortably afford. I think it's time to let the old dog retire though, as to my ears the SSR is a step up in many ways. Treble is smoother and tighter with just as much detail and none of the roughness, though the T2 provides more sparkle and general energy to the sound it outputs. The midrange is more forward and vocals more coherent out of the SSR, and instruments presented with more accurate timbre. Bass digs deeper, is tighter, faster, and overall more refined, though I'll give T2 the nod for texture. The T2 holds it's own when it comes to sound stage though, offering up an experience that is just as spacious and more even when it comes to width and depth. I'd say the imaging out of the T2 is a hair more accurate and laying a hint improved, though I find the SSR to better separate individual instruments.
When it comes to build both are very well done, though the T2 gets the edge. Fit and finish is better with less visible seams and a design that works just as well cable up as it does in a more traditional cable down setting. I love the cable on my original T2, but I get why it was replaced for later iterations. It is somewhat stiff, rough to the touch, and has a great memory for sharp bends and kinks. Newer versions come with a much more flexible and manageable cable, though one with less character. When it comes to fit the T2 has not developed a particularly favourable reputation in the community. Personally, I find it fine for a product of that design. Stability is okay and I don't have to constantly reseat it. Others were not so lucky. I suspect those who own both will find the fit of the SSR to be greatly superior.
I love the T2. It was a revelation and I hope it's never forgotten. That said, it is starting to show it's age next to products like the SSR and even Tin's own T2 Plus that was recently released. It's still better than 90% of the offerings in the price range though.
In The Ear The SSR features well-constructed, liquid metal alloy housings. Forged from two pieces and held together with a single hex screw, it looks and feels very study though the seam between the two parts is quite visible. Spacing is uniform and tight all the way around though. The cables plug in tightly and with a recessed design should be well-protected from accidental bends. The metal nozzle grills with integrated tuning damper have been neatly installed, as have the inner filters and vents found just under the L/R markings which have been forged into the body instead of printed or painted on. I have no issues with the way the SSR has been constructed, and also enjoy the design which pulls clear inspiration from the FLC 8S in terms of the general shape. The placement of the various vents/filters/screws also mirror the filter location on the 8S, further strengthening the similarities. That said, the SSR is not a ripoff given it is significantly smaller, does not feature an in-depth filter system, and is overall much more blocky around the edges.
The silver-plated cable I am quite fond of being that it is very similar to those found on a few favourites from my past. It is soft and pliable though the preformed ear guides, while flexible and comfortable, do lead to easy tangles if you aren't careful when putting them away. The clear sheath also works in this cables favour allowing you to see the silver-plated strands within. It is quite visually striking when you take a close look. The hardware Moondrop selected is also a plus, as least in most areas. The 90 degree angled jack is compact and well-relieved, as are the tiny 0.78mm 2-pin plugs carried over from the Starfield (though here they are clear, not blue). While the plugs are labelled with L and R lettering to denote channel, it is extremely difficult to see so Moondrop added a red rubber ring to the right size to help out. That's a thoughtful touch. The y-split is my only area of concern since it is quite sizable and lacks strain relief out either end. A chin cinch would have also been a welcome addition, but one is absent here. It's easy enough to make one with a twist tie or something similar though, if you feel it is needed.
When it comes to comfort, I found the SSR to be quite nice to wear. The small size and light weight combined with rounded edges and a reasonably long nozzle means it is quite stable during heavy movement. I can also comfortably lay my head on a pillow with them in since they sit so flush with the outer ear. Isolation is pretty sub-par though, at least without music playing. Since there are vents all over the place, plenty of sound leaks through. I can pause my music to chat with my wife while leaving them in, for example. Not too many earphones out there I can do that with. Now, bring music back into the equation and oddly, isolation feels pretty good. Little volume compensation seems to be needed to block outside noise, especially if you opt to squeeze on some foam tips.
In The Box The SSR arrives in a squat, square box with the usual flair Moondrop is known for on the front; attractive fonts and anime artwork. This little lady was so popular, they even made an acrylic stand of her. If I saw this in a store I would have no idea it was earphone packaging. Honestly, it's really quite refreshing and a welcome change of pace from the usual packaging trends. Flip around to the back and you find more traditional and helpful details; an exploded image of the SSR showing off it's component parts, an accurate frequency response graph (not the usual marketing-guided fakery we typically see), and a spec list.
Lift the lid off and you find the SSR's earphones with cable attached resting comfortably in a foam insert. Alongside the foam insert is a smaller cardboard box embossed with the Moondrop logo in silver foil, inside which you find the included extras. In all you get:
- SSR earphones
- 0.78mm Silver-plated 4N-Litz OFC cable
- Single flange silicone tips (s/m/l)
- Fabric carrying pouch
Final Thoughts The SSR is yet another class leading product from Moondrop. Like the Starfield, its performance is so very clean and reliable with few faults, all of them minor. My only real complains are levied at somewhat pointless stuff, like a lack of extras and a carrying pouch that is barely large enough to cram the SSR into. Other than that, it's all good. The SSR is small and comfortable, well-built with a quality cable, and sounds great thanks to a creamy midrange and refined treble. Bass could use a hint more slam and texture, but that is just in comparison to the regular Spaceship. It is still quite satisfying, even on bass heavy tracks where you feel the SSR might be out of its element. It all sounds quite spacious too with excellent technical presence for such an affordable earphone.
This is one happily joins the Shozy Form 1.4 as one of my personal favorites of 2020, and as a result gets an easy recommendation. If you're looking for something in this price range, the SSR is well worth checking out.
Thanks for reading!
- B9
Disclaimer Big thanks to Moondrop for sending over a sample of the SSR for review. The thoughts within this review are my own subjective opinions based on a couple weeks of use. They do not represent Moondrop or any other entity. At the time of writing the SSR was temporarily removed from sale due to some issues with a recent batch of cables, but when it returns it will retail for 39.99 USD on Moondrop's official AliExpress store: https://moondrop.aliexpress.com/store/4980017
Specifications
- Impedance: 16 ohms @ 1kHz
- Sensitivity: 115dB/Vrms @ 1kHz
- Frequency Response: 20-40,000Hz
- Driver: Beryllium-coated diaphragm with PU suspension ring
- Cable: 0.78mm Silver-plated 4N-Litz OFC
- THD: <1%
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Greetings!
Today we are checking out the MS1 – Rainbow from Hidizs.
Hidizs has been around since 2009 and successfully released their first digital audio player (DAP), the AP100, in 2014. While best known for their DAPs, in 2019 they expanded their product portfolio to include earphones under the 'Mermaid' moniker; MS1 and MS4. While I never had the chance to try them out, they seemed to be generally well-received in reviews and forums.
The MS1 - Rainbow under investigation today is a more budget friendly take on the original MS1, eschewing the high quality metal housings for high density resin. Inside each earpiece is a single 10.2mm, dual-magnet, bio-diaphragm equipped dynamic driver. This seems to be a pretty common tech nowadays, and the bio-diaphragm earphones I've heard in the past always had some nice qualities to them (ex. organic timbre and smooth mids).
How has the newest addition to Hidizs' earphone lineup held up over the last month of testing? Let's find out.
What I Hear The Hidizs MS1 – Rainbow has a pretty standard v-shaped signature. Treble is less prominent in the brilliance region leaving the presentation somewhat lacking in sparkle on cymbals and the like. This is countered by a neat spike in the presence region that ensures the MS1 retains plenty of detail down through into the midrange, though this comes at the expense of occasional harshness. Attack and decay are quick but not unnaturally so, allowing the MS1 to handle congested tracks well at low volumes. At higher volumes distortion sets in and resolution takes a hit.
The midrange is recessed in the lower region, subject to some bleed from the mid and upper bass regions. This leaves the MS1 with the tendency to slightly smear deeper voices hurting the otherwise good clarity and coherence of the mids. As a result I found female and higher pitched male vocals to be better suited to the MS1. Timbre is decent, if not a bit dry thanks to the upper mid bump that helps vocals and instruments retain a strong presence and push through the warmth and strength of the low end and lower treble kick.
Bass is the MS1's spotlight grabber thanks to how prominent it is. Extension is excellent with lots of emphasis in the subbass region leading to a very visceral presentation. Those deep notes result in a lot of ear tingling rumble. Midbass is also quite prominent adding a fair bit of warmth to the overall presentation. Bass punch is fine, though control is a little on the loose side. Texturing is also quite good with grungy notes appearing acceptably noisy and detailed.
The MS1 has a pretty good sound stage offering plenty of depth and width. Vocals default to just inside the outer ear with instruments and effects spreading out into the background. Channel-to-channel imaging is neat and tidy with clean sweeps across the stage. I found it entirely usable when gaming, able to track movement and sounds accurately enough to remain competitive. Not an ideal earphone for gaming, but good enough. This though is helped along by its layering and separation capabilities which are also perfectly competent. The low end smearing of the mids does eat into instrument separation capabilities somewhat, but this is a budget earphone. I have realistic expectations.
Overall I quite enjoy the MS1 – Rainbow. The low end is beefy and engaging, clarity is quite good minus some midbass bleed, it has a wide open sound stage, and the limited upper treble presence keeps it from being overly fatiguing. Some harshness is present and the low end could be tighter, but in general the performance on hand is in line with others in the price range.
Compared To A Peer
Dunu DM-480 (69.00 USD): The DM-480 has slightly better extension with more emphasis and a tighter, more controlled feel. That said, I perceive the MS1 as the bassier model since the looser, less controlled presentation results in notes hanging around longer. Their midrange presentations are fairly similar with the MS1s being more forward with more prominent spikes. As a result I find the DM-480s transition from bass to mids more even and natural. Timbre quality is similar, as is clarity and detail with the DM-480 getting a slight edge since the low end doesn't interfere. Treble on both peaks in the presence region, with the DM-480 rolling off more heavily. The MS1 has a stronger lower treble peak resulting in occasional harshness that is mostly absent in the Dunu. Neither offers much sparkle, though the MS1 retains airness leaving the DM-480 feeling smaller and more confined. That said, I prefer the DM-480s cleaner sounding notes. Imaging, layering, and instrument separation are all on par for the most part, despite the DM-480's more intimate presentation.
I'm not sure which I prefer since they're quite similar overall. I might have to give it to the DM-480 for it's tighter bass and slightly cleaner treble.
FiiO FH1S (69.99 USD): The MS1 is warmer and notably bassier with more midbass and subbass emphasis. The FH1S has a snappier attack and more rapid decay. It generally feels quicker and more accurate in the low end, but the lack of emphasis leaves it feeling a bit anemic at times, at least compared to the MS1's bolder presentation. The FH1S sees spikes in both mid and upper-mid regions. This gives the earphone a less natural and more fatiguing presentation than the MS1. That said, the presentation is a bit more even than what we hear out of the MS1 which is recessed in the lower mids, then spikes in the upper mids. While I found the big bass to balance it out somewhat, keeping it from feeling harsh and irritating like the FH1S can be, mild bleed does hinder what is otherwise decent clarity. Treble out of the FH1S is well extended where the MS1 loses emphasis leaving it's presentation more dry and less energetic than the FH1S with it's upper treble spike. The FH1S' boosted treble and hybrid setup does result in better clarity, a faster presentation, and more air between notes, but the MS1 sounds tighter and better controlled and is much less fatiguing. Both have a very good soundstage. I sound the imaging of the MS1 to be a bit more accurate while the FH1S has a slight edge in terms of layering and separation.
Overall I appreciate the technical ability of the FH1S, but I'd much rather use the MS1 – Rainbow. It sounds more natural and is much less fatiguing.
Shozy Form 1.1 (74.99 USD): The 1.1 in my experience is pretty much superior sounding across the board. Bass is more balanced with a more even balance of sub to mid, and no less extension. It is more textured and better controlled too. The transition into the midrange is handled more evenly on the 1.1 with the lack of any significant spikes resulting in improved timbre. I find the MS1 a hint more detailed, but that comes at the expense of the 1.1s general smoothness. Treble is once again in the 1.1's camp. It offers better extension with a more even upper and lower balance. It lacks the occasional roughness of the MS1s presence region, while bringing in some welcome upper end sparkle to counter any dryness. I do find the MS1s staging to be better though with a wider and deeper feel that is somewhat countered by the 1.1's leaner, cleaner treble presentation. Imaging feels even more accurate through the 1.1, with tracks also coming across slightly more layer and with better instrument separation.
Don't get me wrong, I like the MS1 – Rainbow and think the sound quality is solid in the price range, but against a top tier offering like the 1.1 I see no reason to save a mere five dollars. And that's not even taking into account the rest of the package (build, accessories, etc.) which in my opinion are of a higher class with the Shozy.
In The Ear The MS1 - Rainbow's housing are entirely plastic save for the aluminum nozzles. The plastics themselves feel fairly standard. Not super dense, but not cheap and fragile either. The glitter flakes smattered throughout break up what would otherwise be a very plain design, and I kinda like it. It's got a nostalgic flavour to it that reminds me of Silly Putty from when I was a child. Probably just aged the heck out of myself with that reference... oh well. The Hidizs brand name and logo, as well as left and right indicators and website are all printed on and are pretty much guaranteed to wear off in time due to interaction with the oils of your skin. Obviously that won't affect performance, but some are annoyed by cosmetic flaws. Fit and finish of the component parts is fine, but a slight step below what I expect for this price range. The two halves of the shell fit together well, but the flat pad on which the plug rests when the cable is installed doesn't quite sit flush. There is also some excess glue that could serve to be scraped off around the base of the left nozzle. These aren't really details most people would notice, but I've had literally hundreds of earphones cross my path, most under 100 USD, so these mild qualms stick out.
The cable is a mite bit more impressive in my opinion. I quite like it as visually it reminds me of the cables VSonic fixed to their popular VSDx models back in the day. The big difference being this cable isn't flimsy and fragile thanks to it's twisted design and beefy hardware. The clear two-pin plugs are angled at a 45 degree angle and lead into some pre-formed ear guides. The guides are a bit more plasticy and stiff than I like, but they work well and cause no discomfort so they get a seal of approval. The y-split is a chunky piece of space-grey knurled aluminum with a meaty rubber relief sticking out the bottom. The straight jack follows much the same aesthetic with a smooth section on which the Hidizs name is laser-etched into the metal. Two issues with this jack. The first is that it is quite thick, similar to TFZ's products from the last couple years. The second is that there is no extension for the plus leaving the diameter of the jack to sit flush with the device. It is very likely this will interfere with protective cases for phones and daps.
In The Box The MS1 – Rainbow comes in an elongated white cardboard box. On the front is the Hidizs logo in silver foil along with a very clean image of the right earpiece and the usual branding and model information. A Hi-Res Audio logo is position beneath highlighting the MS1's excellent treble extension up to 40kHz. On the left is more model and bran info, while the right contains an image of the MS1 Rainbow in every available colour, with a space to mark which one is inside. On the back are some basic specs and features, along with Hidizs' location and website.
Lifting off the lid reveals the earpieces set within a cardboard covered foam insert that lifts out via a clear pull tab. Underneath is an empty box acting as a stool to raise the earpieces level with the remaining box containing all the accessories. In all you get:
Final Thoughts While I like the MS1 – Rainbow and think it's a perfectly fine earphone, it doesn't do anything to stand out from the crowd. The build quality and materials are fine, but a far cry from the outstanding quality you get in class leading example like the Shozy Form 1.1. The sound quality is good, but balance and refinement is only even with other mid-pack offerings like the FiiO FH1S. Even the packaging and accessories sit mid-pack, falling short of the TFZ products the experience is very similar to. Still better than brands like CCA and KZ though, who offer up a middling suite of extras even at much higher prices. The hiss that was common to most sources was also a big turn off, even if I'd get used to it after a short period and drown it out.
If the MS1- Rainbow came in under 50 USD, it would be a stronger offering and easier to recommend, or at least more difficult to dismiss. As is I don't really see any reason to pick one up when something like the Form 1.1 can be had for only a few bucks more, or the KBEAR KB04 for quite a bit less.
If you want a bassy, comfortable earphone with a removable cable and you find the MS1 – Rainbow is available at a good price, go for it. Otherwise, consider your options as there are others that offer better performance and build in this price range.
Thanks for reading!
- B9
Disclaimer Big thanks to Nappoler with HiFiGo for asking if I would be interested in covering the MS1 Rainbow, and for arranging a sample for review. The thoughts within this review are my own subjective opinions based on three weeks of time spent with the MS1. They do not represent Hidizs, HiFiGo, or any other entity. At the time of writing it was retailing for 69.99 USD: https://hifigo.com/products/hidizs-ms1-rainbow
Edit: Reduced to 3 stars. KB EAR KS2 offers basically the same experience as the Rainbow at a 1/3rd of the price.
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Today we are checking out the MS1 – Rainbow from Hidizs.
Hidizs has been around since 2009 and successfully released their first digital audio player (DAP), the AP100, in 2014. While best known for their DAPs, in 2019 they expanded their product portfolio to include earphones under the 'Mermaid' moniker; MS1 and MS4. While I never had the chance to try them out, they seemed to be generally well-received in reviews and forums.
The MS1 - Rainbow under investigation today is a more budget friendly take on the original MS1, eschewing the high quality metal housings for high density resin. Inside each earpiece is a single 10.2mm, dual-magnet, bio-diaphragm equipped dynamic driver. This seems to be a pretty common tech nowadays, and the bio-diaphragm earphones I've heard in the past always had some nice qualities to them (ex. organic timbre and smooth mids).
How has the newest addition to Hidizs' earphone lineup held up over the last month of testing? Let's find out.
What I Hear The Hidizs MS1 – Rainbow has a pretty standard v-shaped signature. Treble is less prominent in the brilliance region leaving the presentation somewhat lacking in sparkle on cymbals and the like. This is countered by a neat spike in the presence region that ensures the MS1 retains plenty of detail down through into the midrange, though this comes at the expense of occasional harshness. Attack and decay are quick but not unnaturally so, allowing the MS1 to handle congested tracks well at low volumes. At higher volumes distortion sets in and resolution takes a hit.
The midrange is recessed in the lower region, subject to some bleed from the mid and upper bass regions. This leaves the MS1 with the tendency to slightly smear deeper voices hurting the otherwise good clarity and coherence of the mids. As a result I found female and higher pitched male vocals to be better suited to the MS1. Timbre is decent, if not a bit dry thanks to the upper mid bump that helps vocals and instruments retain a strong presence and push through the warmth and strength of the low end and lower treble kick.
Bass is the MS1's spotlight grabber thanks to how prominent it is. Extension is excellent with lots of emphasis in the subbass region leading to a very visceral presentation. Those deep notes result in a lot of ear tingling rumble. Midbass is also quite prominent adding a fair bit of warmth to the overall presentation. Bass punch is fine, though control is a little on the loose side. Texturing is also quite good with grungy notes appearing acceptably noisy and detailed.
The MS1 has a pretty good sound stage offering plenty of depth and width. Vocals default to just inside the outer ear with instruments and effects spreading out into the background. Channel-to-channel imaging is neat and tidy with clean sweeps across the stage. I found it entirely usable when gaming, able to track movement and sounds accurately enough to remain competitive. Not an ideal earphone for gaming, but good enough. This though is helped along by its layering and separation capabilities which are also perfectly competent. The low end smearing of the mids does eat into instrument separation capabilities somewhat, but this is a budget earphone. I have realistic expectations.
Overall I quite enjoy the MS1 – Rainbow. The low end is beefy and engaging, clarity is quite good minus some midbass bleed, it has a wide open sound stage, and the limited upper treble presence keeps it from being overly fatiguing. Some harshness is present and the low end could be tighter, but in general the performance on hand is in line with others in the price range.
Compared To A Peer
Dunu DM-480 (69.00 USD): The DM-480 has slightly better extension with more emphasis and a tighter, more controlled feel. That said, I perceive the MS1 as the bassier model since the looser, less controlled presentation results in notes hanging around longer. Their midrange presentations are fairly similar with the MS1s being more forward with more prominent spikes. As a result I find the DM-480s transition from bass to mids more even and natural. Timbre quality is similar, as is clarity and detail with the DM-480 getting a slight edge since the low end doesn't interfere. Treble on both peaks in the presence region, with the DM-480 rolling off more heavily. The MS1 has a stronger lower treble peak resulting in occasional harshness that is mostly absent in the Dunu. Neither offers much sparkle, though the MS1 retains airness leaving the DM-480 feeling smaller and more confined. That said, I prefer the DM-480s cleaner sounding notes. Imaging, layering, and instrument separation are all on par for the most part, despite the DM-480's more intimate presentation.
I'm not sure which I prefer since they're quite similar overall. I might have to give it to the DM-480 for it's tighter bass and slightly cleaner treble.
FiiO FH1S (69.99 USD): The MS1 is warmer and notably bassier with more midbass and subbass emphasis. The FH1S has a snappier attack and more rapid decay. It generally feels quicker and more accurate in the low end, but the lack of emphasis leaves it feeling a bit anemic at times, at least compared to the MS1's bolder presentation. The FH1S sees spikes in both mid and upper-mid regions. This gives the earphone a less natural and more fatiguing presentation than the MS1. That said, the presentation is a bit more even than what we hear out of the MS1 which is recessed in the lower mids, then spikes in the upper mids. While I found the big bass to balance it out somewhat, keeping it from feeling harsh and irritating like the FH1S can be, mild bleed does hinder what is otherwise decent clarity. Treble out of the FH1S is well extended where the MS1 loses emphasis leaving it's presentation more dry and less energetic than the FH1S with it's upper treble spike. The FH1S' boosted treble and hybrid setup does result in better clarity, a faster presentation, and more air between notes, but the MS1 sounds tighter and better controlled and is much less fatiguing. Both have a very good soundstage. I sound the imaging of the MS1 to be a bit more accurate while the FH1S has a slight edge in terms of layering and separation.
Overall I appreciate the technical ability of the FH1S, but I'd much rather use the MS1 – Rainbow. It sounds more natural and is much less fatiguing.
Shozy Form 1.1 (74.99 USD): The 1.1 in my experience is pretty much superior sounding across the board. Bass is more balanced with a more even balance of sub to mid, and no less extension. It is more textured and better controlled too. The transition into the midrange is handled more evenly on the 1.1 with the lack of any significant spikes resulting in improved timbre. I find the MS1 a hint more detailed, but that comes at the expense of the 1.1s general smoothness. Treble is once again in the 1.1's camp. It offers better extension with a more even upper and lower balance. It lacks the occasional roughness of the MS1s presence region, while bringing in some welcome upper end sparkle to counter any dryness. I do find the MS1s staging to be better though with a wider and deeper feel that is somewhat countered by the 1.1's leaner, cleaner treble presentation. Imaging feels even more accurate through the 1.1, with tracks also coming across slightly more layer and with better instrument separation.
Don't get me wrong, I like the MS1 – Rainbow and think the sound quality is solid in the price range, but against a top tier offering like the 1.1 I see no reason to save a mere five dollars. And that's not even taking into account the rest of the package (build, accessories, etc.) which in my opinion are of a higher class with the Shozy.
In The Ear The MS1 - Rainbow's housing are entirely plastic save for the aluminum nozzles. The plastics themselves feel fairly standard. Not super dense, but not cheap and fragile either. The glitter flakes smattered throughout break up what would otherwise be a very plain design, and I kinda like it. It's got a nostalgic flavour to it that reminds me of Silly Putty from when I was a child. Probably just aged the heck out of myself with that reference... oh well. The Hidizs brand name and logo, as well as left and right indicators and website are all printed on and are pretty much guaranteed to wear off in time due to interaction with the oils of your skin. Obviously that won't affect performance, but some are annoyed by cosmetic flaws. Fit and finish of the component parts is fine, but a slight step below what I expect for this price range. The two halves of the shell fit together well, but the flat pad on which the plug rests when the cable is installed doesn't quite sit flush. There is also some excess glue that could serve to be scraped off around the base of the left nozzle. These aren't really details most people would notice, but I've had literally hundreds of earphones cross my path, most under 100 USD, so these mild qualms stick out.
The cable is a mite bit more impressive in my opinion. I quite like it as visually it reminds me of the cables VSonic fixed to their popular VSDx models back in the day. The big difference being this cable isn't flimsy and fragile thanks to it's twisted design and beefy hardware. The clear two-pin plugs are angled at a 45 degree angle and lead into some pre-formed ear guides. The guides are a bit more plasticy and stiff than I like, but they work well and cause no discomfort so they get a seal of approval. The y-split is a chunky piece of space-grey knurled aluminum with a meaty rubber relief sticking out the bottom. The straight jack follows much the same aesthetic with a smooth section on which the Hidizs name is laser-etched into the metal. Two issues with this jack. The first is that it is quite thick, similar to TFZ's products from the last couple years. The second is that there is no extension for the plus leaving the diameter of the jack to sit flush with the device. It is very likely this will interfere with protective cases for phones and daps.
In The Box The MS1 – Rainbow comes in an elongated white cardboard box. On the front is the Hidizs logo in silver foil along with a very clean image of the right earpiece and the usual branding and model information. A Hi-Res Audio logo is position beneath highlighting the MS1's excellent treble extension up to 40kHz. On the left is more model and bran info, while the right contains an image of the MS1 Rainbow in every available colour, with a space to mark which one is inside. On the back are some basic specs and features, along with Hidizs' location and website.
Lifting off the lid reveals the earpieces set within a cardboard covered foam insert that lifts out via a clear pull tab. Underneath is an empty box acting as a stool to raise the earpieces level with the remaining box containing all the accessories. In all you get:
- MS1 Rainbow earphones
- 0.78mm 4-core silver-coated OFC cable
- Carrying pouch
- Wide bore single flange tips (s/m/l)
- Medium bore single flange tips (s/m/l)
- User guide
- Gift card
- Social media card
Final Thoughts While I like the MS1 – Rainbow and think it's a perfectly fine earphone, it doesn't do anything to stand out from the crowd. The build quality and materials are fine, but a far cry from the outstanding quality you get in class leading example like the Shozy Form 1.1. The sound quality is good, but balance and refinement is only even with other mid-pack offerings like the FiiO FH1S. Even the packaging and accessories sit mid-pack, falling short of the TFZ products the experience is very similar to. Still better than brands like CCA and KZ though, who offer up a middling suite of extras even at much higher prices. The hiss that was common to most sources was also a big turn off, even if I'd get used to it after a short period and drown it out.
If the MS1- Rainbow came in under 50 USD, it would be a stronger offering and easier to recommend, or at least more difficult to dismiss. As is I don't really see any reason to pick one up when something like the Form 1.1 can be had for only a few bucks more, or the KBEAR KB04 for quite a bit less.
If you want a bassy, comfortable earphone with a removable cable and you find the MS1 – Rainbow is available at a good price, go for it. Otherwise, consider your options as there are others that offer better performance and build in this price range.
Thanks for reading!
- B9
Disclaimer Big thanks to Nappoler with HiFiGo for asking if I would be interested in covering the MS1 Rainbow, and for arranging a sample for review. The thoughts within this review are my own subjective opinions based on three weeks of time spent with the MS1. They do not represent Hidizs, HiFiGo, or any other entity. At the time of writing it was retailing for 69.99 USD: https://hifigo.com/products/hidizs-ms1-rainbow
Edit: Reduced to 3 stars. KB EAR KS2 offers basically the same experience as the Rainbow at a 1/3rd of the price.
Specifications
- Impedance: 20 Ohms
- Sensitivity: 112dB
- Frequency Response: 20Hz~40kHz
- Driver: 10.2mm dynamic with bio-diaphragm
- Cable: 0.78mm 2-pin 4-core silver coated OFC
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Greetings!
Today we're checking out Astrotec's newest flagship, the Phoenix.
Their previous flagship, the Delphinus5 equipped with five Knowles armatures per side, was and still is one of my favourite earphones. It is one of the most neutral and flat sounding reference products I've heard, all the while looking fantastic in the process and being comfortable to boot. Still, the way it was tuned was certainly not for everyone. The Phoenix, with it's hybrid dynamic/electrostatic setup, has a sound that is much more exciting and widely appealing. Add to that the use of high end materials in a timeless design and the Phoenix is perfectly capable of carrying the flagship mantle.
Let's take a closer look, shall we?
What I Hear The Phoenix doesn't go for a neutral, balanced signature, instead opting for something that highlights it's two greatest features/assets; the custom dynamic and twin electrostatic super-tweeters.
The treble out of the Phoenix is on the lean side and sees emphasized peaks in both lower and upper regions giving the Phoenix a bright, sparkly, airy presentation that is absolutely packed with detail and full of energy. There is nothing laid back about this upper range, so you treble sensitive folks beware. Everyone else will be treated to an impressively snappy attack and rapid decay rivaling most armatures. Control is generally quite good, though there is a hint of looseness in the brilliance region that crops up on occasion. Some instruments, cymbals in particular, will have a slightly metallic edge to them so the presentation isn't going to be quite as natural as some will be looking for. A slightly less emphasized treble presentation would have suited the Phoenix, especially since I think the low end is the Phoenix's ace in the hole, its raison d'être so to speak, but boosting the treble to show off the generally impressive performance of the twin electrostatic drivers makes sense given the effort necessary to make them work, and the cost involved in using them in the first place.
Most of the midrange is recessed save for an upper peak (not 3K for those that hate it, instead you get a 2K peak. Oooooo!) that brings presence back and keeps vocals prominent, even amidst the mighty low end and enhanced treble emphasis. The presence region bump that gives the Phoenix's treble so much detail carries down into the midrange giving vocals and instruments outstanding clarity and coherence. Deeper male vocals will sometimes come across a bit under-emphasized, but they still remain clear and easy to understand. Detail and clarity are definitely in the Phoenix's wheelhouse. Timbre is a bit less consistent. While the mids and bass are handled well by the dynamic, as you encroach on the twin super-tweeter's territory some of the realism is lost; see the previously mentioned metallic edge. So while the tonality of the dynamic and electrostats are slightly misaligned when taken as individuals, the resulting sound when combined is still very satisfying.
A big part of that is because of the bass. After using the Phoenix on the regular for nearly a month and comparing with a wide variety of gear from budget earphones to more comparably priced and top of the line models, I can confidently say this is the most entertaining and speaker-like bass I've heard to date. Astrotec's custom dynamic has what feels like near unlimited extension with emphasis to match, and as a result gives off a level of visceral feedback I've never felt from an earphone before. It's a wholly unique presentation, and I can't think of a single product I've heard that can match the intensity of what the Phoenix's sub-bass presentation is bringing to the table. It's not sloppy one-note bass either, presenting itself with plenty of texture and nuance when needed. The feeling is one of dynamism and control, regardless of what is being reproduced. And that applies on extremely quick bass notes too. I was expecting, given the tremendous depth and lower end emphasis, that the driver would on the sluggish side and trip up when things got busy, but nope, not the case. I would love to see Astrotec re-use this driver in a future single dynamic earphone, simply to allow that bass the full spotlight.
When it comes to staging the Phoenix is mighty impressive. The slightly lean presentation and upper range emphasis combined with that intense, expansive low end sets the expectation for a capacious feel. The default vocal positioning is just in the outer ear which helps pull the stage back. Width is excellent with notes and effects easily able to trail off well into the distance. Depth is stellar too, allowing for heavily layered tracks to pull apart and instruments to spread out and remain clear and separate. Channel-to-channel movement is clean and precise with drums being a standout when they're mixed to rapidly dart from side to side. Acid jazz and a couple of my favourite EDM genres, liquid drum and bass and psy-trance (Infected Mushroom in particular), do a killer job of showing off the Phoenix's impressive staging qualities.
Overall I find the Phoenix to be a unique and intriguing listen. If looking at it purely from an objective standpoint, subbass emphasis is much too excessive and the treble could be smoothed out a bit. Subjectively, it's a whirlwind of an earphone and I'd be terribly disappointed if that subbass wasn't there. That for me is what makes the Phoenix so special, and is the reason why it ends up being so addictive and hard to put down. That low end combined with a strong technical side and a cavernous sound stage pools together to make the Phoenix quite unlike any other earphone I've come across, but in a good way.
Compared to A Peer (volumes matched with Dayton iMM-6)
HiFiMan RE800 Gold (699.00 USD): The RE800 and Phoenix take very different approaches to sound reproduction. Where the Phoenix is unabashedly bold and bassy, the RE800 take on a more reference approaching with a splash of boosted treble to spruce things up.
Starting with the bass, like the Phoenix the RE800 offers up excellent extension with great speed, control, and a hint more texture, but emphasis is greatly downplayed in favour of a more neutral presence. The Phoenix really pushes the subbass focus while downplaying the midbass presence the RE800 needs to ensure it's low end is not overshadowed by the mids and treble.
Both earphones have a clean, crisp midrange with excellent clarity and coherence. The RE800 is more prone to pulling sibilance and presents with a drier, more snappy timbre despite the extra midbass warmth over the Phoenix. I also find it presents with more rapid kick on percussive notes, and has vocals that better cut through the mix, though not everyone will enjoy how forward they are. Personally, I prefer the less clinical, slightly more laid back and natural-ish mids of the Phoenix.
Treble is where the two once again differ greatly, thanks to the RE800's stronger emphasis through both presence and brilliance regions. I find this results in more shimmer and sparkle than what the Phoenix can output, while also adding a bit more space and air between notes thanks to a less dense presentation. If increasing the volume to bring up the midrange, it can result in fatigue. You don't really need to do this with the Phoenix whose subbass focused sound and more even transition from mids through to the upper treble means you can tailor volume to best emphasize those regions without worrying too much about the low end taking over, unless of course you are fatigued by high subbass quantities.
Both do sound stage very well though I'd say the Phoenix has a clear advantage. First, vocals are immediately less intimate with a default position set just in the outer ear. The subbass presentation also gives off the impression of additional space thanks to its visceral feedback and the way it can trail off into the distance. The Phoenix's superior imaging, layering, and separation also make the overall presentation more rich and dynamic.
Going back and forth between these two showed they were less competition and more complimentary offerings. The Phoenix is much less analytic (though it gives up little in terms of raw detail) and to my ears more entertaining thanks to that mad subbass and impressive sound stage, whereas the RE800 feels more buttoned up and precise. One is for when you want to listen casually/for fun, the other for when you're ready to get down to business and listen seriously.
Campfire Audio Solaris (1,499 USD): (This was a comparo written for one of my Insta followers. Figured I'd bring it into the review with some minor edits) Bass is in my opinion the Phoenix's best quality, and damn does it ever do it well. Compared to the Solaris, the Phoenix's low end is notably less linear and more emphasized, particularly in the subbass region. The Phoenix can move air like no other earphone in my collection. It's definitely going to be too much for some, but I personally find it pretty awesome. Especially since it has the control and texture to back it up. The Solaris sounds a lot more polite and restrained.
Solaris has a more linear midrange structure with a dip in the upper mids compared to the Phoenix which spikes in the same spot. As a result, I find the Solaris to sound more timbre accurate but with vocals that lack the same body and 'pop' of the Phoenix. Coming along with that is a bit more sizzle in sibilant areas making the Phoenix a bit less forgiving of track flaws. Given the few measurements I've seen of the Phoenix, I was expecting it's timbre to be pretty out of wack, but it's closer than I was expecting. I definitely has a unique sound to it though, for better or worse.
That upper mid spike slightly carries over into the lower treble giving the Phoenix an edge, imo, in overall clarity and microdetail. It stops just of short of crossing over into being harsh and overblown, though it's definitely not suitable for treble sensitive listeners. Upper treble is similarly emphasized with the Solaris having a very slightly more broad, less focused peak, that tops out a little higher in the range. As a result I find it to display a bit more sparkle, along with better control, while the Phoenix displays more sizzle.
The Phoenix's somewhat wavy, imbalanced tune results in a fantastic stage that is broad and open. Vocals default just outside the ear with the reserved midbass and treble presentation adding a ton of space. While I wouldn't say the stage itself is larger than what the Solaris outputs given how effects travel into the distance, it sure feels like there is more space and air between notes. I'd give the Poalris the edge in terms of instrument separation and layering, while the Phoenix keeps up with the impressive imaging of Campfire's offering.
As much as I love the Polaris, the Phoenix's tune speaks to me more. I think the Polaris is clearly the superior product from the perspectives of build refinement and technical competency with a more balanced tune and realistic presentation, but if you've been following my content for any length of time you'll know my preferences lean far more towards entertainment factor than accuracy. I'd rather listen to the Phoenix due to that wicked bass set within a pretty stonkin' large sound stage.
Important Notes The Phoenix is laughably tough to drive. You need a good amp and preferably a balanced out option. The above impressions vs. the Solaris were taken with both running through a standard single ended 3.5mm output via the EarMen TR-Amp. Bring balanced into the mix and those comments regarding the layering and separation gap pretty much disappear. The Phoenix sounds notably more impressive balanced. Keep in mind that I generally care not an iota about going balanced because most of my experiences have been that it does nothing but improve loudness. Not the case here, even if measurements result in virtually identical curves.
In The Ear **Keep in mind that this is a prototype and not a release version. I was told the sound is final, but the build is not.** Astrotec went all out with the Phoenix in their goal of crafting a true flagship. This is heard in the custom dynamic and twin Sonion electrostatic super tweeters, but also seen in the overall physical design. First are the titanium and aluminum alloy face plates which dominate the exterior of the earphones. It reminds me of a sun or the aperture blades of a wide open lens. It is fairly subtle, but upon closer inspection looks fantastic. The housings themselves have been handcrafted from rosewood into a familiar half-moon shape with inner protrusions that effectively follow the contours of the outer ear. For the nozzles Astrotec went with brass which fits the Phoenix both aesthetically and acoustically. Lastly, the MMCX ports that stick out very slightly from the top of each earpiece are surrounded in plastic mounts which should offer some additional protection from sudden shock, such as when the earphones are dropped.
The Phoenix's included cable is a bit of a mixed bag for me, though predominantly positive. You can't argue against it being a quality item thanks to the use of 6N OCC wiring, reinforced with Kevlar for additional durability. The thick fabric sheath fits well within the natural aesthetics of the Phoenix's design philosophy. The preformed ear guides are soft and flexible, feeling comfortable around the ear. The y-split is about as basic as it gets, with the inclusion of the chin cinch being a welcome touch. The metal straight jack has a neat ring of knurling for grip, and a stubby but flexible strain relief that will help protect the cable from regular wear and tear. Negatives go back to that cloth sheath which transmits more noise than I'd like from basic movement. It also doesn't like to wrap up neatly, resulting in mild tangles if you aren't careful. Lastly, the super comfortable ear guides are a bit too flexible and as a result allow the cable to bounce up and over the ear while walking. As much as I like aspects of this cable, it was one I swapped out the first few listening sessions.
Thanks to the Phoenix's shapely, low profile design, it is quite comfortable even though it is also quite large and somewhat hefty. Weight is well distributed around the base of the outer ear with the ear guides helping relieve some of the weight. The nozzle is also relatively long and protrudes at a natural angle, again helping to manage the Phoenix's mild heft. The outer ear filling size, deeper than average insertion, and general design leads to pretty good isolation, even with basic silicone tips. Going on walks at night by a busy main road with the earphones in but no music playing, the sound of vehicles passing by was still audible but considerably dulled. Same could be said for the clacking of a keyboard and nearby voices. With music playing, I rarely found myself having to compensate for outside noise with additional volume.
Overall I find the Phoenix to be a well designed product. The high end materials are befitting of its flagship status, the design is comfortable, and isolation is excellent. I really wish this was a full release model and not a prototype because this particular example doesn't do the retail model's fit and finish justice at all. Be sure to head over to Ryan Soo's coverage on Everyday Listening if you want a second opinion, and to check out the amazing finish of a finalized unit.
In The Box Since this is just a prototype, it did not come with the retail packaging or accessories.
Final Thoughts If you enjoy a spacious sounding earphone with massive, high quality bass and crisp, detailed treble, the Phoenix is likely to be your jam. It's not neutral, it's not overly natural, but it is one heck of an entertaining listen that emphasizes the excellent drivers and unique tech within. It's a nice bonus that the design is as attractive as it is, and the quality materials like rosewood, brass, and titanium further add to the flagship status this earphone holds within Astrotec's lineup. Since this is not a release unit I cannot speak to overall fit and finish, but from the images I've seen of retail units and comments from others, it looks to be quite good.
As nice as it is, the cable isn't one I enjoyed using and as a result felt the need to replace it during most of my listening sessions. The somewhat unnatural timbre of the supertweeters can also be distracting at times, mostly with live music, but the more I use the Phoenix the less I care because the bass is just so darn good. This is also a very difficult earphone to get up to volume thanks to some demanding specs. If you lack a quality source or at the very least an amplifier, you're going to struggle to get it up to volume. And that's coming from a typically low volume listener.
Overall I find the Phoenix quite satisfying as it offers up a very unique experience at a price range where most aim to be neutral, and that can get boring after a while. The Phoenix is anything but.
Thanks for reading!
-B9
Disclaimer Thanks to Astrotec for loaning me the Phoenix for the purposes of review. The sample provided is a prototype unit. The sound tuning is finalized but the build quality does not fully represent a retail ready unit. The thoughts within this review are my own subjective opinions based on nearly a month of use. They do not represent Astrotec or any other entity. At the time of writing the Phoenix retailed for 799.00 USD: https://astrotecglobal.com/products/phoenix
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Today we're checking out Astrotec's newest flagship, the Phoenix.
Their previous flagship, the Delphinus5 equipped with five Knowles armatures per side, was and still is one of my favourite earphones. It is one of the most neutral and flat sounding reference products I've heard, all the while looking fantastic in the process and being comfortable to boot. Still, the way it was tuned was certainly not for everyone. The Phoenix, with it's hybrid dynamic/electrostatic setup, has a sound that is much more exciting and widely appealing. Add to that the use of high end materials in a timeless design and the Phoenix is perfectly capable of carrying the flagship mantle.
Let's take a closer look, shall we?
What I Hear The Phoenix doesn't go for a neutral, balanced signature, instead opting for something that highlights it's two greatest features/assets; the custom dynamic and twin electrostatic super-tweeters.
The treble out of the Phoenix is on the lean side and sees emphasized peaks in both lower and upper regions giving the Phoenix a bright, sparkly, airy presentation that is absolutely packed with detail and full of energy. There is nothing laid back about this upper range, so you treble sensitive folks beware. Everyone else will be treated to an impressively snappy attack and rapid decay rivaling most armatures. Control is generally quite good, though there is a hint of looseness in the brilliance region that crops up on occasion. Some instruments, cymbals in particular, will have a slightly metallic edge to them so the presentation isn't going to be quite as natural as some will be looking for. A slightly less emphasized treble presentation would have suited the Phoenix, especially since I think the low end is the Phoenix's ace in the hole, its raison d'être so to speak, but boosting the treble to show off the generally impressive performance of the twin electrostatic drivers makes sense given the effort necessary to make them work, and the cost involved in using them in the first place.
Most of the midrange is recessed save for an upper peak (not 3K for those that hate it, instead you get a 2K peak. Oooooo!) that brings presence back and keeps vocals prominent, even amidst the mighty low end and enhanced treble emphasis. The presence region bump that gives the Phoenix's treble so much detail carries down into the midrange giving vocals and instruments outstanding clarity and coherence. Deeper male vocals will sometimes come across a bit under-emphasized, but they still remain clear and easy to understand. Detail and clarity are definitely in the Phoenix's wheelhouse. Timbre is a bit less consistent. While the mids and bass are handled well by the dynamic, as you encroach on the twin super-tweeter's territory some of the realism is lost; see the previously mentioned metallic edge. So while the tonality of the dynamic and electrostats are slightly misaligned when taken as individuals, the resulting sound when combined is still very satisfying.
A big part of that is because of the bass. After using the Phoenix on the regular for nearly a month and comparing with a wide variety of gear from budget earphones to more comparably priced and top of the line models, I can confidently say this is the most entertaining and speaker-like bass I've heard to date. Astrotec's custom dynamic has what feels like near unlimited extension with emphasis to match, and as a result gives off a level of visceral feedback I've never felt from an earphone before. It's a wholly unique presentation, and I can't think of a single product I've heard that can match the intensity of what the Phoenix's sub-bass presentation is bringing to the table. It's not sloppy one-note bass either, presenting itself with plenty of texture and nuance when needed. The feeling is one of dynamism and control, regardless of what is being reproduced. And that applies on extremely quick bass notes too. I was expecting, given the tremendous depth and lower end emphasis, that the driver would on the sluggish side and trip up when things got busy, but nope, not the case. I would love to see Astrotec re-use this driver in a future single dynamic earphone, simply to allow that bass the full spotlight.
When it comes to staging the Phoenix is mighty impressive. The slightly lean presentation and upper range emphasis combined with that intense, expansive low end sets the expectation for a capacious feel. The default vocal positioning is just in the outer ear which helps pull the stage back. Width is excellent with notes and effects easily able to trail off well into the distance. Depth is stellar too, allowing for heavily layered tracks to pull apart and instruments to spread out and remain clear and separate. Channel-to-channel movement is clean and precise with drums being a standout when they're mixed to rapidly dart from side to side. Acid jazz and a couple of my favourite EDM genres, liquid drum and bass and psy-trance (Infected Mushroom in particular), do a killer job of showing off the Phoenix's impressive staging qualities.
Overall I find the Phoenix to be a unique and intriguing listen. If looking at it purely from an objective standpoint, subbass emphasis is much too excessive and the treble could be smoothed out a bit. Subjectively, it's a whirlwind of an earphone and I'd be terribly disappointed if that subbass wasn't there. That for me is what makes the Phoenix so special, and is the reason why it ends up being so addictive and hard to put down. That low end combined with a strong technical side and a cavernous sound stage pools together to make the Phoenix quite unlike any other earphone I've come across, but in a good way.
Compared to A Peer (volumes matched with Dayton iMM-6)
HiFiMan RE800 Gold (699.00 USD): The RE800 and Phoenix take very different approaches to sound reproduction. Where the Phoenix is unabashedly bold and bassy, the RE800 take on a more reference approaching with a splash of boosted treble to spruce things up.
Starting with the bass, like the Phoenix the RE800 offers up excellent extension with great speed, control, and a hint more texture, but emphasis is greatly downplayed in favour of a more neutral presence. The Phoenix really pushes the subbass focus while downplaying the midbass presence the RE800 needs to ensure it's low end is not overshadowed by the mids and treble.
Both earphones have a clean, crisp midrange with excellent clarity and coherence. The RE800 is more prone to pulling sibilance and presents with a drier, more snappy timbre despite the extra midbass warmth over the Phoenix. I also find it presents with more rapid kick on percussive notes, and has vocals that better cut through the mix, though not everyone will enjoy how forward they are. Personally, I prefer the less clinical, slightly more laid back and natural-ish mids of the Phoenix.
Treble is where the two once again differ greatly, thanks to the RE800's stronger emphasis through both presence and brilliance regions. I find this results in more shimmer and sparkle than what the Phoenix can output, while also adding a bit more space and air between notes thanks to a less dense presentation. If increasing the volume to bring up the midrange, it can result in fatigue. You don't really need to do this with the Phoenix whose subbass focused sound and more even transition from mids through to the upper treble means you can tailor volume to best emphasize those regions without worrying too much about the low end taking over, unless of course you are fatigued by high subbass quantities.
Both do sound stage very well though I'd say the Phoenix has a clear advantage. First, vocals are immediately less intimate with a default position set just in the outer ear. The subbass presentation also gives off the impression of additional space thanks to its visceral feedback and the way it can trail off into the distance. The Phoenix's superior imaging, layering, and separation also make the overall presentation more rich and dynamic.
Going back and forth between these two showed they were less competition and more complimentary offerings. The Phoenix is much less analytic (though it gives up little in terms of raw detail) and to my ears more entertaining thanks to that mad subbass and impressive sound stage, whereas the RE800 feels more buttoned up and precise. One is for when you want to listen casually/for fun, the other for when you're ready to get down to business and listen seriously.
Campfire Audio Solaris (1,499 USD): (This was a comparo written for one of my Insta followers. Figured I'd bring it into the review with some minor edits) Bass is in my opinion the Phoenix's best quality, and damn does it ever do it well. Compared to the Solaris, the Phoenix's low end is notably less linear and more emphasized, particularly in the subbass region. The Phoenix can move air like no other earphone in my collection. It's definitely going to be too much for some, but I personally find it pretty awesome. Especially since it has the control and texture to back it up. The Solaris sounds a lot more polite and restrained.
Solaris has a more linear midrange structure with a dip in the upper mids compared to the Phoenix which spikes in the same spot. As a result, I find the Solaris to sound more timbre accurate but with vocals that lack the same body and 'pop' of the Phoenix. Coming along with that is a bit more sizzle in sibilant areas making the Phoenix a bit less forgiving of track flaws. Given the few measurements I've seen of the Phoenix, I was expecting it's timbre to be pretty out of wack, but it's closer than I was expecting. I definitely has a unique sound to it though, for better or worse.
That upper mid spike slightly carries over into the lower treble giving the Phoenix an edge, imo, in overall clarity and microdetail. It stops just of short of crossing over into being harsh and overblown, though it's definitely not suitable for treble sensitive listeners. Upper treble is similarly emphasized with the Solaris having a very slightly more broad, less focused peak, that tops out a little higher in the range. As a result I find it to display a bit more sparkle, along with better control, while the Phoenix displays more sizzle.
The Phoenix's somewhat wavy, imbalanced tune results in a fantastic stage that is broad and open. Vocals default just outside the ear with the reserved midbass and treble presentation adding a ton of space. While I wouldn't say the stage itself is larger than what the Solaris outputs given how effects travel into the distance, it sure feels like there is more space and air between notes. I'd give the Poalris the edge in terms of instrument separation and layering, while the Phoenix keeps up with the impressive imaging of Campfire's offering.
As much as I love the Polaris, the Phoenix's tune speaks to me more. I think the Polaris is clearly the superior product from the perspectives of build refinement and technical competency with a more balanced tune and realistic presentation, but if you've been following my content for any length of time you'll know my preferences lean far more towards entertainment factor than accuracy. I'd rather listen to the Phoenix due to that wicked bass set within a pretty stonkin' large sound stage.
Important Notes The Phoenix is laughably tough to drive. You need a good amp and preferably a balanced out option. The above impressions vs. the Solaris were taken with both running through a standard single ended 3.5mm output via the EarMen TR-Amp. Bring balanced into the mix and those comments regarding the layering and separation gap pretty much disappear. The Phoenix sounds notably more impressive balanced. Keep in mind that I generally care not an iota about going balanced because most of my experiences have been that it does nothing but improve loudness. Not the case here, even if measurements result in virtually identical curves.
In The Ear **Keep in mind that this is a prototype and not a release version. I was told the sound is final, but the build is not.** Astrotec went all out with the Phoenix in their goal of crafting a true flagship. This is heard in the custom dynamic and twin Sonion electrostatic super tweeters, but also seen in the overall physical design. First are the titanium and aluminum alloy face plates which dominate the exterior of the earphones. It reminds me of a sun or the aperture blades of a wide open lens. It is fairly subtle, but upon closer inspection looks fantastic. The housings themselves have been handcrafted from rosewood into a familiar half-moon shape with inner protrusions that effectively follow the contours of the outer ear. For the nozzles Astrotec went with brass which fits the Phoenix both aesthetically and acoustically. Lastly, the MMCX ports that stick out very slightly from the top of each earpiece are surrounded in plastic mounts which should offer some additional protection from sudden shock, such as when the earphones are dropped.
The Phoenix's included cable is a bit of a mixed bag for me, though predominantly positive. You can't argue against it being a quality item thanks to the use of 6N OCC wiring, reinforced with Kevlar for additional durability. The thick fabric sheath fits well within the natural aesthetics of the Phoenix's design philosophy. The preformed ear guides are soft and flexible, feeling comfortable around the ear. The y-split is about as basic as it gets, with the inclusion of the chin cinch being a welcome touch. The metal straight jack has a neat ring of knurling for grip, and a stubby but flexible strain relief that will help protect the cable from regular wear and tear. Negatives go back to that cloth sheath which transmits more noise than I'd like from basic movement. It also doesn't like to wrap up neatly, resulting in mild tangles if you aren't careful. Lastly, the super comfortable ear guides are a bit too flexible and as a result allow the cable to bounce up and over the ear while walking. As much as I like aspects of this cable, it was one I swapped out the first few listening sessions.
Thanks to the Phoenix's shapely, low profile design, it is quite comfortable even though it is also quite large and somewhat hefty. Weight is well distributed around the base of the outer ear with the ear guides helping relieve some of the weight. The nozzle is also relatively long and protrudes at a natural angle, again helping to manage the Phoenix's mild heft. The outer ear filling size, deeper than average insertion, and general design leads to pretty good isolation, even with basic silicone tips. Going on walks at night by a busy main road with the earphones in but no music playing, the sound of vehicles passing by was still audible but considerably dulled. Same could be said for the clacking of a keyboard and nearby voices. With music playing, I rarely found myself having to compensate for outside noise with additional volume.
Overall I find the Phoenix to be a well designed product. The high end materials are befitting of its flagship status, the design is comfortable, and isolation is excellent. I really wish this was a full release model and not a prototype because this particular example doesn't do the retail model's fit and finish justice at all. Be sure to head over to Ryan Soo's coverage on Everyday Listening if you want a second opinion, and to check out the amazing finish of a finalized unit.
In The Box Since this is just a prototype, it did not come with the retail packaging or accessories.
Final Thoughts If you enjoy a spacious sounding earphone with massive, high quality bass and crisp, detailed treble, the Phoenix is likely to be your jam. It's not neutral, it's not overly natural, but it is one heck of an entertaining listen that emphasizes the excellent drivers and unique tech within. It's a nice bonus that the design is as attractive as it is, and the quality materials like rosewood, brass, and titanium further add to the flagship status this earphone holds within Astrotec's lineup. Since this is not a release unit I cannot speak to overall fit and finish, but from the images I've seen of retail units and comments from others, it looks to be quite good.
As nice as it is, the cable isn't one I enjoyed using and as a result felt the need to replace it during most of my listening sessions. The somewhat unnatural timbre of the supertweeters can also be distracting at times, mostly with live music, but the more I use the Phoenix the less I care because the bass is just so darn good. This is also a very difficult earphone to get up to volume thanks to some demanding specs. If you lack a quality source or at the very least an amplifier, you're going to struggle to get it up to volume. And that's coming from a typically low volume listener.
Overall I find the Phoenix quite satisfying as it offers up a very unique experience at a price range where most aim to be neutral, and that can get boring after a while. The Phoenix is anything but.
Thanks for reading!
-B9
Disclaimer Thanks to Astrotec for loaning me the Phoenix for the purposes of review. The sample provided is a prototype unit. The sound tuning is finalized but the build quality does not fully represent a retail ready unit. The thoughts within this review are my own subjective opinions based on nearly a month of use. They do not represent Astrotec or any other entity. At the time of writing the Phoenix retailed for 799.00 USD: https://astrotecglobal.com/products/phoenix
Specifications
- Impedance: 32ohms
- Sensitivity: 85dB/1mW
- Frequency Response: 5Hz – 40,000Hz
- Drivers: Dual Electrostatic super tweeters + custom dynamic driver
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Greetings!
Today we’re checking out something truly special, that being the flagship for FiiO’s armature-only lineup, the FA9.
While probably best known for their amps, dacs, and DAPs, FiiO has been humming along nicely with their earphone releases. Single dynamic, hybrids, and armature-only models abound. The FA9 is their new armature only flagship with some features that help set it apart from other products in the price range, like the use of all-Knowles armatures (one of which was custom designed for FiiO), a unique 80.6mm long sound tube, and an electronic tuning system via three switches built into the rear of the earphone.
I’ve been using it regularly over the last three weeks and have come away quite pleased with the performance, especially upon comparing to some strong competitors. Let’s take a closer look, shall we?
What I Hear I didn’t really know what to expect from the FA9 going in. While I’ve got plenty of experience with tunable earphones, they all use various physical filters to mask or release frequencies. Since the FA9 alters from the crossover itself, I was curious to see how effective it would be, and if it would end up as more of a gimmick than a useful feature. And since it’s much easier to flick a switch than fumble with tiny filters, would it be something that is actually used on the regular. I can tell you now that the switches are not a gimmick and ended up being useful, even if they were left alone more often than not.
Tuning Switches The FA9 features a tuning system that is still fairly novel. Unlike most which require swapping out various filters, the FA9’s sound can be changed with the mere flick of a number of very tiny switches, three in total. The first makes the FA9 easier to drive but also raises the noise floor. Personally I just left it off the whole time since I listen quietly and the FA9 doesn’t need a ton of power to get up to volume anyway. The second switch handles treble response. It doesn’t do much to the presence region but does add a few extra dB of life to the brilliance region making the FA9 a bit more lively and improving the sound stage slightly. The final switch handles midrange and bass perception. When off it raises the low end making the midrange feel less prominent. When combined with the 2nd switch in the on position, gives off the closest thing to a v-shaped signature the FA9 will output. Turn the 3rd switch on and the bass drops bringing forward the mids to make the FA9 a vocal powerhouse. Overall the switches do not make massively sweeping changes to the signature, but the alterations are definitely enough to be noticeable, especially if you make changes to one side and forget to alter the other. I’d be very curious to see just how far a company could take this tech if they wanted to make a truly flexible, jack of all trades earphone.
Listening with my preferred settings (1; off, 2; on, 3; off) Set up like this, the FA9 provided a very engaging sound that offered just enough low end thump and upper range sparkle to keep me entertained, regardless of what I was listening to.
Starting with the treble the FA9 provides a very smooth and refined experience that is not unlike what you would expect to hear from products a step up the price ladder. The brilliance region is subtly elevated and gives the FA9’s presentation clear sparkle and shimmer, though not to the point of nuking note weight or leading to ear fatigue. Lower treble sees a polite bump that compliments the upper range energy. Everything is presented with plenty of detail and excellent clarity with no smearing or bleeding of instruments/effects into each other, but falls short of being overly analytic. Notes are presented with a satisfying speed that sits somewhere been the uber quick attack and decay typically experienced with armatures, and the slower, more natural feel of a dynamic driver. Overall it is pleasant and just as capable with Eminem’s “Monster” as the Chicago Symphony Orchestra’s rendition of “Night Ferry”.
The midrange sits slightly back compared to the treble and in line with the low end, unaffected by any form of midbass bleed. With a small upper mid bump, vocals have a satisfying warmth to them and remain very coherent with neither male or female vocals getting preferential treatment. Such balance can be heard on the mellow, relaxing duet “Quando, Quando, Quando” featuring Michael Buble and Nelly Furtado. Alongside this, you can add the more varied vocal stylings of the RTJ boys, Big Boi, and Phantogram’s Sarah Barhel on Big Gram’s awesome “Born To Shine” and “Run For Your Life”. The good times continue thanks to the FA9’s outstanding timbre which is absent of the plasticy texturing or breathy dryness (a quality I actually like) common to armatures. Instruments sound as they should. Pianos have the right body with notes subtly lingering, guitars have the right amount of grunge and zip, and drums feel plenty rich.
Bass performance is where that 80.6mm long sound tube comes in, at least according to the marketing material. While I don’t have a version of the FA9 without that monster sound tube available for comparison, I can say that the FA9 kicks nicely when called upon. I’m generally somewhat underwhelmed with the low end presentation of Knowles products, but FiiO dialed the 31618 in very nicely. Extension is great for an armature with the FA9 able to provide a sense of visceral feedback often missing from armature-only earphones. While I find the texturing and detail fairly smooth, I could use a bit more grunge with bands like Tobacco and The Prodigy. For the most part there is enough information and depth provided to satisfy across various genres. In typical armature fashion things move quickly, though again not quite as fast as I’m used to from armatures, thereby giving the FA9 a slightly more natural presentation. This doesn’t hinder articulation though, with the FA9 easily taking on the crazy, messy bass lines oft found in heavy metal tracks.
Sound stage is where the FA9 pulls things back a bit. Sizing is good with plenty of width and moderate depth. This gives the FA9 adequate room to toss sounds off into the distance, but limits layering capabilities leading to tracks sounding less dynamic and diverse when facing some of the competition. Separation is quite good though, and I never came across any instances where the FA9 sounded congested or compressed. Imaging is about the only area where I could levy the term ‘underwhelming’ at the FA9. Just off centre (ex. eye-to-eye) there isn’t a lot of movement so subtle tracking from channel-to-channel lacks nuance. Move past this and it cleans up quickly. I personally don’t think any of this matters all too much with music, but if you’re planning to game with the FA9, or enjoy watching movies with earphones, it can be slightly distracting in my experience.
Overall I find the FA9 a pretty stellar performer. Their implementation of Knowles drivers for the low end has been handled very well, and the treble quality is outstanding. The sweet midrange is also plenty satisfying on vocal-centric tracks. Start playing about with the tuning switches and various ear tips and you can get a lot of mileage and variety out of this earphone.
Compared To A Peer (volumes matched with Dayton iMM-6)
Fearless S6 Rui (389.00 USD): Like the FA9, the S6 Rui features 6 balanced armatures per side, though Fearless left out any form of tuning system so you’re left to experiment with tips and EQ for that. Treble out of the S6 Rui doesn’t place as much emphasis in the brilliance region resulting in a less airy, less sparkly sound. More emphasis is found in the presence region giving the S6 an edge in detail and clarity at the expense of a drier sounding presentation with a hint of grain. The S6 sounds faster and more aggressive with instruments having more initial impact and a shorter decay, though it handles complicated passages no better. Mids on the S6 Rui are more forward compared to the FA9 (though you can bring emphasis more in line with the 3rd switch in the up position) where they do a better job of sharing space with bass and treble frequencies. The FA9’s mids are warmer and smoother with a slightly leaner feel. Where the S6 has the edge in detail in the treble region, the FA9 easily matches it in the mids, while also touting a more natural sound and realistic timbre. Bass on the two is very similar though I hear the FA9 as more linear with better extension, less mid-bass presence, more physical sub-bass, though neither offers dynamic driver levels of feedback. The S6 Rui’s low end doesn’t offer quite as much warmth and has a meatier, slightly slower feel to it. Texturing is pretty similar in that it is quite good. Sound stage size is comparable, though strengths are different. The S5 Rui lacks the width but provides more depth. It images better than the FA9 (due to that off centre vagueness) but doesn’t quite layer or separate instruments as impressively.
When it comes to build the S6 Rui is outstanding, but the FA9 has an edge in a couple particular areas. First is the connectors. Fearless went with a 2-pin system and while that is generally my preferred connector, this one is unreliable with a right earpiece that routinely detaches unexpectedly. Not an issue with the FA9’s rock solid MMCX connectors. The other area I prefer the FA9 is in the housing construction itself. The S6 Rui is just as neat and tidy inside, but it’s hollow. The FA9 is solid providing additional protection from drops and crushing. The FiiO’s metal grills also offer more protection from ear wax and gunk than the S6 Rui’s open sound ports. Fit an comfort is pretty much a wash. The S6 is a little thicker but not quite as long so it might offer a slightly better fit for smaller ears. The FA9 isolates outside noise more effectively.
Overall I prefer the FA9 thanks to it’s more natural sound and innate tuning capabilities.
Dunu DK-3001 Pro (469.00 USD): The DK-3001 Pro is a five driver hybrid so it’s not surprising to hear it bests the FA9 in the bass department, though the FA9 puts in a pretty darn good showing. I perceived the Dunu to have more emphasis in both mid and sub-bass with slightly better extension, impact, and texture, likely due to lack of treble to counter. The FA9 is slightly faster and more articulate with rapid bass lines. The Dunu’s midrange is thicker and more linear with a better balance in the presentation of male and female vocals. The FA9 sounds cleaner and more articulate though. Timbre is close with the Dunu’s armatures doing a better job with instruments versus the FA9’s more accurate vocal renditions. Treble out of the DK-3001 Pro offers less extension and sparkle in the brilliance region instead focusing more on the lower treble. The FA9 ends up with more space between notes and provides a lighter, more detailed, and airy experience against the DK-3001 Pro. Personally I prefer nearly every aspect of the FA9’s treble presentation, which is slightly more nimble to boot. Sound stage is also in the FA9’s camp providing a wider experience, though depth is pretty similar. Imaging is cleaner and more nuanced out of the Dunu and I found it to be slightly more layered but with similar levels of instrument separation.
When it comes to build they are both class leading examples so in my opinion it comes down to your preference for metal or acrylic, and your ear size. The Dunu makes the FA9 look positively massive and defies logic cramming by cramming five drivers (one of which is a relatively large 13mm dynamic), MMCX hardware, and a crossover into such a tiny housing. The FA9 is more stable and better isolating, though the size will limit who can wear it. The DK-3001 Pro is the more universal of the two in that regard. Each earphones’ cable is also outstanding. I prefer the FA9’s tighter braid and generally more durable feel, though Dunu’s Quick-Switch modular system gives it a clear edge in terms of flexibility. Instead of changing the cable entirely to access 2.5mm or 4.4mm balanced options as needs to be done with the FA9, you just swap plugs. FiiO has a similar modular cable out now, the LC-RE. It would be great if the FA9 came with it or a variant out of the box.
Overall I find these two to compliment each other quite well. The Dunu’s low end provides an experience the FA9 can’t match, while the FA9 provides improved treble quality and the flexibility of it’s inbuilt tuning system. My pick would be the Dunu, but it lines up slightly better with my personal tuning preferences.
HiFiMan RE800 Silver (599.00 USD): The RE800 is a single dynamic earphone with a signature that matches up nicely with the FA9 in the 1:down, 2:up, 3:up tuning setting, so I’ll be comparing in that layout. Starting with the low end, the FA9 is warmer and more emphasized with the RE800 besting it in terms of impact, extension, and texture. It also feels a bit quicker and even more articulate on rapid passages. The RE800 has slightly leaner, more detailed mids with very similar emphasis, until the upper mids. The FA9 brings in a hint more warmth and with it a slightly more natural tonality. The FA9 has a cleaner, better controlled treble presentation with a more even balance of upper and lower regions. The RE800 is more detailed and has a more accurate attack and decay pattern that really resonates with live recordings. Sound stage also goes to the RE800 which sounds slightly wider and deeper. Imaging out of the Hifiman’s single dynamic is cleaner and more nuanced with better instrument separation, though layering is in the FA9’s camp.
The RE800 is nicely constructed and made with nice materials but it wouldn’t feel out of place on the 50 USD product. The FA9 bests it in every way except fit which comes down to the RE800 being extremely small, light, and of a more traditional barrel shape. It can’t compete with the FA9 in terms of isolation or stability during heavy movement.
Overall I prefer the FA9’s slightly warmer, smoother, and more refined presentation.
Campfire Audio Andromeda (1099.00 USD): The Andromeda features five armatures per side and is one of my reference armature-only models. The FA9’s low end is slightly warmer and more emphasized with better extension. It has a smoother texturing and lesser impact when compared to the Andromeda, but it a little snappier and more responsive. Midrange presence is very similar with the Andromeda’s vocal clarity and coherence being a step up though slightly thinner. Timbre is also in the Andro’s court. Treble on the Andromeda is cleaner and but less linear with a heavier presence in the brilliance region. It provides more space and air without relying in a leaner, lighter note weight, and in general just sounds better controlled and more crisp. Sound stage is also firmly in the Andromeda’s camp, which is no real surprise given it’s somewhat known for it. The FA9’s stage isn’t quite as wide nor as deep, with imaging that falls behind (quite a bit just off centre). The Andromeda’s improved note spacing also helps it really stand out in terms of layering and separation, areas in which the FA9 is no slouch.
When it comes to build we find ourselves in a similar situation to the Dunu; it comes down to your preference for metal or acrylic, and your ear size. Both are basically flawless in terms of fit and finish and the Andromeda has that iconic design, oft copied but never replicated. For me the Andromeda is the better fitting earphone thanks to a more compact design and shallow fit. The angular edges lead to no discomfort. The FA9 isn’t far off though, and with its superior isolation and stability during movement might be better for you. The FA9’s cable is thicker and more durable and looks much more impressive, but I’m one of those weirdos that like thin, light cables which the Andromeda has. The FA9’s cable is the better of the two though, hands down.
It should be no surprise to hear that I prefer the Andromeda, but the FA9 serves to highlight the law of diminishing returns and how good products in the 500 USD price range really are. You get near TOTL performance at half the price, and in the case of this comparison with more features and flexibility thanks to that handy tuning system.
In The Ear The FA9 takes on what has become a very familiar silhouette within the last few years with its custom-like shape. This is a good thing because such designs have been crafted from the average of thousands of ears and as a result provides as close to a universal a fit as it gets, at least for a large, low profile earphone. The FA9 is a fairly hefty earphone, understandable given what has been crammed inside each 3D printed shell; 6 Knowles armatures, 4-way crossover, tuning switches, 80.6mm long sound tube (plus two shorter tubes), and the MMCX hardware. Even being as large as it is, the FA9 fits wonderfully. It fills the outer ear ensuring an even weight distribution and therefore a stable and secure fit. Since it fills so much of the ear and is a sealed design, passive isolation is outstanding. Note that there is a small vent on top of the FA9 by the face plate where the earphone tapers in. I suspect it is an artifact of the printing process because the vent seems to arch into the back of the face plate and end there. Since the rest of the shell is solid acrylic, I don’t see how it can be used to ease pressure, hence saying the design is sealed.
As I’m writing, a lawnmower is going full bore outside my apartment window and I can barely hear it, with no music playing, preinstalled medium Spinfits in place. Trade those out for some foam tips and the FA9 becomes one of the most highly isolating earphones I’ve used to date. The only trade off is pressure build up upon initial insertion thanks to that sealed design. This is a pretty common observation with fully-sealed, armature-only earphones and can be mitigated a few different way; foam tips, putting the FA9 in slowly, and/or pulling on the top of your ear with your mouth open while inserting. Sure you look ridiculous for a few seconds, but it eases the pressure so you can listen comfortably.
When it comes to build quality, the FA9 is top tier. Their budget minded FA1 is one of the cleanest looking 3D-printed earphones I’ve seen. The FA9 builds on this foundation resulting in an even more impressive product. The acrylic is completely transparent allowing you to clearly see all of the innards, where the FA1 was semi-transparent with a cloudiness to it. The layout of the drivers, crossover, switches, and various tubing is extremely neat and tiny with zero sloppiness or misaligned units. The switches are positively tiny though, hence why FiiO suggests using the prong on the included cleaning brush to move them. The nozzle is well formed with a small lip, though it’s not quite prominent enough to hold on tips of every style. All the included tips stay in place though, and since you get so many of them, and of varying designs and styles, I don’t see any reason beyond curiosity to dip into third party options. The MMCX ports on the FA9 are very firm, though not so much so you feel like you’re going to break something when attaching and detaching the cable. This firmness is welcome because it keeps the cable oriented in the position you set it. The earpieces cannot freely swivel around on their own which can be very annoying and wears out the connectors faster than normal. Overall fit and finish is basically flawless. Not complaints about how this earphone is constructed.
That goes for the 8 strand monocrystalline silver-plated copper cable too, which is every bit as premium as the rest of the presentation. The silver shines through the clear sheath giving off visual appeal in line with the price tag. In addition to looking great, the sheath is soft and flexible with effective tangle and noise resistance. The chosen hardware is of good quality too. The MMCX plugs are smoothly angled with red and blue metal rings at the base ensuring right and left channels are clearly marked. The preformed ear guides that lead out of them are smooth and flexible, much nicer than the stiff plastic tubes used for the FA1’s otherwise excellent cable. Travelling down towards the y-split we find a metal chin cinch. The cinch is just tight enough around the cable to remain in place when used, but not so tight as to make moving it a challenge. Some are so tight they pull uncomfortably at the cable which is not an issue here. The y-split is a simple aluminum ring with FiiO laser-etched on it. It acts purely as a place where the 8 strands divide and lead up to each ear piece. The 90 degree angled jack is another solid piece of aluminum with pronounced knurling and a hefty protective strain relief. While the jack is definitely thicker than average, the 3.5mm output is extended so you shouldn’t have to worry about your phone or DAP case getting in the way.
Overall a gorgeous looking earphone with outstanding build quality both inside and out.
In The Box The FA9 arrives in premium packaging befitting it’s stature in FiiO’s lineup. At first glance it looks like nothing more than a large black box. There is a very cool aspect to it though, which is the rainbow colouring that appears when light hits at an angle. The face of this otherwise large, unassuming package is adorned with nothing more than the FiiO logo in silver foil dead centre with a Hi-Res Audio logo present in the top right corner. On the left is a lone authenticity sticker. The back contains visual representations of the the FA9’s switch-based tuning system and how each switch affects the sound output, along with logos for Knowles, HeyGears, and Spinfit. The entirety of the right side is an opening to slide out another textured black box contained within, this one adorned with only a glossy black FiiO logo centred on the lid. It’s all very reminiscent of a high quality book tucked into a decorative sheath.
Upon removing the lid from this inner box you find the FA9 with cable attached, neatly stored in a thick foam insert. Lifting out the insert reveals the rest of the accessories. In all you get:
Final Thoughts The FA9 has shown itself to be a well-rounded and versatile earphone thanks to it’s strong low end performance, natural midrange, and refined treble. It is all controlled by a tuning system that, while subtle, makes enough of a difference to frequency emphasis to enable users to tailor the sound to their preferences. Imaging just off-centre could be better, but this is all that mars what is otherwise a very refined and capable auditory experience.
Build on that solid foundation with an attractive, well-built design, a quality cable, and an extensive accessory kit that is packed with various tips and useful extras like two different carrying cases, a cleaning tool, and a handy magnetic cable tie, and the FA9 is a package that should ensure you don’t need to spend extra “upgrading” or compensating for cheap add-ins out of the box. About the only thing FiiO could have improved upon is that nice cable, instead providing one that takes advantage of their new modular plug system.
Overall the FA9 is a very strong mid-range offering. While it doesn’t quite hit the same high marks as your typical kilo-buck flagship, it gets very close at half the price. That is something FiiO should be very proud of, and potential customers should be happy to hear. This one is absolutely worth adding to your auditioning list if hunting for a new product in this price range.
Thanks for reading!
– B9
Disclaimer Thanks to Sunny with FiiO for reaching out to see if I would be interested in reviewing the FA9, and for sending over a sample for the purposes of review. The thoughts within this review are my own subjective opinions based on almost a month of testing. They do not represent FiiO or any other entity. At the time of writing the FA9 retailed for 499.99 USD: https://www.fiio.com/fa9 / https://www.aliexpress.com/item/4001035600968.html
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Today we’re checking out something truly special, that being the flagship for FiiO’s armature-only lineup, the FA9.
While probably best known for their amps, dacs, and DAPs, FiiO has been humming along nicely with their earphone releases. Single dynamic, hybrids, and armature-only models abound. The FA9 is their new armature only flagship with some features that help set it apart from other products in the price range, like the use of all-Knowles armatures (one of which was custom designed for FiiO), a unique 80.6mm long sound tube, and an electronic tuning system via three switches built into the rear of the earphone.
I’ve been using it regularly over the last three weeks and have come away quite pleased with the performance, especially upon comparing to some strong competitors. Let’s take a closer look, shall we?
What I Hear I didn’t really know what to expect from the FA9 going in. While I’ve got plenty of experience with tunable earphones, they all use various physical filters to mask or release frequencies. Since the FA9 alters from the crossover itself, I was curious to see how effective it would be, and if it would end up as more of a gimmick than a useful feature. And since it’s much easier to flick a switch than fumble with tiny filters, would it be something that is actually used on the regular. I can tell you now that the switches are not a gimmick and ended up being useful, even if they were left alone more often than not.
Tuning Switches The FA9 features a tuning system that is still fairly novel. Unlike most which require swapping out various filters, the FA9’s sound can be changed with the mere flick of a number of very tiny switches, three in total. The first makes the FA9 easier to drive but also raises the noise floor. Personally I just left it off the whole time since I listen quietly and the FA9 doesn’t need a ton of power to get up to volume anyway. The second switch handles treble response. It doesn’t do much to the presence region but does add a few extra dB of life to the brilliance region making the FA9 a bit more lively and improving the sound stage slightly. The final switch handles midrange and bass perception. When off it raises the low end making the midrange feel less prominent. When combined with the 2nd switch in the on position, gives off the closest thing to a v-shaped signature the FA9 will output. Turn the 3rd switch on and the bass drops bringing forward the mids to make the FA9 a vocal powerhouse. Overall the switches do not make massively sweeping changes to the signature, but the alterations are definitely enough to be noticeable, especially if you make changes to one side and forget to alter the other. I’d be very curious to see just how far a company could take this tech if they wanted to make a truly flexible, jack of all trades earphone.
Listening with my preferred settings (1; off, 2; on, 3; off) Set up like this, the FA9 provided a very engaging sound that offered just enough low end thump and upper range sparkle to keep me entertained, regardless of what I was listening to.
Starting with the treble the FA9 provides a very smooth and refined experience that is not unlike what you would expect to hear from products a step up the price ladder. The brilliance region is subtly elevated and gives the FA9’s presentation clear sparkle and shimmer, though not to the point of nuking note weight or leading to ear fatigue. Lower treble sees a polite bump that compliments the upper range energy. Everything is presented with plenty of detail and excellent clarity with no smearing or bleeding of instruments/effects into each other, but falls short of being overly analytic. Notes are presented with a satisfying speed that sits somewhere been the uber quick attack and decay typically experienced with armatures, and the slower, more natural feel of a dynamic driver. Overall it is pleasant and just as capable with Eminem’s “Monster” as the Chicago Symphony Orchestra’s rendition of “Night Ferry”.
The midrange sits slightly back compared to the treble and in line with the low end, unaffected by any form of midbass bleed. With a small upper mid bump, vocals have a satisfying warmth to them and remain very coherent with neither male or female vocals getting preferential treatment. Such balance can be heard on the mellow, relaxing duet “Quando, Quando, Quando” featuring Michael Buble and Nelly Furtado. Alongside this, you can add the more varied vocal stylings of the RTJ boys, Big Boi, and Phantogram’s Sarah Barhel on Big Gram’s awesome “Born To Shine” and “Run For Your Life”. The good times continue thanks to the FA9’s outstanding timbre which is absent of the plasticy texturing or breathy dryness (a quality I actually like) common to armatures. Instruments sound as they should. Pianos have the right body with notes subtly lingering, guitars have the right amount of grunge and zip, and drums feel plenty rich.
Bass performance is where that 80.6mm long sound tube comes in, at least according to the marketing material. While I don’t have a version of the FA9 without that monster sound tube available for comparison, I can say that the FA9 kicks nicely when called upon. I’m generally somewhat underwhelmed with the low end presentation of Knowles products, but FiiO dialed the 31618 in very nicely. Extension is great for an armature with the FA9 able to provide a sense of visceral feedback often missing from armature-only earphones. While I find the texturing and detail fairly smooth, I could use a bit more grunge with bands like Tobacco and The Prodigy. For the most part there is enough information and depth provided to satisfy across various genres. In typical armature fashion things move quickly, though again not quite as fast as I’m used to from armatures, thereby giving the FA9 a slightly more natural presentation. This doesn’t hinder articulation though, with the FA9 easily taking on the crazy, messy bass lines oft found in heavy metal tracks.
Sound stage is where the FA9 pulls things back a bit. Sizing is good with plenty of width and moderate depth. This gives the FA9 adequate room to toss sounds off into the distance, but limits layering capabilities leading to tracks sounding less dynamic and diverse when facing some of the competition. Separation is quite good though, and I never came across any instances where the FA9 sounded congested or compressed. Imaging is about the only area where I could levy the term ‘underwhelming’ at the FA9. Just off centre (ex. eye-to-eye) there isn’t a lot of movement so subtle tracking from channel-to-channel lacks nuance. Move past this and it cleans up quickly. I personally don’t think any of this matters all too much with music, but if you’re planning to game with the FA9, or enjoy watching movies with earphones, it can be slightly distracting in my experience.
Overall I find the FA9 a pretty stellar performer. Their implementation of Knowles drivers for the low end has been handled very well, and the treble quality is outstanding. The sweet midrange is also plenty satisfying on vocal-centric tracks. Start playing about with the tuning switches and various ear tips and you can get a lot of mileage and variety out of this earphone.
Compared To A Peer (volumes matched with Dayton iMM-6)
Fearless S6 Rui (389.00 USD): Like the FA9, the S6 Rui features 6 balanced armatures per side, though Fearless left out any form of tuning system so you’re left to experiment with tips and EQ for that. Treble out of the S6 Rui doesn’t place as much emphasis in the brilliance region resulting in a less airy, less sparkly sound. More emphasis is found in the presence region giving the S6 an edge in detail and clarity at the expense of a drier sounding presentation with a hint of grain. The S6 sounds faster and more aggressive with instruments having more initial impact and a shorter decay, though it handles complicated passages no better. Mids on the S6 Rui are more forward compared to the FA9 (though you can bring emphasis more in line with the 3rd switch in the up position) where they do a better job of sharing space with bass and treble frequencies. The FA9’s mids are warmer and smoother with a slightly leaner feel. Where the S6 has the edge in detail in the treble region, the FA9 easily matches it in the mids, while also touting a more natural sound and realistic timbre. Bass on the two is very similar though I hear the FA9 as more linear with better extension, less mid-bass presence, more physical sub-bass, though neither offers dynamic driver levels of feedback. The S6 Rui’s low end doesn’t offer quite as much warmth and has a meatier, slightly slower feel to it. Texturing is pretty similar in that it is quite good. Sound stage size is comparable, though strengths are different. The S5 Rui lacks the width but provides more depth. It images better than the FA9 (due to that off centre vagueness) but doesn’t quite layer or separate instruments as impressively.
When it comes to build the S6 Rui is outstanding, but the FA9 has an edge in a couple particular areas. First is the connectors. Fearless went with a 2-pin system and while that is generally my preferred connector, this one is unreliable with a right earpiece that routinely detaches unexpectedly. Not an issue with the FA9’s rock solid MMCX connectors. The other area I prefer the FA9 is in the housing construction itself. The S6 Rui is just as neat and tidy inside, but it’s hollow. The FA9 is solid providing additional protection from drops and crushing. The FiiO’s metal grills also offer more protection from ear wax and gunk than the S6 Rui’s open sound ports. Fit an comfort is pretty much a wash. The S6 is a little thicker but not quite as long so it might offer a slightly better fit for smaller ears. The FA9 isolates outside noise more effectively.
Overall I prefer the FA9 thanks to it’s more natural sound and innate tuning capabilities.
Dunu DK-3001 Pro (469.00 USD): The DK-3001 Pro is a five driver hybrid so it’s not surprising to hear it bests the FA9 in the bass department, though the FA9 puts in a pretty darn good showing. I perceived the Dunu to have more emphasis in both mid and sub-bass with slightly better extension, impact, and texture, likely due to lack of treble to counter. The FA9 is slightly faster and more articulate with rapid bass lines. The Dunu’s midrange is thicker and more linear with a better balance in the presentation of male and female vocals. The FA9 sounds cleaner and more articulate though. Timbre is close with the Dunu’s armatures doing a better job with instruments versus the FA9’s more accurate vocal renditions. Treble out of the DK-3001 Pro offers less extension and sparkle in the brilliance region instead focusing more on the lower treble. The FA9 ends up with more space between notes and provides a lighter, more detailed, and airy experience against the DK-3001 Pro. Personally I prefer nearly every aspect of the FA9’s treble presentation, which is slightly more nimble to boot. Sound stage is also in the FA9’s camp providing a wider experience, though depth is pretty similar. Imaging is cleaner and more nuanced out of the Dunu and I found it to be slightly more layered but with similar levels of instrument separation.
When it comes to build they are both class leading examples so in my opinion it comes down to your preference for metal or acrylic, and your ear size. The Dunu makes the FA9 look positively massive and defies logic cramming by cramming five drivers (one of which is a relatively large 13mm dynamic), MMCX hardware, and a crossover into such a tiny housing. The FA9 is more stable and better isolating, though the size will limit who can wear it. The DK-3001 Pro is the more universal of the two in that regard. Each earphones’ cable is also outstanding. I prefer the FA9’s tighter braid and generally more durable feel, though Dunu’s Quick-Switch modular system gives it a clear edge in terms of flexibility. Instead of changing the cable entirely to access 2.5mm or 4.4mm balanced options as needs to be done with the FA9, you just swap plugs. FiiO has a similar modular cable out now, the LC-RE. It would be great if the FA9 came with it or a variant out of the box.
Overall I find these two to compliment each other quite well. The Dunu’s low end provides an experience the FA9 can’t match, while the FA9 provides improved treble quality and the flexibility of it’s inbuilt tuning system. My pick would be the Dunu, but it lines up slightly better with my personal tuning preferences.
HiFiMan RE800 Silver (599.00 USD): The RE800 is a single dynamic earphone with a signature that matches up nicely with the FA9 in the 1:down, 2:up, 3:up tuning setting, so I’ll be comparing in that layout. Starting with the low end, the FA9 is warmer and more emphasized with the RE800 besting it in terms of impact, extension, and texture. It also feels a bit quicker and even more articulate on rapid passages. The RE800 has slightly leaner, more detailed mids with very similar emphasis, until the upper mids. The FA9 brings in a hint more warmth and with it a slightly more natural tonality. The FA9 has a cleaner, better controlled treble presentation with a more even balance of upper and lower regions. The RE800 is more detailed and has a more accurate attack and decay pattern that really resonates with live recordings. Sound stage also goes to the RE800 which sounds slightly wider and deeper. Imaging out of the Hifiman’s single dynamic is cleaner and more nuanced with better instrument separation, though layering is in the FA9’s camp.
The RE800 is nicely constructed and made with nice materials but it wouldn’t feel out of place on the 50 USD product. The FA9 bests it in every way except fit which comes down to the RE800 being extremely small, light, and of a more traditional barrel shape. It can’t compete with the FA9 in terms of isolation or stability during heavy movement.
Overall I prefer the FA9’s slightly warmer, smoother, and more refined presentation.
Campfire Audio Andromeda (1099.00 USD): The Andromeda features five armatures per side and is one of my reference armature-only models. The FA9’s low end is slightly warmer and more emphasized with better extension. It has a smoother texturing and lesser impact when compared to the Andromeda, but it a little snappier and more responsive. Midrange presence is very similar with the Andromeda’s vocal clarity and coherence being a step up though slightly thinner. Timbre is also in the Andro’s court. Treble on the Andromeda is cleaner and but less linear with a heavier presence in the brilliance region. It provides more space and air without relying in a leaner, lighter note weight, and in general just sounds better controlled and more crisp. Sound stage is also firmly in the Andromeda’s camp, which is no real surprise given it’s somewhat known for it. The FA9’s stage isn’t quite as wide nor as deep, with imaging that falls behind (quite a bit just off centre). The Andromeda’s improved note spacing also helps it really stand out in terms of layering and separation, areas in which the FA9 is no slouch.
When it comes to build we find ourselves in a similar situation to the Dunu; it comes down to your preference for metal or acrylic, and your ear size. Both are basically flawless in terms of fit and finish and the Andromeda has that iconic design, oft copied but never replicated. For me the Andromeda is the better fitting earphone thanks to a more compact design and shallow fit. The angular edges lead to no discomfort. The FA9 isn’t far off though, and with its superior isolation and stability during movement might be better for you. The FA9’s cable is thicker and more durable and looks much more impressive, but I’m one of those weirdos that like thin, light cables which the Andromeda has. The FA9’s cable is the better of the two though, hands down.
It should be no surprise to hear that I prefer the Andromeda, but the FA9 serves to highlight the law of diminishing returns and how good products in the 500 USD price range really are. You get near TOTL performance at half the price, and in the case of this comparison with more features and flexibility thanks to that handy tuning system.
In The Ear The FA9 takes on what has become a very familiar silhouette within the last few years with its custom-like shape. This is a good thing because such designs have been crafted from the average of thousands of ears and as a result provides as close to a universal a fit as it gets, at least for a large, low profile earphone. The FA9 is a fairly hefty earphone, understandable given what has been crammed inside each 3D printed shell; 6 Knowles armatures, 4-way crossover, tuning switches, 80.6mm long sound tube (plus two shorter tubes), and the MMCX hardware. Even being as large as it is, the FA9 fits wonderfully. It fills the outer ear ensuring an even weight distribution and therefore a stable and secure fit. Since it fills so much of the ear and is a sealed design, passive isolation is outstanding. Note that there is a small vent on top of the FA9 by the face plate where the earphone tapers in. I suspect it is an artifact of the printing process because the vent seems to arch into the back of the face plate and end there. Since the rest of the shell is solid acrylic, I don’t see how it can be used to ease pressure, hence saying the design is sealed.
As I’m writing, a lawnmower is going full bore outside my apartment window and I can barely hear it, with no music playing, preinstalled medium Spinfits in place. Trade those out for some foam tips and the FA9 becomes one of the most highly isolating earphones I’ve used to date. The only trade off is pressure build up upon initial insertion thanks to that sealed design. This is a pretty common observation with fully-sealed, armature-only earphones and can be mitigated a few different way; foam tips, putting the FA9 in slowly, and/or pulling on the top of your ear with your mouth open while inserting. Sure you look ridiculous for a few seconds, but it eases the pressure so you can listen comfortably.
When it comes to build quality, the FA9 is top tier. Their budget minded FA1 is one of the cleanest looking 3D-printed earphones I’ve seen. The FA9 builds on this foundation resulting in an even more impressive product. The acrylic is completely transparent allowing you to clearly see all of the innards, where the FA1 was semi-transparent with a cloudiness to it. The layout of the drivers, crossover, switches, and various tubing is extremely neat and tiny with zero sloppiness or misaligned units. The switches are positively tiny though, hence why FiiO suggests using the prong on the included cleaning brush to move them. The nozzle is well formed with a small lip, though it’s not quite prominent enough to hold on tips of every style. All the included tips stay in place though, and since you get so many of them, and of varying designs and styles, I don’t see any reason beyond curiosity to dip into third party options. The MMCX ports on the FA9 are very firm, though not so much so you feel like you’re going to break something when attaching and detaching the cable. This firmness is welcome because it keeps the cable oriented in the position you set it. The earpieces cannot freely swivel around on their own which can be very annoying and wears out the connectors faster than normal. Overall fit and finish is basically flawless. Not complaints about how this earphone is constructed.
That goes for the 8 strand monocrystalline silver-plated copper cable too, which is every bit as premium as the rest of the presentation. The silver shines through the clear sheath giving off visual appeal in line with the price tag. In addition to looking great, the sheath is soft and flexible with effective tangle and noise resistance. The chosen hardware is of good quality too. The MMCX plugs are smoothly angled with red and blue metal rings at the base ensuring right and left channels are clearly marked. The preformed ear guides that lead out of them are smooth and flexible, much nicer than the stiff plastic tubes used for the FA1’s otherwise excellent cable. Travelling down towards the y-split we find a metal chin cinch. The cinch is just tight enough around the cable to remain in place when used, but not so tight as to make moving it a challenge. Some are so tight they pull uncomfortably at the cable which is not an issue here. The y-split is a simple aluminum ring with FiiO laser-etched on it. It acts purely as a place where the 8 strands divide and lead up to each ear piece. The 90 degree angled jack is another solid piece of aluminum with pronounced knurling and a hefty protective strain relief. While the jack is definitely thicker than average, the 3.5mm output is extended so you shouldn’t have to worry about your phone or DAP case getting in the way.
Overall a gorgeous looking earphone with outstanding build quality both inside and out.
In The Box The FA9 arrives in premium packaging befitting it’s stature in FiiO’s lineup. At first glance it looks like nothing more than a large black box. There is a very cool aspect to it though, which is the rainbow colouring that appears when light hits at an angle. The face of this otherwise large, unassuming package is adorned with nothing more than the FiiO logo in silver foil dead centre with a Hi-Res Audio logo present in the top right corner. On the left is a lone authenticity sticker. The back contains visual representations of the the FA9’s switch-based tuning system and how each switch affects the sound output, along with logos for Knowles, HeyGears, and Spinfit. The entirety of the right side is an opening to slide out another textured black box contained within, this one adorned with only a glossy black FiiO logo centred on the lid. It’s all very reminiscent of a high quality book tucked into a decorative sheath.
Upon removing the lid from this inner box you find the FA9 with cable attached, neatly stored in a thick foam insert. Lifting out the insert reveals the rest of the accessories. In all you get:
- FA9 earphones
- 8 strand monocrystalline silver-plated copper MMCX cable
- Spintfit tips (s/m/l)
- Vocal tips (s/m/l)
- Balanced tips (s/m/l)
- Bass tips (s/m/l)
- Bi-flange tips (m)
- Foam tips (m x 2)
- Faux leather, hard shell carrying case
- Soft shell cloth carrying case
- Magnetic cable tie
- Cleaning multi-tool
Final Thoughts The FA9 has shown itself to be a well-rounded and versatile earphone thanks to it’s strong low end performance, natural midrange, and refined treble. It is all controlled by a tuning system that, while subtle, makes enough of a difference to frequency emphasis to enable users to tailor the sound to their preferences. Imaging just off-centre could be better, but this is all that mars what is otherwise a very refined and capable auditory experience.
Build on that solid foundation with an attractive, well-built design, a quality cable, and an extensive accessory kit that is packed with various tips and useful extras like two different carrying cases, a cleaning tool, and a handy magnetic cable tie, and the FA9 is a package that should ensure you don’t need to spend extra “upgrading” or compensating for cheap add-ins out of the box. About the only thing FiiO could have improved upon is that nice cable, instead providing one that takes advantage of their new modular plug system.
Overall the FA9 is a very strong mid-range offering. While it doesn’t quite hit the same high marks as your typical kilo-buck flagship, it gets very close at half the price. That is something FiiO should be very proud of, and potential customers should be happy to hear. This one is absolutely worth adding to your auditioning list if hunting for a new product in this price range.
Thanks for reading!
– B9
Disclaimer Thanks to Sunny with FiiO for reaching out to see if I would be interested in reviewing the FA9, and for sending over a sample for the purposes of review. The thoughts within this review are my own subjective opinions based on almost a month of testing. They do not represent FiiO or any other entity. At the time of writing the FA9 retailed for 499.99 USD: https://www.fiio.com/fa9 / https://www.aliexpress.com/item/4001035600968.html
Specifications
- Impedance: 16~32 Ohms @ 1KHz
- Sensitivity: 110~113dB @ 1mW
- Frequency Response: 15Hz~40kHz
- Maximum Input Power: 100mW
- Drivers: SWFK-31736 (highs) EJ-33877 (mids), HODVTEC-31618 (lows)
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends
Attachments
B9Scrambler
@WongGang Thanks! Glad you're enjoying yours 
@LuckyGhoul I wish. Really enjoy Moondrop's gear but I've only heard the Starfield and Spaceship so far.
@LuckyGhoul I wish. Really enjoy Moondrop's gear but I've only heard the Starfield and Spaceship so far.
DJ Core
Some say the new FH3 smokes this one
Greetings!
Today we’re checking out a new digital audio player (DAP) from FiiO, the M3 Pro.
The M3 series has been a staple in FiiO’s budget DAP lineup for a few years now, seeing two versions prior to the Pro model we’re checking out today. First there was the M3 in 2016, the M3K in 2018, and now the M3 Pro here in 2020. Each update has improved the specs and updated the interface with the M3 Pro culminating in the most advanced and modern feeling M3 to date.
I’ve been using this DAP daily since the end of April, testing it with a variety of products ranging from sub 10 USD earphones (ex. KZ ED9) to triple digit premium headphones (ex. Campfire Audio Cascade), and have come away plenty impressed. In my time with the M3 Pro it has proven to be a versatile device and a solid daily driver.
Let’s take a closer look, shall we?
Packaging and Accessories The M3 Pro comes in a reasonably compact package that is perfectly sized and set up for retail stores. The exterior sheath displays a clean image of the M3 Pro on the ‘now playing’ screen, alongside the usual branding, model info, and Hi-Res Audio logo. Flipping to the rear you find pretty much nothing useful, minus dimensions (95.8mm x 45.4mm x 10.4mm) and approximate weight (70g). Sliding off the sheath reveals a tough plastic tray inlet with a foam insert protecting the M3 Pro, and a smaller cardboard box containing a long Type-A to Type-C USB cable. Beneath everything is a compact cardboard sleeve within which you find a thick Quick Start guide in multiple languages. In all you get:
Battery The M3 Pro is rated for up to 15 hours of use, with a charge time of around 2 hours. During my testing, I was able to complete almost two full work days with the M3 Pro running at 12 out of 60 volume paired to FiiO’s own FA9. It died just after passing the 14 hour mark. Charging via the USB 3.0 port on my laptop took about two hours, within what I would expect. Overall a solid performer on the battery front. With casual listening you could easily get through most of the week before needing to toss it on the charger.
Build and UI The M3 Pro takes queues from modern smartphone design. The front and rear panels are smooth glass surrounded by a black aluminum frame. While the screen does not stretch from bezel to bezel, especially down low where there is a prominent chin, I’m glad. Personally, that is a design goal I detest since I’m always unintentionally touching stuff. None of those problems here. On the bottom of the device is a pinhole for the microphone on the left, a USB-C port in the middle, and a 3.5mm output on the right. The top and right sides of the device are feature free, while the left contains the power/screen lock/unlock button, volume up/down/track advance and play/pause buttons, as well as a micro SD card slot. Overall build quality is quite good with impressive fit and finish, and buttons that provide a solid tactile response upon depression. It would have been nice if the power button were a different shape than volume up, as I occasionally mispress, but as-is the setup works well. The play/pause button also has a raised dot to single it out and since it resides between the volume up/down buttons, can be used for finger orientation.
In addition to buttons, the M3 Pro allows interaction via touch screen. The screen is 3.46 inches in size with a resolution of 340×800. Colours are vivid and images crisp, though the fairly low resolution does lead to pixellation with some album art. It still looks very good though. At lower brightness settings (3 and below out of 10) the screen will wash out in direct sunlight. At full brightness it remains plenty visible. While for the most part it is quite responsive to touch, I did find myself having to press or swipe a couple times to get it to register actions.
Compared to something similarly priced (79.90 USD), like the XDuoo Nano D3, the M3 Pro feels like it should cost a whole heap more. Despite having an all-metal shell, the D3 feels nowhere near as sturdy with panels that easily flex when squeezed. Compare that to the rock solid M3 Pro and the difference is quite significant. The M3 Pro’s physical buttons are also more stable and provide more direct and noticeable feedback when pressed. The screen of the M3 Pro is also larger and higher resolution with touch support, something the D3 could benefit from given the design of it’s software interface.
A more comparable device to the M3 Pro in terms of build would be the Shanling M1 (179.99 USD). It’s a little thicker and wider and about 2/3rds the height. Like the M3 Pro it utilizes an aluminum frame with glass front and rear panels. Instead of a hybrid touch/physical UI, the M1 utilizes a rear facing scroll wheel with a number of physical buttons that provide a similar level of feedback when pressed. It works, but it’s definitely more cumbersome than the M3 Pro’s intuitive design. One edge the M1 has over the M3 Pro is the screen and surrounding build. Noted earlier, the M3 Pro lacks a plastic surround for the screen that provides additional protection from drops. The M1 has this extra protection, a good thing because it carries more weight in that compact frame. Screen quality goes to the M3 Pro with it’s more vibrant colours and slightly higher resolution.
Another device that is comparable would be the Shanling M0 (109 USD). Glass screen and an aluminum shell, but unlike the M3 Pro with it’s hybrid interface, the M0 is touch only, minus a scroll wheel for volume control and some additional functions when the screen is off. The M0 is also about half the size which is impressive in itself, made even more so given the feature set. While the M3 Pro’s screen is a higher resolution, due to the size of the M0 it ends up looking a bit more vibrant, though the lack of real estate makes menu navigation a little more difficult. Note that Shanling included the plastic shock ring around the screen here too, which is again impressive given the size of the device.
As you can gather, the M3 Pro is a very well built device thanks to its use of quality materials and outstanding fit and finish. Add to that an excellent hybrid UI system than makes use of a touch interface and physical buttons, and you’ve got yourself a winner.
GUI and Features The M3 Pro is generally a nice device to interact with. Menus are laid out in logical ways and clearly marked, while navigation through the touch interface is a familiar experience to anyone that has used a smart device in the last ten years. Moving down through menus requires a simple tap on the icon or menu you wish to select. Moving back through menus is as simple as a swipe from left to right, starting from the bezel. Skipping all the way back to the home screen is as simple as tapping the house icon in the top left corner. For the most part navigation is smooth and snappy with things slowing down only once you have large lists open. Scrolling through an entire track list is a bit choppy. This is especially the case when utilizing the alphabet down the right side of the screen to scroll by letter. Maybe I don’t have enough tracks in each category, but I found it to be quite the challenge to select the letter I wanted, instead having to settle for something close, then scrolling normally the rest of the way. In general though, the M3 Pro’s interface is nice to move through and has basically no learning curve to it. Good stuff FiiO.
Now, let’s go through each item and feature on the home screen.
Category Within this menu item you can move through your music thanks to a wide variety of menu options; all songs, artist, album, genre, favorites, playlists, and recently added. All the staples are there and everything is self explanatory.
Now Playing Selecting this option takes you to the track currently playing, or list of all songs if you have not yet selected a track and do not have the option to resume the last track turned on. While on the now playing screen you are presented with a lot of information; track, artist, album, overall song number, bit rate and file type, and an image of the album art. At the bottom of the screen you find a track progress bar, the play/pause and track skip buttons, play mode (sequential play, loop play, shuffle play, single play, single loop), favourite, add to playlist, and an extra menu button (three dots). In this menu is A-B repeat, an equalizer, more track info, and a delete track option. An EQ is nice since you have seven presets. Moving between selections is done gradually so you can hear clearly what each preset does. A nice touch. Unfortunately, there is no custom EQ option so this setting has limited usefulness for me.
Browse Files A surface level file browser that allows you to view all e-book, music, and sound clips captured through the in-built recorder. Nothing worth going into in depth here since the title is self explanatory.
Recording I was surprised to see the M3 Pro was capable of recording sound clips via its own in-built microphone. This would be a really useful feature for students since they could record lectures with ease. Just start the recording and set your M3 Pro on the desk/table. The recording quality is pretty decent too with voices sounding full and meaty, though the mic sensitivity is quite high and it doesn’t take much to cause clipping, hence why I feel this would be good for tackling lectures. The prof/teacher is usually a ways away, so clipping will be less likely. Make sure you’re pointing the mic away from your mouth when speaking, or talk very quietly to ensure a clear recording. It would be nice if FiiO added some control options to this feature, namely the ability to turn the mic gain down.
Settings The settings menu is broken up into three options. Update Media Library updates your library with anything newly added to the SD card. The Play Settings and System Settings options are a lot more in depth. Under Play Settings you find a number of helpful options, some of which are duplicated on the now playing screen. Play mode allows you to cycle between sequential play, loop play, shuffle play, single play, and single loop. Resume mode enables you to either return to the beginning of the last song played, or your position within the last song played at the time the device was shut off. Playback gap allows you to remove any gaps between tracks. Awesome for albums meant to be played front to back. Max volume lets you select the maximum allowable volume. I dropped the limit to 32 out of 60 which is still way higher than I’ve needed to go with anything I’ve plugged into the M3 Pro. This little player has plenty of volume headroom available. Fixed volume setting selects the default volume upon startup. With Balance you can adjust channel bias to counter imbalanced earphones or headphones. Equalizer makes another appearance here and gives you the same eight options (Off, Rock, Classical, Jazz, Pop, Dance, Vocal, Metal). Lastly we have Play Through Folders which you can turn on or off. I actually don’t know the function of this one since it doesn’t seem to make a difference during playback and isn’t covered in the Quick Start Guide.
System Settings This menu is packed with options starting with Screen Brightness. Next up is Screen Timeout which gives you a number of options from 30 seconds to 120 seconds. Idle Standby gives you options from Off to 8 minutes and is a handy feature for preserving battery life if you forget to turn the M3 Pro off after pausing your music. A Sleep function also exists and is helpful for limiting listening session length. USB Mode allows you to put the M3 Pro into storage or DAC modes. Since I am constantly swapping cards between devices, I just leave it in DAC mode. Next we have Recording Quality which allows you to select between high and low to save some memory card space during those long lectures. The next option is Lock Screen Clock. With this on, turning the screen on brings you to the lock screen which contains the time, date, track and basic controls (play/pause and track skip). Swiping from left to right unlocks the device. Select Output allows you to change the 3.5mm output to line out for pairing with an external amp. Don’t plug headphones in with this on… The rest of the options are all pretty straightforward; time, date, and language settings, storage formatting for the memory card, factory restore, system updates, and About M3 Pro in which you find the device name, firmware version, memory card and device capacities, number of tracks loaded, as well as SN and NB numbers.
E-Book The M3 Pro is capable of displaying e-books. I don’t have any to test this feature with but I see no reason why it wouldn’t work. I can’t imagine I’d want to read an entire novel on such a tiny screen, but hey, I’d rather have the option than not. And since it can handle images, maybe loading up some picture books and handling it off to your kid during a car ride would be a feasible option.
Calculator Click on that icon and you find a simple, straightforward calculator. No graphing or advanced options here. Just your basic addition, multiplication, division, and subtraction. Perfectly serviceable if you need a calculator in a pinch, and again it goes back to this being a useful device for students.
Gallery Lastly we have the gallery option which allows you to peruse all of your images and album art. Honestly, this feels like the only aspect of the M3 Pro that received next to no attention and as a result is basically useless in my opinion. Unless you have gone through and clearly named every file, good luck finding a specific image. There are no previews, and no quick way to sift through the list of images. You get one long list in alphabetical order with no option to scroll by letter, or if you select a file, you can flick through each picture one at a time. It is very slow and cumbersome. I would love it if in a future update FiiO gave the gallery some attention to make it more user friendly since as it is right now, it is barely functional.
Overall quite a lot of features and options for a fairly straightforward device, accessible through a well designed graphical interface. I truly appreciate the volume control options which help develop safe listening habits. If FiiO introduced some parental control options that would lock out the menus, this could be a good device to give to a child to start them off in the hobby; bright graphics and an intuitive touch interface combined with volume limiting could teach them to listen responsibly and help with the development of fine motor control. Add in the image gallery and e-book options and you’ve got yourself a winner. The addition of the microphone and calculator options also make it an attractive device for a student to carry around, or an adult that makes audio notes throughout the day. I can think of plenty of situations where the M3 Pro’s feature set would be useful.
How does it compare to some other devices? Well, it’s miles ahead of the Nano D3. The interface on that device is not fun to interact with. The home screen for one is a grid based system similar in looks to the now defunct Windows Phone, but only navigable left to right and vice versa. This is why I said earlier this device would have benefited from a touch screen; the GUI has clearly been designed for it. Once you get past the home screen, the rest of the menus are laid out in a logical manner, you just have to be very patient moving through them. Unlike the M3 Pro which is reasonably smooth and quick to move through, the Nano D3 is very laggy. In terms of features the M3 Pro offers a lot more. The Nano D3 is a music player first and foremost, lacking all the extras you find in the FiiO; microphone, gallery, USB DAC, etc. Some will argue that stuff isn’t necessary, and they wouldn’t be wrong, but given the small price gap… I’d rather have it than not, especially when it works pretty well. Plus, you can’t adjust screen brightness on the Nano D3. Really XDuoo?
The Shanling M0 is more alike the M3 Pro with its touch based interface, though the lack of screen real estate limits the amount of items that can be displayed at any one time. That just means there is a lot more scrolling and swiping involved when compared to the M3 Pro. In the M0’s favour, it’s GUI is quicker and more responsive so pending your fingers aren’t too thick, navigation times end up being similar, if not a little quicker, especially when perusing all songs and similarly long lists. When it comes to features, the M3 Pro is a bit more rich, though the lack of Bluetooth has me favouring the M0.
Sound The M3 Pro is a powerful device (75mW) with a clear, noiseless output thanks to a very low output impedance of 0.3ohms. You can pair it with the most picky of sources, such as the Campfire Audio Solaris, and the resulting sound is silky smooth, free of any background hiss. This trait is extremely desirable and something few DAPs I’ve tried can brag about, especially when they’re as capable of such a vast volume output. I have the volume limiter set to 32 out of 60 since there is nothing I own that requires more (per my listening habits), let alone anything close to what 32 will output. Rarely do I exceed 15. The limit is in place more to restrict accidental volume changes since it can be adjusted via the physical buttons, and the on screen slider that appears after making an adjustment with the buttons. A few times I meant to tap the screen to remove the slider, but instead maxed the volume in an instant. Ouch…
In terms of sound signature, the M3 Pro has a warm, bassy inclination, inline with something like the Shanling M0. Bass is thick and powerful with good extension, easily overshadowing the lean, rolled of presentation of something like the XDuoo Nano D3 or Ruizu X02. Texturing and detail are somewhat glossed over though, so if those traits are already present in your earphones you might find the M3 Pro too smooth. The midrange is fairly neutral in presence with vocalists and instruments sounding naturally weighted, though slightly warm thanks to that low end bump. Clarity and detail fair better here with subtle nuances coming through just fine. This device pairs pretty well with vocal forward products like the Fidue A85 Virgo as a result. Treble sings much the same song with good extension, though the warm-ish presentation carries through. This exacerbates earphones with an already mellow treble presentation and can take away too much of the already limited emphasis, such as with the Massdrop x Mee Audio Planamic. Detail and clarity remain satisfactory though. Due to the M3 Pro’s warm, mellow sound, I found it to pair best with neutral to bright leaning products, such as the FiiO FH1s and TinHiFi T4. It also sounded pretty fantastic with some top of the line gear like the Campfire Audio Andromeda thanks to that clean, output and warm tilt.
USB Audio Since the M3 Pro supports audio out via the Type-C port, you might be tempted to plug in a dongle like the Cozoy Takt C. This works well and may improve the overall sound quality, but keep in mind the M3 Pro has a much cleaner output than most of those dongles so you’ll likely be introducing some background noise into the mix where previously there was none. Also to note, make sure you turn off the M3 Pro prior to removing a dongle. The volume locks and can’t be adjusted, regardless of what the on screen indicator is telling you. Lastly, if you are using a dongle with volume and media controls you may find they do nothing. At least, that was the case when trying the M3 Pro with the Takt C and XDuoo link.
USB DAC While I found the M3 Pro enjoyable enough as a portable DAP, it really hits its stride when being used as a USB DAC. While it has a warm, overly smooth sound in portable mode, as a USB DAC the M3 Pro has a more balanced and lively signature. It also picks up the ability to handle DSD128. Texture and detail improve, bass feels more dynamic and less one-note, and treble smooths out fewer imperfections. I found myself using the M3 Pro more and more in this role through my month of testing, simply because it sounded so good. The easily accessible volume controls and output that is significantly cleaner than my laptop didn’t hurt either.
Final Thoughts The M3 Pro is a fantastic sub-100 USD DAP. It feels like a modern, up-to-date device in both software and physical design thanks to the touch screen interface and beautifully constructed smartphone-like build. Unique features like a voice recorder, calculator, and e-book reader may not be useful for your typical audiophile, but this device seems like it was designed more for a student anyway. For that market, the M3 Pro is way more useful than all but much more expensive Android-based DAPS. Add to those positives tons of power and a very clean output as well as good sound when used as a mobile device, and great sound when functioning as a USB DAC, and you’re getting a lot of device for your dollar.
There are some aspects that could be improved upon, such as the lack of a custom EQ (presents only), a picture gallery that is about as far from easy to navigate as it gets, and some choppiness when scrolling through long lists. The lack of Bluetooth support may also be a negative, since if you’re like me you find interacting with a tiny Bluetooth module like the BTR3K more appealing. Still, despite these areas of improvement the M3 Pro remains a great device and a joy to carry around on the regular.
Thanks for reading!
– B9
Disclaimer A big thanks to Sunny with FiiO for reaching out to see if I would be interested in reviewing the M3 Pro, and for arranging a sample for coverage. The thoughts within this review are my own subject opinions based on just over a month of daily use. They do not represent FiiO or any other entity. At the time of writing the M3 Pro retailed for 89.00 USD: https://www.fiio.com/m3_pro
Today we’re checking out a new digital audio player (DAP) from FiiO, the M3 Pro.
The M3 series has been a staple in FiiO’s budget DAP lineup for a few years now, seeing two versions prior to the Pro model we’re checking out today. First there was the M3 in 2016, the M3K in 2018, and now the M3 Pro here in 2020. Each update has improved the specs and updated the interface with the M3 Pro culminating in the most advanced and modern feeling M3 to date.
I’ve been using this DAP daily since the end of April, testing it with a variety of products ranging from sub 10 USD earphones (ex. KZ ED9) to triple digit premium headphones (ex. Campfire Audio Cascade), and have come away plenty impressed. In my time with the M3 Pro it has proven to be a versatile device and a solid daily driver.
Let’s take a closer look, shall we?
Packaging and Accessories The M3 Pro comes in a reasonably compact package that is perfectly sized and set up for retail stores. The exterior sheath displays a clean image of the M3 Pro on the ‘now playing’ screen, alongside the usual branding, model info, and Hi-Res Audio logo. Flipping to the rear you find pretty much nothing useful, minus dimensions (95.8mm x 45.4mm x 10.4mm) and approximate weight (70g). Sliding off the sheath reveals a tough plastic tray inlet with a foam insert protecting the M3 Pro, and a smaller cardboard box containing a long Type-A to Type-C USB cable. Beneath everything is a compact cardboard sleeve within which you find a thick Quick Start guide in multiple languages. In all you get:
- FiiO M3 Pro media player
- USB cable
Battery The M3 Pro is rated for up to 15 hours of use, with a charge time of around 2 hours. During my testing, I was able to complete almost two full work days with the M3 Pro running at 12 out of 60 volume paired to FiiO’s own FA9. It died just after passing the 14 hour mark. Charging via the USB 3.0 port on my laptop took about two hours, within what I would expect. Overall a solid performer on the battery front. With casual listening you could easily get through most of the week before needing to toss it on the charger.
Build and UI The M3 Pro takes queues from modern smartphone design. The front and rear panels are smooth glass surrounded by a black aluminum frame. While the screen does not stretch from bezel to bezel, especially down low where there is a prominent chin, I’m glad. Personally, that is a design goal I detest since I’m always unintentionally touching stuff. None of those problems here. On the bottom of the device is a pinhole for the microphone on the left, a USB-C port in the middle, and a 3.5mm output on the right. The top and right sides of the device are feature free, while the left contains the power/screen lock/unlock button, volume up/down/track advance and play/pause buttons, as well as a micro SD card slot. Overall build quality is quite good with impressive fit and finish, and buttons that provide a solid tactile response upon depression. It would have been nice if the power button were a different shape than volume up, as I occasionally mispress, but as-is the setup works well. The play/pause button also has a raised dot to single it out and since it resides between the volume up/down buttons, can be used for finger orientation.
In addition to buttons, the M3 Pro allows interaction via touch screen. The screen is 3.46 inches in size with a resolution of 340×800. Colours are vivid and images crisp, though the fairly low resolution does lead to pixellation with some album art. It still looks very good though. At lower brightness settings (3 and below out of 10) the screen will wash out in direct sunlight. At full brightness it remains plenty visible. While for the most part it is quite responsive to touch, I did find myself having to press or swipe a couple times to get it to register actions.
Compared to something similarly priced (79.90 USD), like the XDuoo Nano D3, the M3 Pro feels like it should cost a whole heap more. Despite having an all-metal shell, the D3 feels nowhere near as sturdy with panels that easily flex when squeezed. Compare that to the rock solid M3 Pro and the difference is quite significant. The M3 Pro’s physical buttons are also more stable and provide more direct and noticeable feedback when pressed. The screen of the M3 Pro is also larger and higher resolution with touch support, something the D3 could benefit from given the design of it’s software interface.
A more comparable device to the M3 Pro in terms of build would be the Shanling M1 (179.99 USD). It’s a little thicker and wider and about 2/3rds the height. Like the M3 Pro it utilizes an aluminum frame with glass front and rear panels. Instead of a hybrid touch/physical UI, the M1 utilizes a rear facing scroll wheel with a number of physical buttons that provide a similar level of feedback when pressed. It works, but it’s definitely more cumbersome than the M3 Pro’s intuitive design. One edge the M1 has over the M3 Pro is the screen and surrounding build. Noted earlier, the M3 Pro lacks a plastic surround for the screen that provides additional protection from drops. The M1 has this extra protection, a good thing because it carries more weight in that compact frame. Screen quality goes to the M3 Pro with it’s more vibrant colours and slightly higher resolution.
Another device that is comparable would be the Shanling M0 (109 USD). Glass screen and an aluminum shell, but unlike the M3 Pro with it’s hybrid interface, the M0 is touch only, minus a scroll wheel for volume control and some additional functions when the screen is off. The M0 is also about half the size which is impressive in itself, made even more so given the feature set. While the M3 Pro’s screen is a higher resolution, due to the size of the M0 it ends up looking a bit more vibrant, though the lack of real estate makes menu navigation a little more difficult. Note that Shanling included the plastic shock ring around the screen here too, which is again impressive given the size of the device.
As you can gather, the M3 Pro is a very well built device thanks to its use of quality materials and outstanding fit and finish. Add to that an excellent hybrid UI system than makes use of a touch interface and physical buttons, and you’ve got yourself a winner.
GUI and Features The M3 Pro is generally a nice device to interact with. Menus are laid out in logical ways and clearly marked, while navigation through the touch interface is a familiar experience to anyone that has used a smart device in the last ten years. Moving down through menus requires a simple tap on the icon or menu you wish to select. Moving back through menus is as simple as a swipe from left to right, starting from the bezel. Skipping all the way back to the home screen is as simple as tapping the house icon in the top left corner. For the most part navigation is smooth and snappy with things slowing down only once you have large lists open. Scrolling through an entire track list is a bit choppy. This is especially the case when utilizing the alphabet down the right side of the screen to scroll by letter. Maybe I don’t have enough tracks in each category, but I found it to be quite the challenge to select the letter I wanted, instead having to settle for something close, then scrolling normally the rest of the way. In general though, the M3 Pro’s interface is nice to move through and has basically no learning curve to it. Good stuff FiiO.
Now, let’s go through each item and feature on the home screen.
Category Within this menu item you can move through your music thanks to a wide variety of menu options; all songs, artist, album, genre, favorites, playlists, and recently added. All the staples are there and everything is self explanatory.
Now Playing Selecting this option takes you to the track currently playing, or list of all songs if you have not yet selected a track and do not have the option to resume the last track turned on. While on the now playing screen you are presented with a lot of information; track, artist, album, overall song number, bit rate and file type, and an image of the album art. At the bottom of the screen you find a track progress bar, the play/pause and track skip buttons, play mode (sequential play, loop play, shuffle play, single play, single loop), favourite, add to playlist, and an extra menu button (three dots). In this menu is A-B repeat, an equalizer, more track info, and a delete track option. An EQ is nice since you have seven presets. Moving between selections is done gradually so you can hear clearly what each preset does. A nice touch. Unfortunately, there is no custom EQ option so this setting has limited usefulness for me.
Browse Files A surface level file browser that allows you to view all e-book, music, and sound clips captured through the in-built recorder. Nothing worth going into in depth here since the title is self explanatory.
Recording I was surprised to see the M3 Pro was capable of recording sound clips via its own in-built microphone. This would be a really useful feature for students since they could record lectures with ease. Just start the recording and set your M3 Pro on the desk/table. The recording quality is pretty decent too with voices sounding full and meaty, though the mic sensitivity is quite high and it doesn’t take much to cause clipping, hence why I feel this would be good for tackling lectures. The prof/teacher is usually a ways away, so clipping will be less likely. Make sure you’re pointing the mic away from your mouth when speaking, or talk very quietly to ensure a clear recording. It would be nice if FiiO added some control options to this feature, namely the ability to turn the mic gain down.
Settings The settings menu is broken up into three options. Update Media Library updates your library with anything newly added to the SD card. The Play Settings and System Settings options are a lot more in depth. Under Play Settings you find a number of helpful options, some of which are duplicated on the now playing screen. Play mode allows you to cycle between sequential play, loop play, shuffle play, single play, and single loop. Resume mode enables you to either return to the beginning of the last song played, or your position within the last song played at the time the device was shut off. Playback gap allows you to remove any gaps between tracks. Awesome for albums meant to be played front to back. Max volume lets you select the maximum allowable volume. I dropped the limit to 32 out of 60 which is still way higher than I’ve needed to go with anything I’ve plugged into the M3 Pro. This little player has plenty of volume headroom available. Fixed volume setting selects the default volume upon startup. With Balance you can adjust channel bias to counter imbalanced earphones or headphones. Equalizer makes another appearance here and gives you the same eight options (Off, Rock, Classical, Jazz, Pop, Dance, Vocal, Metal). Lastly we have Play Through Folders which you can turn on or off. I actually don’t know the function of this one since it doesn’t seem to make a difference during playback and isn’t covered in the Quick Start Guide.
System Settings This menu is packed with options starting with Screen Brightness. Next up is Screen Timeout which gives you a number of options from 30 seconds to 120 seconds. Idle Standby gives you options from Off to 8 minutes and is a handy feature for preserving battery life if you forget to turn the M3 Pro off after pausing your music. A Sleep function also exists and is helpful for limiting listening session length. USB Mode allows you to put the M3 Pro into storage or DAC modes. Since I am constantly swapping cards between devices, I just leave it in DAC mode. Next we have Recording Quality which allows you to select between high and low to save some memory card space during those long lectures. The next option is Lock Screen Clock. With this on, turning the screen on brings you to the lock screen which contains the time, date, track and basic controls (play/pause and track skip). Swiping from left to right unlocks the device. Select Output allows you to change the 3.5mm output to line out for pairing with an external amp. Don’t plug headphones in with this on… The rest of the options are all pretty straightforward; time, date, and language settings, storage formatting for the memory card, factory restore, system updates, and About M3 Pro in which you find the device name, firmware version, memory card and device capacities, number of tracks loaded, as well as SN and NB numbers.
E-Book The M3 Pro is capable of displaying e-books. I don’t have any to test this feature with but I see no reason why it wouldn’t work. I can’t imagine I’d want to read an entire novel on such a tiny screen, but hey, I’d rather have the option than not. And since it can handle images, maybe loading up some picture books and handling it off to your kid during a car ride would be a feasible option.
Calculator Click on that icon and you find a simple, straightforward calculator. No graphing or advanced options here. Just your basic addition, multiplication, division, and subtraction. Perfectly serviceable if you need a calculator in a pinch, and again it goes back to this being a useful device for students.
Gallery Lastly we have the gallery option which allows you to peruse all of your images and album art. Honestly, this feels like the only aspect of the M3 Pro that received next to no attention and as a result is basically useless in my opinion. Unless you have gone through and clearly named every file, good luck finding a specific image. There are no previews, and no quick way to sift through the list of images. You get one long list in alphabetical order with no option to scroll by letter, or if you select a file, you can flick through each picture one at a time. It is very slow and cumbersome. I would love it if in a future update FiiO gave the gallery some attention to make it more user friendly since as it is right now, it is barely functional.
Overall quite a lot of features and options for a fairly straightforward device, accessible through a well designed graphical interface. I truly appreciate the volume control options which help develop safe listening habits. If FiiO introduced some parental control options that would lock out the menus, this could be a good device to give to a child to start them off in the hobby; bright graphics and an intuitive touch interface combined with volume limiting could teach them to listen responsibly and help with the development of fine motor control. Add in the image gallery and e-book options and you’ve got yourself a winner. The addition of the microphone and calculator options also make it an attractive device for a student to carry around, or an adult that makes audio notes throughout the day. I can think of plenty of situations where the M3 Pro’s feature set would be useful.
How does it compare to some other devices? Well, it’s miles ahead of the Nano D3. The interface on that device is not fun to interact with. The home screen for one is a grid based system similar in looks to the now defunct Windows Phone, but only navigable left to right and vice versa. This is why I said earlier this device would have benefited from a touch screen; the GUI has clearly been designed for it. Once you get past the home screen, the rest of the menus are laid out in a logical manner, you just have to be very patient moving through them. Unlike the M3 Pro which is reasonably smooth and quick to move through, the Nano D3 is very laggy. In terms of features the M3 Pro offers a lot more. The Nano D3 is a music player first and foremost, lacking all the extras you find in the FiiO; microphone, gallery, USB DAC, etc. Some will argue that stuff isn’t necessary, and they wouldn’t be wrong, but given the small price gap… I’d rather have it than not, especially when it works pretty well. Plus, you can’t adjust screen brightness on the Nano D3. Really XDuoo?
The Shanling M0 is more alike the M3 Pro with its touch based interface, though the lack of screen real estate limits the amount of items that can be displayed at any one time. That just means there is a lot more scrolling and swiping involved when compared to the M3 Pro. In the M0’s favour, it’s GUI is quicker and more responsive so pending your fingers aren’t too thick, navigation times end up being similar, if not a little quicker, especially when perusing all songs and similarly long lists. When it comes to features, the M3 Pro is a bit more rich, though the lack of Bluetooth has me favouring the M0.
Sound The M3 Pro is a powerful device (75mW) with a clear, noiseless output thanks to a very low output impedance of 0.3ohms. You can pair it with the most picky of sources, such as the Campfire Audio Solaris, and the resulting sound is silky smooth, free of any background hiss. This trait is extremely desirable and something few DAPs I’ve tried can brag about, especially when they’re as capable of such a vast volume output. I have the volume limiter set to 32 out of 60 since there is nothing I own that requires more (per my listening habits), let alone anything close to what 32 will output. Rarely do I exceed 15. The limit is in place more to restrict accidental volume changes since it can be adjusted via the physical buttons, and the on screen slider that appears after making an adjustment with the buttons. A few times I meant to tap the screen to remove the slider, but instead maxed the volume in an instant. Ouch…
In terms of sound signature, the M3 Pro has a warm, bassy inclination, inline with something like the Shanling M0. Bass is thick and powerful with good extension, easily overshadowing the lean, rolled of presentation of something like the XDuoo Nano D3 or Ruizu X02. Texturing and detail are somewhat glossed over though, so if those traits are already present in your earphones you might find the M3 Pro too smooth. The midrange is fairly neutral in presence with vocalists and instruments sounding naturally weighted, though slightly warm thanks to that low end bump. Clarity and detail fair better here with subtle nuances coming through just fine. This device pairs pretty well with vocal forward products like the Fidue A85 Virgo as a result. Treble sings much the same song with good extension, though the warm-ish presentation carries through. This exacerbates earphones with an already mellow treble presentation and can take away too much of the already limited emphasis, such as with the Massdrop x Mee Audio Planamic. Detail and clarity remain satisfactory though. Due to the M3 Pro’s warm, mellow sound, I found it to pair best with neutral to bright leaning products, such as the FiiO FH1s and TinHiFi T4. It also sounded pretty fantastic with some top of the line gear like the Campfire Audio Andromeda thanks to that clean, output and warm tilt.
USB Audio Since the M3 Pro supports audio out via the Type-C port, you might be tempted to plug in a dongle like the Cozoy Takt C. This works well and may improve the overall sound quality, but keep in mind the M3 Pro has a much cleaner output than most of those dongles so you’ll likely be introducing some background noise into the mix where previously there was none. Also to note, make sure you turn off the M3 Pro prior to removing a dongle. The volume locks and can’t be adjusted, regardless of what the on screen indicator is telling you. Lastly, if you are using a dongle with volume and media controls you may find they do nothing. At least, that was the case when trying the M3 Pro with the Takt C and XDuoo link.
USB DAC While I found the M3 Pro enjoyable enough as a portable DAP, it really hits its stride when being used as a USB DAC. While it has a warm, overly smooth sound in portable mode, as a USB DAC the M3 Pro has a more balanced and lively signature. It also picks up the ability to handle DSD128. Texture and detail improve, bass feels more dynamic and less one-note, and treble smooths out fewer imperfections. I found myself using the M3 Pro more and more in this role through my month of testing, simply because it sounded so good. The easily accessible volume controls and output that is significantly cleaner than my laptop didn’t hurt either.
Final Thoughts The M3 Pro is a fantastic sub-100 USD DAP. It feels like a modern, up-to-date device in both software and physical design thanks to the touch screen interface and beautifully constructed smartphone-like build. Unique features like a voice recorder, calculator, and e-book reader may not be useful for your typical audiophile, but this device seems like it was designed more for a student anyway. For that market, the M3 Pro is way more useful than all but much more expensive Android-based DAPS. Add to those positives tons of power and a very clean output as well as good sound when used as a mobile device, and great sound when functioning as a USB DAC, and you’re getting a lot of device for your dollar.
There are some aspects that could be improved upon, such as the lack of a custom EQ (presents only), a picture gallery that is about as far from easy to navigate as it gets, and some choppiness when scrolling through long lists. The lack of Bluetooth support may also be a negative, since if you’re like me you find interacting with a tiny Bluetooth module like the BTR3K more appealing. Still, despite these areas of improvement the M3 Pro remains a great device and a joy to carry around on the regular.
Thanks for reading!
– B9
Disclaimer A big thanks to Sunny with FiiO for reaching out to see if I would be interested in reviewing the M3 Pro, and for arranging a sample for coverage. The thoughts within this review are my own subject opinions based on just over a month of daily use. They do not represent FiiO or any other entity. At the time of writing the M3 Pro retailed for 89.00 USD: https://www.fiio.com/m3_pro
Amber Rain
Can anyone help me? I have just bought the M3 Pro and it doesn't seem to manage DSD gapless which is a deal breaker for me (yes, I have selected the gapless option in settings). I read that this feature had been added so some of the other 'M' series, so I thought I'd update to the latest FW...
However, I can't get the M3 Pro to update the software...I have formatted the SD card in the M3 Pro and d/l the latest FW from the FiiO website, but it won't recognise anything or perform the update.
Any suggestions / help would be greatly appreciated?
However, I can't get the M3 Pro to update the software...I have formatted the SD card in the M3 Pro and d/l the latest FW from the FiiO website, but it won't recognise anything or perform the update.
Any suggestions / help would be greatly appreciated?
JeanPaul Petrosyan
>Lastly, if you are using a dongle with volume and media controls you may find they do nothing.
Sorry, did I get it right? Are you saying that you can't regulate volume on an external DAC/Amp connected to the M3 Pro? So there's basically no way to regulate volume at all in a digital transport mode?
Sorry, did I get it right? Are you saying that you can't regulate volume on an external DAC/Amp connected to the M3 Pro? So there's basically no way to regulate volume at all in a digital transport mode?
reggiegasket
Does anyone know if this can be purchased in the UK? I've not found any sellers. I'd prefer not to get one direct from China.
Greetings!
Today we're checking out one of Moondrop's most affordable products, the micro-dynamic equipped Spaceship.
Moondrop is a brand that has skyrocketed in popularity among forum goers thanks to their excellent performance per dollar products and unique Anime girl packaging. The Spaceship was my first experience with one of their products and immediately cemented them as a brand worth following. After all, not many brands can tune a 6mm dynamic this well, nor do they commonly install them in uber compact, chromed brass housings.
Let's take a closer look at why I enjoy the Spaceship so much, and think everyone should have one in their stable of earphones.
What I Hear Moondrop is a brand that tends to tune closely to the Harman target. The Spaceship is no different, though it deviates enough to give it it some character.
Treble has a very clean presentation with good note control and no splashiness. Notes attack quickly and decay realistically. The slightly lean presentation leaves plenty of space and air between notes. This allows the Spaceship to confidently handle congested tracks comfortably. Emphasis is somewhat moderate in the brilliance region with the presence region carrying most of the presentation. This gives the Spaceship plenty of detail, though it's not enough to be considered analytic and won't be outshining or competing with something like the EarNiNE EN2J. I really enjoy the overall upper range presentation here. It is very clean and mature without feeling boosted for the sake of artificially enhancing clarity.
The midrange is slightly boosted with a peak at around 2K. Vocals have a tendency to stick out but also lean slightly towards a thinner presentation. There's enough warmth to keep them from sounding cold and dry. Sibilance is present but not aggressively so, even on Aesop Rock's “Blood Sandwich” which is very unforgiving to sibilant earphones. The Spaceship's mids are very articulate too, keeping up with stupidly fast but well enunciated rappers like Eminem or K.A.A.N, though fine details seem to be smoothed over just a hint. Not the most resolving midrange, but satisfying nonetheless. Timbre is also fairly accurate with the mid/upper-mid bump introducing a subtle tinniness that throws things slightly off kilter.
Bass out of the Spaceship isn't going to set you alight, though I find the quality outstanding for something in this price range. Extension is good but roll off is present before you hit those seriously deep notes. Moondrop plays to this with a pleasing midbass bump that showcases the 6mm's snappy attack, impressive control, and punchy behaviour. I found it pretty quick to react to the sort of rapid bass common to metal, keeping each note well defined instead of smearing them together as slower, less resolving drivers are apt to do. Texturing is also quite good with grungy notes from bands like The Prodigy sounding appropriately dirty. My only complaint levied at the low end is that mild roll off, but that's pretty common to the driver style so no huge surprise.
The Spaceship's sound stage is pretty typical for a 6mm micro dynamic in my experience. Wide and somewhat shallow with good instrument separation and adequate layering ability. Imaging is good with clean channel-to-channel transitions that allow you to accurately track movement. While not my first choice for gaming, the Spaceship works in pinch.
Overall, I've been pretty enthralled with the Spaceship and feel they're right up there with the best micro-dynamic earphones I own. For the price they're pretty much a no brainer with bass quantity/extension being the only thing that might disappoint buyers looking for something with a bit more umph, though I find it perfectly adequate.
Compared To A Peer
ADV 1M (19.99 USD): The 1M and Spaceship are shockingly similar in a number of ways. 6mm micro dynamic, sub-30 USD, fixed cable, metal shells, basic accessory kit, and a tuning that is pretty much interchangeable. Most of the above comments on sound apply to the 1M with a couple differences; the Spaceship has slightly cleaner, better controlled treble with a hint less upper treble emphasis. The 1M provides more subbass emphasis. Mids out of the Spaceship are a hint smoother and more refined. Other than that they're pretty darn comparable with differences that are not sweepingly huge.
When it comes to build and comfort the Spaceship is ahead for me. The 1M has nicely constructed aluminum shells that are extremely tiny. They don't look or feel as nice in the hand as the Spaceship though. The cable too is a step back thanks to the amount of noise it transmits. I do like the rubber above the split, cloth below, despite typically detesting cloth cables. ADV's sheath feels tightly wound and hasn't started fraying yet, despite owning it almost as long as the Spaceship. Comfort is basically identical between the two, but I give the Spaceship the nod because it is easier to insert and remove. The 1M isn't much larger than a medium tip, so getting a grip on it can be a challenge. Some will definitely prefer it over the Spaceship though because you can lay on your side quite comfortably while listening to music. The Spaceship's length is less ideal for that.
My preference is for the Spaceship, but if you can't find one buy the 1M instead.
KB EAR KB04 (39.99 USD): The KB04 has a much more authoritative low end with better extension and subbass presence, though I give texture and speed to the Spaceship. Mids of the Spaceship are more forward and consistent in presentation regardless of the vocalist, with better timbre to boot. The KB04 has more shimmer and sparkle in the upper treble, but also has a more dry, brittle feel in the lower treble. It also provides a bit more detail and has a snappier decay than the Spaceship, it just doesn't sound quite as good imo. The Spaceship has a wider but more shallow sound stage. Vocals sit slight further from the inner ear and sounds displace further into the distance. The KB04 does a better job layering instrument and keep individual tracks elements from blending. These two are certainly quite comparable, but for my tastes the Spaceship is the one I'd rather listen to. What you lose in technical ability and emphasis at either end you gain back via a more cohesive, realistic sounding tune with significantly higher quality mids, imo.
When it comes to build and comfort I'll give the nod to the Spaceship, though the KB04 isn't far off with the removable cable winning back some favour. The Spaceship's chrome is of higher quality, seams are tighter, and the small, teardrop design better fitting and more stable. I prefer the KB04's cable thanks to it's resistance to transmitting noise while moving, and it can be replaced when it inevitably breaks.
As much as I enjoy the KB04, it's tuning isn't quite to my preference and the slightly unstable fit means they never quite disappear in the ear. The Spaceship on the other hand does a much better job of staying out of the way so you can enjoy your music, just be careful not to snag the fixed cable on anything.
Moondrop Starfield (109 USD): Despite the differences in price, tech, and design it's clear these two come from the same family. To my ears the Starfield sounds like a Spaceship with improvements all around. Treble is better extended and more detailed, though I do find the Spaceship to have a hint more control. Attack and decay properties are similar. The mids of the Starfield aren't quite as forward, but timbre is even more accurate and detailed improved slightly. Notes are also have bit more weight and authority to them. Bass out of the Starfield has a similar punch to the midbass but subbass emphasis is brought up. Texturing is also similar with a slight edge going to the Starfield. Sound stage is where the Starfield starts to walk away. It is similarly wide but with added depth. It images more cleanly and accurately with greatly improved layering, though instrument separation remains a strong point on both.
When it comes to build and comfort, I actually prefer the Spaceship, even if the Starfield is one of the most attractive earphones I've used to date. The Spaceship's tiny brass housings have slightly better fit and finish thanks to tighter seams. Plus, there is always the worry about paint chips with the Starfield, though mine still has none. I'll take the Starfield's cable any day of the week though. It has a clean 2-pin design with a quiet, thin lightweight sheath and comfortable preformed ear guides. The Starfield's comfort is a step behind though thanks to the size, weight, and a shallow fit that might necessitate tip rolling to find the most ideal setup.
The Starfield is a great upgrade from the Spaceship, though it also highlights how good the more affordable option is. If you want to try a Moondrop and had your heart set on the Starfield but can't afford it, get the Spaceship.
In The Ear The Spaceship is a compact little thing built to a very high standard. The brass, CNC'd shells are composed of two parts, neatly sealed together with a visible, but minimal seam. The twin vents along the underside of each housing are neatly machined and line up perfectly. Nothing off kilter here. The nozzles are long but lipless, so if tip rolling make sure you pick something that's lengthily and tight enough to stick firmly to the shaft. The drivers within are protected by well-fitted metal grills. Nothing more to talk about, except maybe the chromed finish which makes this budget friendly earphone look more expensive than it is.
Leading to the cable are long, flexible rubber reliefs that make Moondrop's decision to go with a fixed cable much more palatable. It also helps that the cable is reasonably thick with a tough rubber sheath both above and below the y-split. It feels pretty tough and over a year of use, has held up just fine. My only complaint is that it transmits a lot of noise from movement up into the ear. Avoidable by wearing them cable over ear, just one of the many benefits of a raindrop-shaped design. The cable's hardware is decent. While there is no chin cinch, the y-split is a piece of formed metal wrapped around a rubber inset. Laser engraved in tiny writing is “Moondrop Co.” Some strain relief would be nice, but the cable has shown itself to be quite durable so no big loss. The compact straight jack is featureless, though a flexible rubber relief sticks out the top and wraps around the cable doing a good job of protecting it from bends. Overall a good cable, minus the bland looks and noise transmission.
Comfort with the Spaceship is phenomenal. While the brass housings are fairly weighty for their size, the reasonably deep insertion means the weight is dispersed even within your ear. The long strain reliefs also help since they rest lightly against the ear, further balancing the weight. While I wouldn't use them while lying down, I can comfortably wear them for a few hours at a time with zero fatigue.
Isolation with the stock tips is quite good, even with all the venting. The deep insertion and dense materials successfully block outside noise from coming in, and keep your music from bleeding out. I've had no issues using these in noisy areas like the local coffee shop or on transit. As always, foam tips are recommended for the best possible isolation.
In The Box Since I bought my Spaceship early in it's release schedule, my packaging is a little outdated. It now comes in a more traditional (for Moondrop), stylized box with one of their amusing waifu characters that fits in better with the lineup. Since my example is out of date, let's just skip to the accessories. Inside you get:
Final Thoughts The Spaceship is an underrated, underappreciated gem of an earphone that outperforms most of the competition in this price range. It is made from premium materials, looks much more expensive than it is, and has a well-balanced signature that should satisfy those who want something capable and more entertaining than what a typical neutral signature provides. While the fixed cable may be a turnoff, keep in mind that I'm reviewing this earphone after nearly a year of use. It still looks as good and works as well today as it did back then.
This one gets a pretty easy recommendation from me.
Thanks for reading!
- B9
**If you enjoyed this review, there are tons more to be found over on The Contraptionist.**
Disclaimer I purchased the Spaceship from the Moondrop Official Store on Aliexpress for 27.20 CAD back in June of 2019 for the purposes of review. Not a free sample, no discounts, just 6MM dynamic ordering a new earphone containing his favourite driver type. The thoughts within this review are my own subjective opinions based on nearly a year spent with the Spaceship. They do not represent Moondrop or any other entity. You can still order it through Moondrop here (28.62 CAD for the mic free version being reviewed): www.aliexpress.com/item/33040454925.html
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Today we're checking out one of Moondrop's most affordable products, the micro-dynamic equipped Spaceship.
Moondrop is a brand that has skyrocketed in popularity among forum goers thanks to their excellent performance per dollar products and unique Anime girl packaging. The Spaceship was my first experience with one of their products and immediately cemented them as a brand worth following. After all, not many brands can tune a 6mm dynamic this well, nor do they commonly install them in uber compact, chromed brass housings.
Let's take a closer look at why I enjoy the Spaceship so much, and think everyone should have one in their stable of earphones.
What I Hear Moondrop is a brand that tends to tune closely to the Harman target. The Spaceship is no different, though it deviates enough to give it it some character.
Treble has a very clean presentation with good note control and no splashiness. Notes attack quickly and decay realistically. The slightly lean presentation leaves plenty of space and air between notes. This allows the Spaceship to confidently handle congested tracks comfortably. Emphasis is somewhat moderate in the brilliance region with the presence region carrying most of the presentation. This gives the Spaceship plenty of detail, though it's not enough to be considered analytic and won't be outshining or competing with something like the EarNiNE EN2J. I really enjoy the overall upper range presentation here. It is very clean and mature without feeling boosted for the sake of artificially enhancing clarity.
The midrange is slightly boosted with a peak at around 2K. Vocals have a tendency to stick out but also lean slightly towards a thinner presentation. There's enough warmth to keep them from sounding cold and dry. Sibilance is present but not aggressively so, even on Aesop Rock's “Blood Sandwich” which is very unforgiving to sibilant earphones. The Spaceship's mids are very articulate too, keeping up with stupidly fast but well enunciated rappers like Eminem or K.A.A.N, though fine details seem to be smoothed over just a hint. Not the most resolving midrange, but satisfying nonetheless. Timbre is also fairly accurate with the mid/upper-mid bump introducing a subtle tinniness that throws things slightly off kilter.
Bass out of the Spaceship isn't going to set you alight, though I find the quality outstanding for something in this price range. Extension is good but roll off is present before you hit those seriously deep notes. Moondrop plays to this with a pleasing midbass bump that showcases the 6mm's snappy attack, impressive control, and punchy behaviour. I found it pretty quick to react to the sort of rapid bass common to metal, keeping each note well defined instead of smearing them together as slower, less resolving drivers are apt to do. Texturing is also quite good with grungy notes from bands like The Prodigy sounding appropriately dirty. My only complaint levied at the low end is that mild roll off, but that's pretty common to the driver style so no huge surprise.
The Spaceship's sound stage is pretty typical for a 6mm micro dynamic in my experience. Wide and somewhat shallow with good instrument separation and adequate layering ability. Imaging is good with clean channel-to-channel transitions that allow you to accurately track movement. While not my first choice for gaming, the Spaceship works in pinch.
Overall, I've been pretty enthralled with the Spaceship and feel they're right up there with the best micro-dynamic earphones I own. For the price they're pretty much a no brainer with bass quantity/extension being the only thing that might disappoint buyers looking for something with a bit more umph, though I find it perfectly adequate.
Compared To A Peer
ADV 1M (19.99 USD): The 1M and Spaceship are shockingly similar in a number of ways. 6mm micro dynamic, sub-30 USD, fixed cable, metal shells, basic accessory kit, and a tuning that is pretty much interchangeable. Most of the above comments on sound apply to the 1M with a couple differences; the Spaceship has slightly cleaner, better controlled treble with a hint less upper treble emphasis. The 1M provides more subbass emphasis. Mids out of the Spaceship are a hint smoother and more refined. Other than that they're pretty darn comparable with differences that are not sweepingly huge.
When it comes to build and comfort the Spaceship is ahead for me. The 1M has nicely constructed aluminum shells that are extremely tiny. They don't look or feel as nice in the hand as the Spaceship though. The cable too is a step back thanks to the amount of noise it transmits. I do like the rubber above the split, cloth below, despite typically detesting cloth cables. ADV's sheath feels tightly wound and hasn't started fraying yet, despite owning it almost as long as the Spaceship. Comfort is basically identical between the two, but I give the Spaceship the nod because it is easier to insert and remove. The 1M isn't much larger than a medium tip, so getting a grip on it can be a challenge. Some will definitely prefer it over the Spaceship though because you can lay on your side quite comfortably while listening to music. The Spaceship's length is less ideal for that.
My preference is for the Spaceship, but if you can't find one buy the 1M instead.
KB EAR KB04 (39.99 USD): The KB04 has a much more authoritative low end with better extension and subbass presence, though I give texture and speed to the Spaceship. Mids of the Spaceship are more forward and consistent in presentation regardless of the vocalist, with better timbre to boot. The KB04 has more shimmer and sparkle in the upper treble, but also has a more dry, brittle feel in the lower treble. It also provides a bit more detail and has a snappier decay than the Spaceship, it just doesn't sound quite as good imo. The Spaceship has a wider but more shallow sound stage. Vocals sit slight further from the inner ear and sounds displace further into the distance. The KB04 does a better job layering instrument and keep individual tracks elements from blending. These two are certainly quite comparable, but for my tastes the Spaceship is the one I'd rather listen to. What you lose in technical ability and emphasis at either end you gain back via a more cohesive, realistic sounding tune with significantly higher quality mids, imo.
When it comes to build and comfort I'll give the nod to the Spaceship, though the KB04 isn't far off with the removable cable winning back some favour. The Spaceship's chrome is of higher quality, seams are tighter, and the small, teardrop design better fitting and more stable. I prefer the KB04's cable thanks to it's resistance to transmitting noise while moving, and it can be replaced when it inevitably breaks.
As much as I enjoy the KB04, it's tuning isn't quite to my preference and the slightly unstable fit means they never quite disappear in the ear. The Spaceship on the other hand does a much better job of staying out of the way so you can enjoy your music, just be careful not to snag the fixed cable on anything.
Moondrop Starfield (109 USD): Despite the differences in price, tech, and design it's clear these two come from the same family. To my ears the Starfield sounds like a Spaceship with improvements all around. Treble is better extended and more detailed, though I do find the Spaceship to have a hint more control. Attack and decay properties are similar. The mids of the Starfield aren't quite as forward, but timbre is even more accurate and detailed improved slightly. Notes are also have bit more weight and authority to them. Bass out of the Starfield has a similar punch to the midbass but subbass emphasis is brought up. Texturing is also similar with a slight edge going to the Starfield. Sound stage is where the Starfield starts to walk away. It is similarly wide but with added depth. It images more cleanly and accurately with greatly improved layering, though instrument separation remains a strong point on both.
When it comes to build and comfort, I actually prefer the Spaceship, even if the Starfield is one of the most attractive earphones I've used to date. The Spaceship's tiny brass housings have slightly better fit and finish thanks to tighter seams. Plus, there is always the worry about paint chips with the Starfield, though mine still has none. I'll take the Starfield's cable any day of the week though. It has a clean 2-pin design with a quiet, thin lightweight sheath and comfortable preformed ear guides. The Starfield's comfort is a step behind though thanks to the size, weight, and a shallow fit that might necessitate tip rolling to find the most ideal setup.
The Starfield is a great upgrade from the Spaceship, though it also highlights how good the more affordable option is. If you want to try a Moondrop and had your heart set on the Starfield but can't afford it, get the Spaceship.
In The Ear The Spaceship is a compact little thing built to a very high standard. The brass, CNC'd shells are composed of two parts, neatly sealed together with a visible, but minimal seam. The twin vents along the underside of each housing are neatly machined and line up perfectly. Nothing off kilter here. The nozzles are long but lipless, so if tip rolling make sure you pick something that's lengthily and tight enough to stick firmly to the shaft. The drivers within are protected by well-fitted metal grills. Nothing more to talk about, except maybe the chromed finish which makes this budget friendly earphone look more expensive than it is.
Leading to the cable are long, flexible rubber reliefs that make Moondrop's decision to go with a fixed cable much more palatable. It also helps that the cable is reasonably thick with a tough rubber sheath both above and below the y-split. It feels pretty tough and over a year of use, has held up just fine. My only complaint is that it transmits a lot of noise from movement up into the ear. Avoidable by wearing them cable over ear, just one of the many benefits of a raindrop-shaped design. The cable's hardware is decent. While there is no chin cinch, the y-split is a piece of formed metal wrapped around a rubber inset. Laser engraved in tiny writing is “Moondrop Co.” Some strain relief would be nice, but the cable has shown itself to be quite durable so no big loss. The compact straight jack is featureless, though a flexible rubber relief sticks out the top and wraps around the cable doing a good job of protecting it from bends. Overall a good cable, minus the bland looks and noise transmission.
Comfort with the Spaceship is phenomenal. While the brass housings are fairly weighty for their size, the reasonably deep insertion means the weight is dispersed even within your ear. The long strain reliefs also help since they rest lightly against the ear, further balancing the weight. While I wouldn't use them while lying down, I can comfortably wear them for a few hours at a time with zero fatigue.
Isolation with the stock tips is quite good, even with all the venting. The deep insertion and dense materials successfully block outside noise from coming in, and keep your music from bleeding out. I've had no issues using these in noisy areas like the local coffee shop or on transit. As always, foam tips are recommended for the best possible isolation.
In The Box Since I bought my Spaceship early in it's release schedule, my packaging is a little outdated. It now comes in a more traditional (for Moondrop), stylized box with one of their amusing waifu characters that fits in better with the lineup. Since my example is out of date, let's just skip to the accessories. Inside you get:
- Spaceship earphones
- Fabric carrying bag
- Single flange tips (s/m/l)
- Shirt clip
- Owner's manual
- Insertion instruction card w/ waifu artwork
Final Thoughts The Spaceship is an underrated, underappreciated gem of an earphone that outperforms most of the competition in this price range. It is made from premium materials, looks much more expensive than it is, and has a well-balanced signature that should satisfy those who want something capable and more entertaining than what a typical neutral signature provides. While the fixed cable may be a turnoff, keep in mind that I'm reviewing this earphone after nearly a year of use. It still looks as good and works as well today as it did back then.
This one gets a pretty easy recommendation from me.
Thanks for reading!
- B9
**If you enjoyed this review, there are tons more to be found over on The Contraptionist.**
Disclaimer I purchased the Spaceship from the Moondrop Official Store on Aliexpress for 27.20 CAD back in June of 2019 for the purposes of review. Not a free sample, no discounts, just 6MM dynamic ordering a new earphone containing his favourite driver type. The thoughts within this review are my own subjective opinions based on nearly a year spent with the Spaceship. They do not represent Moondrop or any other entity. You can still order it through Moondrop here (28.62 CAD for the mic free version being reviewed): www.aliexpress.com/item/33040454925.html
Specifications
- Driver: 6mm dynamic with PU+PEEK diaphragm
- Impedance: 16ohms +/- 15%
- Sensitivity: 104dB @ 1kHz
- Frequency response range: 20Hz-40kHz
- Cable: Fixed 4N Litz OFC
- Housing: CNC'd brass
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
waveriderhawaii
Nice review. Thanks B9. I played Halo 1 a lot myself on PC.
BrunoC
Great review. If love the Spaceship and I'm actually playing the new Halo version on PC (great BTW) wearing the Spaceships.
B9Scrambler
@BrunoC That's awesome! I'm a long time Halo fan. Still play my original Xbox and copy of Halo:CE. Also have the MCC collection on PC. B9Scrambler on there too if you want to play a round at some point. All my buddies stuck with consoles so I just solo multiplayer or campaign missions.
Greetings!
Today we're checking out KB EAR's inexpensive follow up to the Diamond, the KB04.
KB EAR is still a young brand but they've been aggressively pursuing the budget market. They've become a sponsor on Head-fi, tune around feedback provided by prominent tuners in the community, and pull in popular reviewers for that much more exposure. If their products sucked, none of that would work in their favour. Despite some early teething problems, they seem to have found their stride and along with the Diamond, the KB04 is a competitive offering in it's respective price range.
Let us check it out in greater detail, shall we?
What I Hear The KB04 has a light v-shaped tune with good detail and appreciable technical prowess for the price range. The armatures and dynamic driver do present somewhat different tonalities, however, resulting in a bit of a mismatch. The warmth heard in the low end gives way to a somewhat cool, dry sound in the upper mids and treble. The pairing is close enough to be fine for the application and in my opinion is much more enjoyable than the mismatched gulf I hear on most piezo-equipped earphones, such as the NiceHCK N3.
Treble out of the KB04 is distinctly lower region focused with upper treble lacking slightly in sparkle. Cymbals and chimes slap with a cool, dry edge. Decay is nice and quick and notes hit with a precise, strong attack. It's all very snappy and pleasant. The KB04's upper end presentation is well controlled, something I commonly find an issue with inexpensive hybrids. Notes aren't splashy and show clear definition, though particularly busy or congested tracks do tend to overwhelm the single armature. Lower treble is neatly bumped giving the KB04 good detail down through into the midrange. I don't find there to be any uncomfortable peaks or anything overly offensive going on here. A hint more emphasis in the brilliance region would balance it out nicely, but as is I'm certainly satisfied.
The mids show an upper region bias which combined with the lower treble emphasis results in a slightly lean, sometimes shouty sound that could benefit from some extra warmth. Vocals are very clear and coherent, but with male vocalists often lack a bit of body and authority. It can work with modern male rap and hip hop artists, but it seems more at home with classic rock and acoustic-backed stuff. That said, there are exceptions, like Childish Gambino. His voice works. You'll need to explore to find where the KB04 shines. Female vocalists fare better, even if they too could use some additional warmth. The power and emotion is there, and they don't come across as lean and light. The KB04 feels more flexible and universal here. In terms of timbre and tonality, the KB04 is a mixed bag. I find stringed and woodwind instruments to sound reasonably accurate, but brass and percussion to run somewhat cool and dry, a quality that can be heard in electronic music too. I really think it comes down to that driver tonality mismatch.
The low end is where the KB04 is at it's best, and with the right track is going to make you forget about issues elsewhere. Depth is excellent with the KB04 reaching low and providing a satisfying physical rumble. There is plenty of texture and detail with a punchy, articulate midbass backing everything up. Notes hit with authority and decay quickly, though not so fast that extended beats end unnaturally abruptly. I'm not really hearing much bleed into the lower mids either, at least nothing worth whining about. A pretty kick @$$ low end that competes with the best in the price range.
I found the soundstage of the KB04 to be pretty average, but slightly improved over the more expensive Diamond. Default position is right at the opening of the ear canal with sound occasionally breaching this space and cascading off into the distance. For the most part the presentation is reasonably intimate. Imaging is good with clean channel-to-channel transition. I don't find it super accurate, but it's good enough for music. Layering is decent with separation being quite good. Only with very busy, treble heavy tracks was I finding the KB04 to get somewhat overwhelmed and start blending individual track elements.
Overall the KB04 makes for a pretty darn enjoyable listen. I enjoy the quality treble and meaty bass which is let down only by a lack of sparkle and a midrange that lags behind in quality thanks to an inconsistent presentation. It's not enough to ruin the experience though and the KB04 remains a very compelling sounding product in this category.
Compared To A Peer
KZ ZS4 (~20 USD): The ZS4 is KZ's 1+1 hybrid take on the ever-popular ZS3, a single dynamic released right at the forefront of the intense hybridization of the KZ lineup. Compared to the KB04, the ZS4 has more upper treble presence giving it the upper range shimmer and sparkle the KB EAR is lacking. It might be a tad overdone though since it can be somewhat tiring after listening sessions of moderate length, and it doesn't improve on clarity and detail over the KB04. In general the ZS4's treble presentation isn't quite as clean and tight. The midrange is where the ZS4 is a step ahead. While similarly emphasized, the balance is better with less upper mid and more lower mids. This results in a more even and predictable vocal presentation. Neither is particularly timbre accurate, though the ZS4 gets the clear nod for it's consistency and lack of the dry, crispyness heard in the KB04. Bass is where both are in their element but the KB04 is the superior offering. Both extend very well and provide plenty of visceral feedback. The KB04 is better balanced, reigning in the midbass quantity so it more evenly presents along with the subbass. The ZS4's low end presentation, especially on sustained notes, is somewhat loose and it can't quite handle quick transitions and complicated passages the KB04 breezes through. When it comes to sound stage I find the ZS4 to have a wider, deeper presentation. Its vocal presence is set slightly further away which also helps with this impression. Imaging is cleaner and more accurate out of the KB04, and it does a better job with instrument separation thanks to a cleaner presentation, though I felt the ZS4 better layered track elements.
Overall I prefer the tuning of the ZS4, particularly the midrange, timbre, and sound stage, though the treble refinement and bass control make a strong case for the KB EAR. The next section does a better job determining which would be a greater value (it's the KB04...).
When it comes to build the KB04 wins hands down. Dense metal shells versus weightless plastic shells. It's not hard to guess which one feels more expensive, and as if it could take a beating and a half and keep on trucking. I was pleased to see that the cables were quite comparable, though I'd take KB EAR's 10 out of 10 times for one reason alone; preformed ear guides vs memory wire. KZ does memory wire better than almost everyone I've seen using it because of that whole “memory” thing. You shape the wire, it stays. Most brands get the ability to shape the wire part down pat, it's the 'staying in that shape' aspect they can't nail down. Even so, great memory wire simply isn't as good as a competent preformed ear guide, and that's what KB EAR gives you.
For the fun of it I swapped cables and what do you know, the ZS4's cable works amazing well with the KB04 providing a near identical wearing experience. The KB04's cable on the ZS4? That results in one of the most comfortable, highly isolating wearing experiences I've had. I might leave them like this...
KB EAR Diamond (79.00 USD): When I first listened to the KB04 I was pretty darn impressed, and though that I might actually prefer them over the Diamond. I then listened to them back-to-back.. was reminded of why you a/b. Despite their similarities the Diamond is unquestionably superior, a big part of which is owed to it's much more stable and accurate midrange as well as the timbre quality. Treble out of the KB04 is more emphasized in the presence region. While emphasis is similar in the brilliance region, the quality of the Diamond's shimmer and sparkle is cleaner and more natural. In terms of note control, I found the Diamond slightly loose and nearly splashy compared to similarly priced offerings. While similar, the Diamond has a very slightly neater presentation. The mids of the Diamond are much more satisfying with a warmer tone and thicker overall presentation. None of the shoutyness I've heard from the KB04 is present. Instruments sound pretty much like they should through the Diamond with none of the dryness inherent to the KB04. Bass is much more comparable. Extension is similarly excellent, and both are nicely textured. The Diamond feels a little less linear in the transition from lower to upper bass, with midbass standing out the most. The KB04 is also a hint punchier and sounds a little quicker, though I never really found either struggling with complicated passages. I'd say their bass quality is basically a wash. Sound stage presentation is also quite similar with the KB04 having a slight edge to my ears. That is probably down to the extra spacing provided by the extra emphasis in the treble. Despite the hybrid setup, the Diamond has slightly better layering and separation, and more accurate imaging, though the performance here is again quite close.
Overall I quite prefer the Diamond. The KB04 performs on a similar level in some aspects but is let down by the midrange consistency (or lack thereof) and timbre quality. Fine for the price, but not above.
When it comes to build the Diamond is without question superior. How could it not be with more attractive design, better fit and finish, and improved ergonomics. The cable is also a heck of a lot more premium thanks to the improved core count, more plush sheath, and higher quality hardware. No competition really.
In The Ear Like the Diamond before it, the KB04 features a heavy metal shell in a half-moon shape. The KB04 is slightly shorter, yet thicker than the Diamond, with a similarly hefty weight. The two piece chromed (read: finger-print magnet) zinc-alloy shells are nicely constructed with a third section taking on nozzle duty. The KB04's nozzle is slightly broader than average with a ~6mm diameter. The flange for retaining tips comes in at around 7mm. Those with small ear canals take heed. This nozzle design looks like it could easily be upgraded to accommodate a removable filter system, so I honestly wouldn't be surprised if a “Pro” version came out in a few months, similar to what NiceHCK did with the NX7. The 0.75mm 2-pin ports are heavily recessed which in my opinion is a good thing. While it does limit third party cable options to only those with very small plugs, durability is vastly improved since the pins are not the only thing holding the cable upright.
Speaking of cables, I keep reading that this one should be replaced out of the box. For the life of me, I can't understand why. Outside of the fact that it is easy to tangle if you're not careful, this is a really nice cable to be included with a budget earphone. The black rubber sheath is flexible and well behaved with just enough slickness to it to slide over clothes without feeling too rubbery or plasticky. The 90 degree angled jack is small and well relieved, and the tiny rubber y-split contains a neatly integrated chin cinch that produces just enough friction to stay right where you set it, while adjusting without too much effort. The preformed ear guides use a slightly rough, matte shrink wrap. While flexible, they still hold the cable behind the ear during extreme movement. The compact plug hardware is a familiar sight, having been seen recently on the Moondrop Starfield, as well as on 2018's BQEYZ KC2, among numerous other earphones.
Comfort is generally a positive with the KB04, though I oddly found the smaller size a detriment when compared to the similarly shaped Diamond. It rests neatly in the outer ear with the weight distributing fairly evenly across the antitragus, though never feels quite as stable is it's larger, similarly shaped cousin. The thick nozzle may be to account for this, though the preinstalled black tips are thin and flexible enough to more or less counter that in my experience. Just one of the many reasons I like them.
Isolation is quite average thanks to a fairly shallow fit and ample ventilation. Thankfully those vents are all on the inside so wind noise isn't much of a concern. Still, while using them while typing I can still clearly hear each snick of the keys, they're just dulled. The same can be said for cars and people talking nearby. With foam tips things obviously improve. These would work in very noisy area, just be prepared to compensate with a volume increase.
In The Box The KB04 arrives in some pretty straight forward packaging. The exterior sheath is mostly matte black with a digital model of the earphones in the front, along with the usual branding and model information. Flipping to the rear you find the KB EAR logo and a list of specifications;
Final Thoughts The KB 04 is an attractive fingerprint magnet with a nicely built and reasonably comfortable but heavy shell. The included cable and set of black tips are (imo) quite nice and do not need to be replaced out of the box. In terms of sound, the punchy, well-extended low end backed by good clarity and detail through the mids and treble make for an appealing listen, even if timbre quality isn't quite up to par and the vocal presentation is a bit messy.
Overall a satisfying earphone, one KB EAR definitely should not be ashamed of. It does lots right, little wrong, and for the price is a solid value for a durable daily driver. Good stuff.
Thanks for reading!
- B9
**If you enjoyed this review, there are tons more to be found over on The Contraptionist.**
Disclaimer Thanks to Doona from MissAudio Store for reaching out to see if I would be interested in reviewing the KB04, and for arranging a sample. The thoughts within this review are my own subjective opinions and do not represent KB EAR or MissAudio. At the time of writing the KB04 retailed for 39.99 USD but was on sale for 26.39 USD. You can order yours here: www.aliexpress.com/item/4000800062960.html
Gear Used For Testing LG Q70, FiiO M3 Pro, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Today we're checking out KB EAR's inexpensive follow up to the Diamond, the KB04.
KB EAR is still a young brand but they've been aggressively pursuing the budget market. They've become a sponsor on Head-fi, tune around feedback provided by prominent tuners in the community, and pull in popular reviewers for that much more exposure. If their products sucked, none of that would work in their favour. Despite some early teething problems, they seem to have found their stride and along with the Diamond, the KB04 is a competitive offering in it's respective price range.
Let us check it out in greater detail, shall we?
What I Hear The KB04 has a light v-shaped tune with good detail and appreciable technical prowess for the price range. The armatures and dynamic driver do present somewhat different tonalities, however, resulting in a bit of a mismatch. The warmth heard in the low end gives way to a somewhat cool, dry sound in the upper mids and treble. The pairing is close enough to be fine for the application and in my opinion is much more enjoyable than the mismatched gulf I hear on most piezo-equipped earphones, such as the NiceHCK N3.
Treble out of the KB04 is distinctly lower region focused with upper treble lacking slightly in sparkle. Cymbals and chimes slap with a cool, dry edge. Decay is nice and quick and notes hit with a precise, strong attack. It's all very snappy and pleasant. The KB04's upper end presentation is well controlled, something I commonly find an issue with inexpensive hybrids. Notes aren't splashy and show clear definition, though particularly busy or congested tracks do tend to overwhelm the single armature. Lower treble is neatly bumped giving the KB04 good detail down through into the midrange. I don't find there to be any uncomfortable peaks or anything overly offensive going on here. A hint more emphasis in the brilliance region would balance it out nicely, but as is I'm certainly satisfied.
The mids show an upper region bias which combined with the lower treble emphasis results in a slightly lean, sometimes shouty sound that could benefit from some extra warmth. Vocals are very clear and coherent, but with male vocalists often lack a bit of body and authority. It can work with modern male rap and hip hop artists, but it seems more at home with classic rock and acoustic-backed stuff. That said, there are exceptions, like Childish Gambino. His voice works. You'll need to explore to find where the KB04 shines. Female vocalists fare better, even if they too could use some additional warmth. The power and emotion is there, and they don't come across as lean and light. The KB04 feels more flexible and universal here. In terms of timbre and tonality, the KB04 is a mixed bag. I find stringed and woodwind instruments to sound reasonably accurate, but brass and percussion to run somewhat cool and dry, a quality that can be heard in electronic music too. I really think it comes down to that driver tonality mismatch.
The low end is where the KB04 is at it's best, and with the right track is going to make you forget about issues elsewhere. Depth is excellent with the KB04 reaching low and providing a satisfying physical rumble. There is plenty of texture and detail with a punchy, articulate midbass backing everything up. Notes hit with authority and decay quickly, though not so fast that extended beats end unnaturally abruptly. I'm not really hearing much bleed into the lower mids either, at least nothing worth whining about. A pretty kick @$$ low end that competes with the best in the price range.
I found the soundstage of the KB04 to be pretty average, but slightly improved over the more expensive Diamond. Default position is right at the opening of the ear canal with sound occasionally breaching this space and cascading off into the distance. For the most part the presentation is reasonably intimate. Imaging is good with clean channel-to-channel transition. I don't find it super accurate, but it's good enough for music. Layering is decent with separation being quite good. Only with very busy, treble heavy tracks was I finding the KB04 to get somewhat overwhelmed and start blending individual track elements.
Overall the KB04 makes for a pretty darn enjoyable listen. I enjoy the quality treble and meaty bass which is let down only by a lack of sparkle and a midrange that lags behind in quality thanks to an inconsistent presentation. It's not enough to ruin the experience though and the KB04 remains a very compelling sounding product in this category.
Compared To A Peer
KZ ZS4 (~20 USD): The ZS4 is KZ's 1+1 hybrid take on the ever-popular ZS3, a single dynamic released right at the forefront of the intense hybridization of the KZ lineup. Compared to the KB04, the ZS4 has more upper treble presence giving it the upper range shimmer and sparkle the KB EAR is lacking. It might be a tad overdone though since it can be somewhat tiring after listening sessions of moderate length, and it doesn't improve on clarity and detail over the KB04. In general the ZS4's treble presentation isn't quite as clean and tight. The midrange is where the ZS4 is a step ahead. While similarly emphasized, the balance is better with less upper mid and more lower mids. This results in a more even and predictable vocal presentation. Neither is particularly timbre accurate, though the ZS4 gets the clear nod for it's consistency and lack of the dry, crispyness heard in the KB04. Bass is where both are in their element but the KB04 is the superior offering. Both extend very well and provide plenty of visceral feedback. The KB04 is better balanced, reigning in the midbass quantity so it more evenly presents along with the subbass. The ZS4's low end presentation, especially on sustained notes, is somewhat loose and it can't quite handle quick transitions and complicated passages the KB04 breezes through. When it comes to sound stage I find the ZS4 to have a wider, deeper presentation. Its vocal presence is set slightly further away which also helps with this impression. Imaging is cleaner and more accurate out of the KB04, and it does a better job with instrument separation thanks to a cleaner presentation, though I felt the ZS4 better layered track elements.
Overall I prefer the tuning of the ZS4, particularly the midrange, timbre, and sound stage, though the treble refinement and bass control make a strong case for the KB EAR. The next section does a better job determining which would be a greater value (it's the KB04...).
When it comes to build the KB04 wins hands down. Dense metal shells versus weightless plastic shells. It's not hard to guess which one feels more expensive, and as if it could take a beating and a half and keep on trucking. I was pleased to see that the cables were quite comparable, though I'd take KB EAR's 10 out of 10 times for one reason alone; preformed ear guides vs memory wire. KZ does memory wire better than almost everyone I've seen using it because of that whole “memory” thing. You shape the wire, it stays. Most brands get the ability to shape the wire part down pat, it's the 'staying in that shape' aspect they can't nail down. Even so, great memory wire simply isn't as good as a competent preformed ear guide, and that's what KB EAR gives you.
For the fun of it I swapped cables and what do you know, the ZS4's cable works amazing well with the KB04 providing a near identical wearing experience. The KB04's cable on the ZS4? That results in one of the most comfortable, highly isolating wearing experiences I've had. I might leave them like this...
KB EAR Diamond (79.00 USD): When I first listened to the KB04 I was pretty darn impressed, and though that I might actually prefer them over the Diamond. I then listened to them back-to-back.. was reminded of why you a/b. Despite their similarities the Diamond is unquestionably superior, a big part of which is owed to it's much more stable and accurate midrange as well as the timbre quality. Treble out of the KB04 is more emphasized in the presence region. While emphasis is similar in the brilliance region, the quality of the Diamond's shimmer and sparkle is cleaner and more natural. In terms of note control, I found the Diamond slightly loose and nearly splashy compared to similarly priced offerings. While similar, the Diamond has a very slightly neater presentation. The mids of the Diamond are much more satisfying with a warmer tone and thicker overall presentation. None of the shoutyness I've heard from the KB04 is present. Instruments sound pretty much like they should through the Diamond with none of the dryness inherent to the KB04. Bass is much more comparable. Extension is similarly excellent, and both are nicely textured. The Diamond feels a little less linear in the transition from lower to upper bass, with midbass standing out the most. The KB04 is also a hint punchier and sounds a little quicker, though I never really found either struggling with complicated passages. I'd say their bass quality is basically a wash. Sound stage presentation is also quite similar with the KB04 having a slight edge to my ears. That is probably down to the extra spacing provided by the extra emphasis in the treble. Despite the hybrid setup, the Diamond has slightly better layering and separation, and more accurate imaging, though the performance here is again quite close.
Overall I quite prefer the Diamond. The KB04 performs on a similar level in some aspects but is let down by the midrange consistency (or lack thereof) and timbre quality. Fine for the price, but not above.
When it comes to build the Diamond is without question superior. How could it not be with more attractive design, better fit and finish, and improved ergonomics. The cable is also a heck of a lot more premium thanks to the improved core count, more plush sheath, and higher quality hardware. No competition really.
In The Ear Like the Diamond before it, the KB04 features a heavy metal shell in a half-moon shape. The KB04 is slightly shorter, yet thicker than the Diamond, with a similarly hefty weight. The two piece chromed (read: finger-print magnet) zinc-alloy shells are nicely constructed with a third section taking on nozzle duty. The KB04's nozzle is slightly broader than average with a ~6mm diameter. The flange for retaining tips comes in at around 7mm. Those with small ear canals take heed. This nozzle design looks like it could easily be upgraded to accommodate a removable filter system, so I honestly wouldn't be surprised if a “Pro” version came out in a few months, similar to what NiceHCK did with the NX7. The 0.75mm 2-pin ports are heavily recessed which in my opinion is a good thing. While it does limit third party cable options to only those with very small plugs, durability is vastly improved since the pins are not the only thing holding the cable upright.
Speaking of cables, I keep reading that this one should be replaced out of the box. For the life of me, I can't understand why. Outside of the fact that it is easy to tangle if you're not careful, this is a really nice cable to be included with a budget earphone. The black rubber sheath is flexible and well behaved with just enough slickness to it to slide over clothes without feeling too rubbery or plasticky. The 90 degree angled jack is small and well relieved, and the tiny rubber y-split contains a neatly integrated chin cinch that produces just enough friction to stay right where you set it, while adjusting without too much effort. The preformed ear guides use a slightly rough, matte shrink wrap. While flexible, they still hold the cable behind the ear during extreme movement. The compact plug hardware is a familiar sight, having been seen recently on the Moondrop Starfield, as well as on 2018's BQEYZ KC2, among numerous other earphones.
Comfort is generally a positive with the KB04, though I oddly found the smaller size a detriment when compared to the similarly shaped Diamond. It rests neatly in the outer ear with the weight distributing fairly evenly across the antitragus, though never feels quite as stable is it's larger, similarly shaped cousin. The thick nozzle may be to account for this, though the preinstalled black tips are thin and flexible enough to more or less counter that in my experience. Just one of the many reasons I like them.
Isolation is quite average thanks to a fairly shallow fit and ample ventilation. Thankfully those vents are all on the inside so wind noise isn't much of a concern. Still, while using them while typing I can still clearly hear each snick of the keys, they're just dulled. The same can be said for cars and people talking nearby. With foam tips things obviously improve. These would work in very noisy area, just be prepared to compensate with a volume increase.
In The Box The KB04 arrives in some pretty straight forward packaging. The exterior sheath is mostly matte black with a digital model of the earphones in the front, along with the usual branding and model information. Flipping to the rear you find the KB EAR logo and a list of specifications;
- Driver Type: Dynamic + Balanced Armature w/ 2-way crossover
- Cable: 0.75mm 2-pin silver plated copper
- Sensitivity: 104dB +/- 3dB
- Impedance: 10ohms +/- 10%
- Frequency Response: 20Hz – 40KHz
- KB04 earphones
- 0.75mm 2-pin silver plated copper cable
- Black single flange silicone tips (s/m/l)
- Green single flange silicone tips (s/m/l)
- Shirt clip
Final Thoughts The KB 04 is an attractive fingerprint magnet with a nicely built and reasonably comfortable but heavy shell. The included cable and set of black tips are (imo) quite nice and do not need to be replaced out of the box. In terms of sound, the punchy, well-extended low end backed by good clarity and detail through the mids and treble make for an appealing listen, even if timbre quality isn't quite up to par and the vocal presentation is a bit messy.
Overall a satisfying earphone, one KB EAR definitely should not be ashamed of. It does lots right, little wrong, and for the price is a solid value for a durable daily driver. Good stuff.
Thanks for reading!
- B9
**If you enjoyed this review, there are tons more to be found over on The Contraptionist.**
Disclaimer Thanks to Doona from MissAudio Store for reaching out to see if I would be interested in reviewing the KB04, and for arranging a sample. The thoughts within this review are my own subjective opinions and do not represent KB EAR or MissAudio. At the time of writing the KB04 retailed for 39.99 USD but was on sale for 26.39 USD. You can order yours here: www.aliexpress.com/item/4000800062960.html
Gear Used For Testing LG Q70, FiiO M3 Pro, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Greetings!
Today we're checking out something special; Dunu's DK-3001 Pro.
Back in 2017 Dunu released the original DK-3001 to positive fanfare. While I never had the chance to try out that model, looking back on old reviews it seems much of the original's DNA remains, although with the Pro Dunu has reworked the concept. Along with the addition of an extra armature bringing the total number of drivers to four armatures and one dynamic per side, they also applied a number of tweaks and refinements to both the physical design and auditory experience that should make the Pro a more than worthy successor.
I've spent just over a month extensively listening to this earphone, comparing and contrasting it with products at prices well above and below. I think I know the DK-3001 Pro pretty well at this point and feel that it offers an impressive balance of performance for the price (which is not low), all packaged into one of the better constructed earphones on the market. If you're looking for something in that 400-500 USD price range, the DK-3001 Pro is a compelling product.
Let's check out why that is, shall we?
What I Hear The DK-3001 Pro shares a very desirable quality with the best sounding products I've used to date, that being the effortlessness of its presentation. Some earphones always sound like their drivers are tuned to consistently perform at the extremes of their capabilities. When you increase the volume or start EQing, they still sound good but also come across like they're trying too hard. Products like the DK-3001 Pro, Campfire Audio Andromeda, and a few select others sound like everything they reproduce comes naturally to them, with little effort needed. That important detail out of the way, the DK-3001 Pro's signature sounds like it focuses on everything except the extremes. Upper treble and lower bass see reduced emphasis while the lower treble, midrange, and mid to upper bass are all similarly emphasized with nigh-perfect balance.
Treble is well extended with a smooth roll off in emphasis as you increase up and through to the brilliance region. This leads to a detailed, non-fatiguing sound that still presents itself with a welcome amount of air and spacing between notes. It's also quite suitable across various genres since the energy and clarity is there, it's just not overly energetic or in-your-face. Despite using armatures, attack and decay qualities are presented more akin to a dynamic driver with a slightly slower, less aggressive bite and linger, but with the exemplary control of an armature. It can pull apart and effectively separate the cluttered, improvisational cymbal work on King Crimson's live rendition of “Indiscpline” with ease. It all ends up sounding very natural, coherent, and well put together.
The midrange carries on these traits as well and displays some of the most realistic and natural sounding timbre I've heard. It easily rivals the more accurate dynamic-only earphones in my collection displaying none of the dry, breathy, plasticky qualities that seem common to earphones using armatures. Running through the orchestral powerhouse that is 'Gyakuten Meets Orchestra' is a joy. That said, I do like a breathy presentation which is why EarNiNE's in-house design armatures are some of my favorites. When it comes to vocal presentation the DK-3001 Pro is seriously impressive. Voices are forward and clear without the upper mid peak that causes other earphones to sound shouty and sibilant. Both female and male vocals are equally well represented with a clean articulation of subtle details. Artists with a very flexible vocal style, like Skindred's Benji Webbe, and handled flawlessly. The DK-3001 Pro can easily keep up with his impossibly quick transitions from smooth reggae to metal screaming, with some calm crooning thrown in. The powerful voices of female singers like Celine Dion and Caroline Lavelle aren't left behind either, with all their character and body on full display.
The DK-3001 Pro's low end is politely boosted with a focus on the midbass region. Midbass is very tight and well-controlled with a satisfying punch and a smooth but detailed texturing. Subbass drops in emphasis the deeper you go.While you do experience some visceral feedback, it's not going to rattle you. Instead, it stands aside to let other regions carry the track. Massive Attack's “Teardrop” is a good showcase track for the DK-3001 Pro since it puts the above qualities on display. So is the drumming on the aforementioned “Indiscipline”. Kicks hit with authority, and each note is distinct and dynamic feeling. Bringing in a modern pop track like the impressive “GIANTS” from the virtual band True Damage shows that the DK-3001 Pro is a capable earphone to pair with bass led beats. The warbling, grungy bass note that drives the track through a couple sections has just enough presence to do it's job but doesn't overwhelm like it can on some other more low end forward earphones, such as the Polaris II from Campfire Audio.
When it comes to sound stage the DK-3001 Pro isn't going to wow with a cavernous presentation like you'll find on the Campfire Audio Solaris. It's actually quite average, if not slightly above, presenting music just outside the ear. Sounds can be tossed off way into the distance and every once in a while you might experience the odd “did someone call me?” moment where you pull out one bud and look around, only to find it was something in the music. For the most part the experience is just shy of intimate. No, where the DK-3001 shines is with what it does with the sound within this space. Imaging is razor sharp and very clear in channel-to-channel transitions. Following a sound as it moves requires little concentration. Congestion was never an issue thanks to the DK-3001 Pros ability to keep individual tracks elements separate while effectively maintaining a layered and dynamic feel.
Overall I find the DK-3001 Pro to be a seriously impressive earphone. The injection of warmth and somewhat relaxed upper treble combined with a peakless upper midrange has a decidedly more Western listener appeal to it, as originally pointed out by Dunu in a chat, and that I 100% agree with. As someone that has been completely enamoured by the Chinese hifi scene for many years now, I've found myself leaning towards a more mellow but still very detailed sound in the last year or so, one that the DK-3001 Pro delivers on every front. If there was anything I would change, it would be to increase sub-bass presence slightly, but otherwise this sound signature and tuning is spot on.
Compared To A Peer (volume matched with Dayton iMM-6)
Fearless S6 Rui (389.00 USD): The S6 Rui is packed with six balanced armatures and is one of the best bang-for-the-buck earphones I've heard. It look drop-dead gorgeous and has the performance to back it up. While it gives the DK-3001 Pro a run for it's money, there is a clear difference in refinement that separates the two. The S6 provides more upper treble energy and shimmer and to my ears has a better treble balance, with presence and brilliance regions that are more even overall. The Dunu sounds quite a bit smoother though, without giving up anything in detail and clarity, while also having a cleaner, more controlled presentation. Mids out of the Fearless are more forward and prominent without crossing into sibilant or shouty territory. It matches the DK-3001 Pro's detail and clarity but falls behind in timbre quality thanks to a hint of dryness that pervades throughout. Notes also sound a little less defined around the edges, lacking the liquid smoothness of the Dunu. Bass is more comparable oddly enough. While the DK-3001 extends deeper into sub-bass regions, emphasis is similar with the armatures in the Fearless only falling behind when dipping really deep. Midbass is more punchy and textured out of the S6 Rui, with a snappier attack and more rapid decay. While I generally prefer the meatier, heavier feel of the Dunu's low end presentation, the S6's armatures are just as capable, but in different ways. When it comes to sound stage the S6 Rui sounds slightly less wide but offers more depth. That brings with it slightly improved layering, but I still prefer the way the DK-3001 images and separates individual track elements.
Campfire Audio Polaris II (499 USD): Like the DK-3001 Pro, the Polaris II is a hybrid earphone, though with only two drivers compared to the five found within the Dunu. Treble from the Polaris is less linear leading to a brighter sound with more upper end emphasis. This gives it a more air and shimmer, while the Dunu sounds cleaner with greater note clarity, more control, and finer detail. The Polaris feels more energetic since along with the brightness comes a snappier attack and faster decay, but the Dunu sounds more mature and refined. Mids on the Dunu are more natural sounding with again, a more linear presentation from lower to upper. Vocals are well-weighted and clear with no coherence issues. Comparatively, the Polaris has more upper mid emphasis that draws out siblance already present within a recording. Timbre from the Dunu is even more realistic and accurate compared to the Polaris which was is slightly bright and lean, but still a notable step up from it's predecessor. Bass is where the two drastically differ. While the Dunu is slightly boosted, the Polaris II goes full basshead. Lots more midbass that adds a ton of warmth, along with more prominent and forceful subbass. The subwoofer-like presentation of the Polaris' low end certainly lacks the fine control and deftness present in the Dunu's dynamic driver (9.2mm vs. 13mm), falling behind in texture too. When it comes to sound stage the Polaris II sounds wider and more spacious, putting you deeper within your music. I found the Dunu quite a bit more impressive technically though. Sounds move from channel-to-channel with greater nuance and precision, tracks sound better spacious and more layered, and despite having a smaller stage to play on, instruments and effects are better separated and more well-defined. These two are clearly aimed at different markets. If you like v-shaped signatures with a big stage and crazy bass, the Polaris II delivers in a way the Dunu cannot. If you want something much closer to a balanced reference-ish sound, the Dunu runs circles around the Polaris II. They compliment vs. compete.
Hifiman RE800 Silver (599 USD): The RE800 Silver features a single 9.2mm dynamic driver on each side that utilizes Hifiman's 'Topology Diaphragm' tech. Despite their differences in acoustic design, they both succeed in providing a refined, detailed, hi-end sound, though slightly skewed in different directions. The RE800 is brighter overall with more upper treble presence and a similar lower treble presentation. The extra upper end energy combined with clean lower treble gives the RE800 a more lean, analytic sound next to the Dunu, despite a slightly looser note presentation. Both are quite quick with an impactful attack on notes and realistic decay. Mids from both are a standout with the RE800 having a brighter, thinner presentation thanks to a lift in the upper mids. I'd give it a very slight edge in micro detail and clarity over the Dunu, hardly noticeable unless really listening hard. Timbre is nigh identical for the most part, though the RE800s brighter nature does lend it to sound slightly less natural at times. Bass on the DK-3001 Pro is stronger with more mid and subbass emphasis, though I find the RE800 offers greater extension and improved texturing. The RE800 is also a little quicker and more nimble, though decay out of the Dunu feels more natural. When it comes to sound stage the RE800 feels wider and deeper with it's vocal presentation set slightly further from the ear by default, but when it comes to technicalities the DK-3001 Pro isn't bested. Sounds sweep from channel-to-channel with more precision, layers to tracks are better separated and have more dimension, and instruments feel even more defined and well-separated on congested tracks. If you prefer a neutral-bright sound, the RE800 Silver will better meet your needs, but for everyone and everything else the DK-3001 Pro will be the superior pick.
In The Ear I've used a few Dunu earphones in the past and ergonomics have always been good, even when their designs have been somewhat unconventional. Take for example the original Titan 1, 3, and 5 which were earbud-like in shape, but with a nozzle. They were light, low profile, and slept in the outer ear with little fuss, though the short nozzle demanded a suitable tip to compensate for some users. There are wisps of this older design in the DK-3001 Pro, but thanks to a number of elements that modernize it, it ends up being one of the most satisfying earphones I've ever worn.
Size is a big factor in this. Despite being a five driver hybrid containing four armatures and a reasonably large 13mm dynamic, the DK-3001 Pro is impossibly small. It is dwarfed in size by the Campfire Audio Solaris which has one less driver. The Shozy x AAW Hibiki MK.2 towers over it, and that contains a long 10mm dynamic. Dunu's engineers have brilliantly packed a swath of drivers into the DK-3001 Pro's shell without compromising on size, ergonomics, or sound. Other aspects of the shell that help make this such a pleasant earphone to wear is the nozzle length and angle. The nozzle protrudes at about a 70 degree angle which combined with the tapered interior of the shell means there is little beyond the ear tip and base of the shell interacting with your ear. This lack of contact combined with the small size and over ear design of the cable leads to a very stable, unobtrusive fit. I can use the DK-3001 Pro for hours without any fatigue settling in. That is despite this being a fairly weighty little earphone. The DK-3001 Pro is made from S316 stainless steel with a unique internal design to help eliminate harmonic resonance. The ergonomics are so good and weight distribution so perfect that the weight means virtually nothing in the long run.
That weight also makes them feel like the premium earphone they are, aided further by the sort of build quality you would expect at this price point. The DK-3001 Pro has a very in-depth design with lots of angles and details. That's easy to mess up. Dunu didn't. Seams are clean and tight. Everything sits flush with no unslightly gaps or misaligned sections. The c-shaped faceplate (or metal hood according to the box art) is a mix of brushed material with tapered, unpainted edges that show off the sheen of the metal. Even the tiny Dunu logo is masterfully done, with the small break in the left arm of each U remaining. The attention to detail is crazy impressive. Likely due to space constraints, the MMCX receptacle is contained in a horizontal arm that organically forms out of the top of the housing. It's similar to what TinHifi has done with the T2/T3/T4, but in a different orientation. In combination with the curved plugs of the included cable, it all feels very natural when worn.
Speaking of the cable, it too is quite nice. On one end is a set of angled MMCX plugs out of which tightly curved, preformed ear guides protrude. They do a fantastic job of keeping the cable wrapped securely around the ear, even during wild head movements. Above the y-split are two very light, thin, loosely wrapped strands of brown/copper coloured wire. Those pass through a clear rubber strain chin cinch and into a metal y-split where they reconnect into a four wire braid. This braid is not very tight, something I have criticized other brands for in the past. It works a much better here because the sheath remains flexible and does a good job of minimizing cable noise, but with is a hardness to it that keeps the braid neat and tidy with none of the sloppiness I've seen elsewhere. It behaves so much better than other, similar cables I've used. This braided design carries on down from the y-split to Dunu's Quick-Switch modular plug system where you get to select the plug you want to use from the four included options; 3.5mm single-ended / 2.5 mm balanced / 3.5mm 'PRO' Balanced / 4.4 mm Unbalanced/Balanced. Like with the earphone itself, this plug system is much more intricate than it needs to be with fine knurling for grip, copper and silver accent bands, and clear indicators necessary to line up the plugs for proper installation. It all feels and looks quite impressive, unquestionably befitting of the price tag.
Despite what I read prior to the DK-3001 Pro showing up, I actually found it to be pretty well isolating. With no music playing, the clacking of my keyboard and my wife's videos playing in the background were much less intrusive than I was expecting. With music playing, even at my characteristically very low volumes, these outside elements pretty much faded completely. The same can be said walking along the sidewalk with cars whizzing by. It all ends up being tossed to the wayside in favour of whatever you are listening to. Since at the time of writing we are still experiencing a lock down due to Coronavirus, there are no crowded, extremely noisy areas I can visit to really put the isolation to the test. I would still expect the DK-3001 Pro to handle it fairly well though, especially if you favour foam tips.
In The Box The DK-3001 Pro provides a doozy of an unboxing experience forcing me to look back to 2018's RHA CL2 to find something comparable. The 3001 arrives in quite a large box for an earphone with a very descriptive sleeve wrapped around it.
On the front of the sleeve is the usual branding and model information as well as a transparent image of the 3001's shell showing off the driver layout inside. I'm quite glad Dunu added this front and (off)centre because it shows off just how impressive the engineering that went into this product is. The DK-3001 Pro is not a large earphone whatsoever and you would otherwise have been left wondering how they fit five drivers, four balanced armatures and one fairly large 13mm dynamic, inside such a compact shell. Flipping to the rear of the sheath you are presented with a breakdown of the components that make up the 3001 Pro. The c-shaped crossover unit is particularly impressive and something I personally have no come across before. Generally it's just a small rectangular chip slotted in somewhere, but Dunu went the extra mile to fully integrate it into the design in a way that would not compromise things. Below this breakdown is a list of specifications.
Final Thoughts Dunu has been around for a long time and have always been reliable in their releases of products that perform exceptionally well for the price. The DK-3001 Pro is no exception. The tuning of this earphone is handled beautifully. The tapered extremes drawn attention to everything in between showing off just how well balanced and technically capable it is. It sounds natural, it is crisp and clear, and neither fatigue nor sibilance are part of the equation. The DK-3001 Pro has a very dialed in, mature, and well-thought out tune that has many peers, yet few that can stand toe-to-toe and command the same level of respect upon detailed inspection.
And not only does it sound phenomenal, it is built to the same overly high standard thanks to extremely ergonomic steel shells that are nigh flawless in their construction. The included cable, Lyre, is a high quality piece of hardware too. I'm not a fan of the loose braid, but the sheath feels durable, it's flexible, and the successful implementation of Dunu's new Quick-Switch modular plug system means it is versatile. Such versatility is further helped along by Dunu's generous inclusion of a swath of high quality accessories that range from nearly a dozen pair of tips to four different plug options. The DK-3001 Pro really is the complete package.
Thanks for reading!
- B9
**If you enjoyed this review, there are tons more like it over on The Contraptionist.**
Disclaimer A huge thanks to Lillian with Linsoul for asking if I'd like to review the DK-3001 Pro, and for arranging a sample for review. The thoughts within this review are my subjective opinions based on over a month of use. They do not represent Linsoul, Dunu, or any other entity. At the time of writing the DK-3001 Pro was retailing for 469.00 USD: https://www.linsoul.com/products/dunu-dk-3001-pro
Gear Used For Testing LG Q70, FiiO M3 Pro, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Today we're checking out something special; Dunu's DK-3001 Pro.
Back in 2017 Dunu released the original DK-3001 to positive fanfare. While I never had the chance to try out that model, looking back on old reviews it seems much of the original's DNA remains, although with the Pro Dunu has reworked the concept. Along with the addition of an extra armature bringing the total number of drivers to four armatures and one dynamic per side, they also applied a number of tweaks and refinements to both the physical design and auditory experience that should make the Pro a more than worthy successor.
I've spent just over a month extensively listening to this earphone, comparing and contrasting it with products at prices well above and below. I think I know the DK-3001 Pro pretty well at this point and feel that it offers an impressive balance of performance for the price (which is not low), all packaged into one of the better constructed earphones on the market. If you're looking for something in that 400-500 USD price range, the DK-3001 Pro is a compelling product.
Let's check out why that is, shall we?
What I Hear The DK-3001 Pro shares a very desirable quality with the best sounding products I've used to date, that being the effortlessness of its presentation. Some earphones always sound like their drivers are tuned to consistently perform at the extremes of their capabilities. When you increase the volume or start EQing, they still sound good but also come across like they're trying too hard. Products like the DK-3001 Pro, Campfire Audio Andromeda, and a few select others sound like everything they reproduce comes naturally to them, with little effort needed. That important detail out of the way, the DK-3001 Pro's signature sounds like it focuses on everything except the extremes. Upper treble and lower bass see reduced emphasis while the lower treble, midrange, and mid to upper bass are all similarly emphasized with nigh-perfect balance.
Treble is well extended with a smooth roll off in emphasis as you increase up and through to the brilliance region. This leads to a detailed, non-fatiguing sound that still presents itself with a welcome amount of air and spacing between notes. It's also quite suitable across various genres since the energy and clarity is there, it's just not overly energetic or in-your-face. Despite using armatures, attack and decay qualities are presented more akin to a dynamic driver with a slightly slower, less aggressive bite and linger, but with the exemplary control of an armature. It can pull apart and effectively separate the cluttered, improvisational cymbal work on King Crimson's live rendition of “Indiscpline” with ease. It all ends up sounding very natural, coherent, and well put together.
The midrange carries on these traits as well and displays some of the most realistic and natural sounding timbre I've heard. It easily rivals the more accurate dynamic-only earphones in my collection displaying none of the dry, breathy, plasticky qualities that seem common to earphones using armatures. Running through the orchestral powerhouse that is 'Gyakuten Meets Orchestra' is a joy. That said, I do like a breathy presentation which is why EarNiNE's in-house design armatures are some of my favorites. When it comes to vocal presentation the DK-3001 Pro is seriously impressive. Voices are forward and clear without the upper mid peak that causes other earphones to sound shouty and sibilant. Both female and male vocals are equally well represented with a clean articulation of subtle details. Artists with a very flexible vocal style, like Skindred's Benji Webbe, and handled flawlessly. The DK-3001 Pro can easily keep up with his impossibly quick transitions from smooth reggae to metal screaming, with some calm crooning thrown in. The powerful voices of female singers like Celine Dion and Caroline Lavelle aren't left behind either, with all their character and body on full display.
The DK-3001 Pro's low end is politely boosted with a focus on the midbass region. Midbass is very tight and well-controlled with a satisfying punch and a smooth but detailed texturing. Subbass drops in emphasis the deeper you go.While you do experience some visceral feedback, it's not going to rattle you. Instead, it stands aside to let other regions carry the track. Massive Attack's “Teardrop” is a good showcase track for the DK-3001 Pro since it puts the above qualities on display. So is the drumming on the aforementioned “Indiscipline”. Kicks hit with authority, and each note is distinct and dynamic feeling. Bringing in a modern pop track like the impressive “GIANTS” from the virtual band True Damage shows that the DK-3001 Pro is a capable earphone to pair with bass led beats. The warbling, grungy bass note that drives the track through a couple sections has just enough presence to do it's job but doesn't overwhelm like it can on some other more low end forward earphones, such as the Polaris II from Campfire Audio.
When it comes to sound stage the DK-3001 Pro isn't going to wow with a cavernous presentation like you'll find on the Campfire Audio Solaris. It's actually quite average, if not slightly above, presenting music just outside the ear. Sounds can be tossed off way into the distance and every once in a while you might experience the odd “did someone call me?” moment where you pull out one bud and look around, only to find it was something in the music. For the most part the experience is just shy of intimate. No, where the DK-3001 shines is with what it does with the sound within this space. Imaging is razor sharp and very clear in channel-to-channel transitions. Following a sound as it moves requires little concentration. Congestion was never an issue thanks to the DK-3001 Pros ability to keep individual tracks elements separate while effectively maintaining a layered and dynamic feel.
Overall I find the DK-3001 Pro to be a seriously impressive earphone. The injection of warmth and somewhat relaxed upper treble combined with a peakless upper midrange has a decidedly more Western listener appeal to it, as originally pointed out by Dunu in a chat, and that I 100% agree with. As someone that has been completely enamoured by the Chinese hifi scene for many years now, I've found myself leaning towards a more mellow but still very detailed sound in the last year or so, one that the DK-3001 Pro delivers on every front. If there was anything I would change, it would be to increase sub-bass presence slightly, but otherwise this sound signature and tuning is spot on.
Compared To A Peer (volume matched with Dayton iMM-6)
Fearless S6 Rui (389.00 USD): The S6 Rui is packed with six balanced armatures and is one of the best bang-for-the-buck earphones I've heard. It look drop-dead gorgeous and has the performance to back it up. While it gives the DK-3001 Pro a run for it's money, there is a clear difference in refinement that separates the two. The S6 provides more upper treble energy and shimmer and to my ears has a better treble balance, with presence and brilliance regions that are more even overall. The Dunu sounds quite a bit smoother though, without giving up anything in detail and clarity, while also having a cleaner, more controlled presentation. Mids out of the Fearless are more forward and prominent without crossing into sibilant or shouty territory. It matches the DK-3001 Pro's detail and clarity but falls behind in timbre quality thanks to a hint of dryness that pervades throughout. Notes also sound a little less defined around the edges, lacking the liquid smoothness of the Dunu. Bass is more comparable oddly enough. While the DK-3001 extends deeper into sub-bass regions, emphasis is similar with the armatures in the Fearless only falling behind when dipping really deep. Midbass is more punchy and textured out of the S6 Rui, with a snappier attack and more rapid decay. While I generally prefer the meatier, heavier feel of the Dunu's low end presentation, the S6's armatures are just as capable, but in different ways. When it comes to sound stage the S6 Rui sounds slightly less wide but offers more depth. That brings with it slightly improved layering, but I still prefer the way the DK-3001 images and separates individual track elements.
Campfire Audio Polaris II (499 USD): Like the DK-3001 Pro, the Polaris II is a hybrid earphone, though with only two drivers compared to the five found within the Dunu. Treble from the Polaris is less linear leading to a brighter sound with more upper end emphasis. This gives it a more air and shimmer, while the Dunu sounds cleaner with greater note clarity, more control, and finer detail. The Polaris feels more energetic since along with the brightness comes a snappier attack and faster decay, but the Dunu sounds more mature and refined. Mids on the Dunu are more natural sounding with again, a more linear presentation from lower to upper. Vocals are well-weighted and clear with no coherence issues. Comparatively, the Polaris has more upper mid emphasis that draws out siblance already present within a recording. Timbre from the Dunu is even more realistic and accurate compared to the Polaris which was is slightly bright and lean, but still a notable step up from it's predecessor. Bass is where the two drastically differ. While the Dunu is slightly boosted, the Polaris II goes full basshead. Lots more midbass that adds a ton of warmth, along with more prominent and forceful subbass. The subwoofer-like presentation of the Polaris' low end certainly lacks the fine control and deftness present in the Dunu's dynamic driver (9.2mm vs. 13mm), falling behind in texture too. When it comes to sound stage the Polaris II sounds wider and more spacious, putting you deeper within your music. I found the Dunu quite a bit more impressive technically though. Sounds move from channel-to-channel with greater nuance and precision, tracks sound better spacious and more layered, and despite having a smaller stage to play on, instruments and effects are better separated and more well-defined. These two are clearly aimed at different markets. If you like v-shaped signatures with a big stage and crazy bass, the Polaris II delivers in a way the Dunu cannot. If you want something much closer to a balanced reference-ish sound, the Dunu runs circles around the Polaris II. They compliment vs. compete.
Hifiman RE800 Silver (599 USD): The RE800 Silver features a single 9.2mm dynamic driver on each side that utilizes Hifiman's 'Topology Diaphragm' tech. Despite their differences in acoustic design, they both succeed in providing a refined, detailed, hi-end sound, though slightly skewed in different directions. The RE800 is brighter overall with more upper treble presence and a similar lower treble presentation. The extra upper end energy combined with clean lower treble gives the RE800 a more lean, analytic sound next to the Dunu, despite a slightly looser note presentation. Both are quite quick with an impactful attack on notes and realistic decay. Mids from both are a standout with the RE800 having a brighter, thinner presentation thanks to a lift in the upper mids. I'd give it a very slight edge in micro detail and clarity over the Dunu, hardly noticeable unless really listening hard. Timbre is nigh identical for the most part, though the RE800s brighter nature does lend it to sound slightly less natural at times. Bass on the DK-3001 Pro is stronger with more mid and subbass emphasis, though I find the RE800 offers greater extension and improved texturing. The RE800 is also a little quicker and more nimble, though decay out of the Dunu feels more natural. When it comes to sound stage the RE800 feels wider and deeper with it's vocal presentation set slightly further from the ear by default, but when it comes to technicalities the DK-3001 Pro isn't bested. Sounds sweep from channel-to-channel with more precision, layers to tracks are better separated and have more dimension, and instruments feel even more defined and well-separated on congested tracks. If you prefer a neutral-bright sound, the RE800 Silver will better meet your needs, but for everyone and everything else the DK-3001 Pro will be the superior pick.
In The Ear I've used a few Dunu earphones in the past and ergonomics have always been good, even when their designs have been somewhat unconventional. Take for example the original Titan 1, 3, and 5 which were earbud-like in shape, but with a nozzle. They were light, low profile, and slept in the outer ear with little fuss, though the short nozzle demanded a suitable tip to compensate for some users. There are wisps of this older design in the DK-3001 Pro, but thanks to a number of elements that modernize it, it ends up being one of the most satisfying earphones I've ever worn.
Size is a big factor in this. Despite being a five driver hybrid containing four armatures and a reasonably large 13mm dynamic, the DK-3001 Pro is impossibly small. It is dwarfed in size by the Campfire Audio Solaris which has one less driver. The Shozy x AAW Hibiki MK.2 towers over it, and that contains a long 10mm dynamic. Dunu's engineers have brilliantly packed a swath of drivers into the DK-3001 Pro's shell without compromising on size, ergonomics, or sound. Other aspects of the shell that help make this such a pleasant earphone to wear is the nozzle length and angle. The nozzle protrudes at about a 70 degree angle which combined with the tapered interior of the shell means there is little beyond the ear tip and base of the shell interacting with your ear. This lack of contact combined with the small size and over ear design of the cable leads to a very stable, unobtrusive fit. I can use the DK-3001 Pro for hours without any fatigue settling in. That is despite this being a fairly weighty little earphone. The DK-3001 Pro is made from S316 stainless steel with a unique internal design to help eliminate harmonic resonance. The ergonomics are so good and weight distribution so perfect that the weight means virtually nothing in the long run.
That weight also makes them feel like the premium earphone they are, aided further by the sort of build quality you would expect at this price point. The DK-3001 Pro has a very in-depth design with lots of angles and details. That's easy to mess up. Dunu didn't. Seams are clean and tight. Everything sits flush with no unslightly gaps or misaligned sections. The c-shaped faceplate (or metal hood according to the box art) is a mix of brushed material with tapered, unpainted edges that show off the sheen of the metal. Even the tiny Dunu logo is masterfully done, with the small break in the left arm of each U remaining. The attention to detail is crazy impressive. Likely due to space constraints, the MMCX receptacle is contained in a horizontal arm that organically forms out of the top of the housing. It's similar to what TinHifi has done with the T2/T3/T4, but in a different orientation. In combination with the curved plugs of the included cable, it all feels very natural when worn.
Speaking of the cable, it too is quite nice. On one end is a set of angled MMCX plugs out of which tightly curved, preformed ear guides protrude. They do a fantastic job of keeping the cable wrapped securely around the ear, even during wild head movements. Above the y-split are two very light, thin, loosely wrapped strands of brown/copper coloured wire. Those pass through a clear rubber strain chin cinch and into a metal y-split where they reconnect into a four wire braid. This braid is not very tight, something I have criticized other brands for in the past. It works a much better here because the sheath remains flexible and does a good job of minimizing cable noise, but with is a hardness to it that keeps the braid neat and tidy with none of the sloppiness I've seen elsewhere. It behaves so much better than other, similar cables I've used. This braided design carries on down from the y-split to Dunu's Quick-Switch modular plug system where you get to select the plug you want to use from the four included options; 3.5mm single-ended / 2.5 mm balanced / 3.5mm 'PRO' Balanced / 4.4 mm Unbalanced/Balanced. Like with the earphone itself, this plug system is much more intricate than it needs to be with fine knurling for grip, copper and silver accent bands, and clear indicators necessary to line up the plugs for proper installation. It all feels and looks quite impressive, unquestionably befitting of the price tag.
Despite what I read prior to the DK-3001 Pro showing up, I actually found it to be pretty well isolating. With no music playing, the clacking of my keyboard and my wife's videos playing in the background were much less intrusive than I was expecting. With music playing, even at my characteristically very low volumes, these outside elements pretty much faded completely. The same can be said walking along the sidewalk with cars whizzing by. It all ends up being tossed to the wayside in favour of whatever you are listening to. Since at the time of writing we are still experiencing a lock down due to Coronavirus, there are no crowded, extremely noisy areas I can visit to really put the isolation to the test. I would still expect the DK-3001 Pro to handle it fairly well though, especially if you favour foam tips.
In The Box The DK-3001 Pro provides a doozy of an unboxing experience forcing me to look back to 2018's RHA CL2 to find something comparable. The 3001 arrives in quite a large box for an earphone with a very descriptive sleeve wrapped around it.
On the front of the sleeve is the usual branding and model information as well as a transparent image of the 3001's shell showing off the driver layout inside. I'm quite glad Dunu added this front and (off)centre because it shows off just how impressive the engineering that went into this product is. The DK-3001 Pro is not a large earphone whatsoever and you would otherwise have been left wondering how they fit five drivers, four balanced armatures and one fairly large 13mm dynamic, inside such a compact shell. Flipping to the rear of the sheath you are presented with a breakdown of the components that make up the 3001 Pro. The c-shaped crossover unit is particularly impressive and something I personally have no come across before. Generally it's just a small rectangular chip slotted in somewhere, but Dunu went the extra mile to fully integrate it into the design in a way that would not compromise things. Below this breakdown is a list of specifications.
- Frequency Response: 5Hz-40kHz
- THD: <0.5% @ 1kHz
- Impedance: 20 ohms
- Net Weight: 16g
- Cable Length: 1.2m
- Connector: Custom catch-hold MMCX connector
- Sound Pressure Level: 112dB +/- 2 @ 1kHz
- DK-3001 Pro earphones
- Lyre MMCX cable
- 4 Quick-Switch Modular Plugs (3.5mm single-ended / 2.5 mm balanced / 3.5mm 'PRO' Balanced / 4.4 mm Unbalanced/Balanced)
- Leatherette storage case
- Spinfit Custom tips (s/m x 2/l) + silicone spacing rings
- Grey single flange tips (s/m/l)
- Red single flange tips (s/m/l)
- Comply T-500 Isolation foam tips (m)
- 1/4” adapter
- Airplane adapter
- Earphone cleaning brush
Final Thoughts Dunu has been around for a long time and have always been reliable in their releases of products that perform exceptionally well for the price. The DK-3001 Pro is no exception. The tuning of this earphone is handled beautifully. The tapered extremes drawn attention to everything in between showing off just how well balanced and technically capable it is. It sounds natural, it is crisp and clear, and neither fatigue nor sibilance are part of the equation. The DK-3001 Pro has a very dialed in, mature, and well-thought out tune that has many peers, yet few that can stand toe-to-toe and command the same level of respect upon detailed inspection.
And not only does it sound phenomenal, it is built to the same overly high standard thanks to extremely ergonomic steel shells that are nigh flawless in their construction. The included cable, Lyre, is a high quality piece of hardware too. I'm not a fan of the loose braid, but the sheath feels durable, it's flexible, and the successful implementation of Dunu's new Quick-Switch modular plug system means it is versatile. Such versatility is further helped along by Dunu's generous inclusion of a swath of high quality accessories that range from nearly a dozen pair of tips to four different plug options. The DK-3001 Pro really is the complete package.
Thanks for reading!
- B9
**If you enjoyed this review, there are tons more like it over on The Contraptionist.**
Disclaimer A huge thanks to Lillian with Linsoul for asking if I'd like to review the DK-3001 Pro, and for arranging a sample for review. The thoughts within this review are my subjective opinions based on over a month of use. They do not represent Linsoul, Dunu, or any other entity. At the time of writing the DK-3001 Pro was retailing for 469.00 USD: https://www.linsoul.com/products/dunu-dk-3001-pro
Gear Used For Testing LG Q70, FiiO M3 Pro, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
erich6
Great review. Thanks!
Greetings!
Today we're checking out a new planar magnetic headphone from a brand that specializes in the technology, the Hifiman DEVA.
While Hifiman has released plenty of relatively inexpensive planar headphones over the years, the DEVA represents Hifiman's recent shift towards affordably addressing the wireless market. Previous models to address this audience were the full-sized Ananda BT, and their true wireless in ear monitors, the TWS-600. While the DEVA shares driver tech with the Ananda BT, it veers off and does things slightly differently with its wireless function being provided through the Bluemini module. This device acts as a wireless receiver/amp/DAC all-in-one unit that simply plugs into the balanced 3.5mm port on the bottom of the left ear cup. If you don't want to use it and prefer to listen to the DEVA the traditional way, them plug in a regular 3.5mm cable instead. You've got that flexibility with the DEVA.
Personally I find this headphone a very interesting product. Open-backed planars with next to no isolation aren't your typical candidate for wireless treatment. For a variety of reasons, this isn't something you're going to want to take with you out into the world. For me the DEVA represents a shift in the way audio fans will listen to music in their own home, and I am very much on board.
Let us take a deeper dive into the DEVA, shall we?
What I Hear The DEVA sounds a little more “mainstream” compared to other planar magnetic headphones I've got on hand. Treble is well extended with moderate emphasis in the upper treble. This means you get a little bit of sparkle and shine on cymbals and chimes, just not a ton. It gives the DEVA enough air between notes to avoid congestion, but is not lifted enough to cause fatigue. Notes are well-weighted and thanks to the uber thin, light drivers remain very quick and nimble. You can launch a barrage of smashing cymbals at the DEVA and it will somehow maintain composure, such as those found on the live renditions of King Crimson's “Night Watch” and “Cat Food”. Thrash metal fans might appreciate this quality, though I'd still recommend the Sundara over the DEVA for that genre.
The midrange is full and lush with a welcome warmth to it that carries up from the midbass region. This really benefits female vocalists which sound intimate and organic. Male vocals also sound fantastic though sometimes they can sit a little further too far back in the mix to share a bit more space than is ideal with the midbass region. This is generally only an issue on modern pop and rap tracks. Detail and clarity are good, but compared with something a little more aggressively voiced can sound somewhat overly smooth. I'd hesitate to say veiled, though if listening to something like a stream burbling away, fine details are glossed over. Timbre is outstanding through the DEVA with acoustic guitars mirroring their real life counterparts nigh flawlessly. The slow decay and snappy attack of each strum sounds just right. The same can be said for the bombastic brass tones and other instruments found through the wonderfully recorded official soundtrack for The Witcher 2: Assassins of Kings.
Bass is personally where I think the DEVA sets itself apart, especially from other planars I've heard. It is deep and full yet still extremely quick and articulate. Midbass is politely boosted to the point where it slightly overshadows lower bass and has a very punchy, meaty feel to it. Texturing is impressive but grungy bass notes like those utilized by artists like Tobacco and The Prodigy have been more grimy through other products. Scroobius Pip's “Feel It” and Massive Attack's “Teardrop” highlight the DEVA's bass reach with extended, deep notes providing plenty of physical feedback. Speed is as expected as quick as ever for a Hifiman. You can't trip up the DEVA with the rapid double bass common to heavy metal, regardless of how quick it gets. As long as the recording is at least halfway decent, every press of the pedals comes through.
The DEVA's soundstage is fairly average for this style of product, falling somewhere between it's close relative, the Sundara, and a competing planar like the Brainwavz Alara. Width is somewhat moderate with music emanating from just beside the head. The DEVA can toss effects off into the distance, but for the most part the presentation is reasonably intimate for a large, open-back set of headphones. Imaging is very accurate when placed in a moderate sized stage and when used for gaming, can provide a pretty impressive experience. Sounds move cleanly and accurately from channel-to-channel and when you bring multiple instruments and effects into the mix, remain well separated. The DEVA also does a satisfying job of layering track elements ensuring you never experience a wall-of-sound effect on dence instrumentals or orchestral pieces.
Overall I am very impressed with the quality of sound Hifiman pulled out of such an inexpensive, full-sized plan headphone. Clarity in the mids could be improved upon and the sound stage is slightly underwhelming for the format, but neither of things take away or significantly subtract from with is otherwise a gorgeous presentation.
Compared To A Peer
Hifiman Sundara (500 USD): The Sundara is my benchmark headphone at 500 USD so it was surprising to hear the 300 USD DEVA go punch for punch so effectively. Upper treble out of the Sundara is more prominent and sparkly giving it a lighter more airy presentation than the DEVA. This also gives it an advantage in terms of raw detail and clarity since lower treble is so similar. The midrange of the DEVA is slightly thicker and warmer with a hint less clarity. Timbre out of either is fantastically accurate so I have no complaints there. Bass is in the DEVA's camp to my ears. Extension is similar but the DEVA has more midbass presence giving it a mildly warmer sound, though it's no less quick and punchy. Texture is basically on par too. The Sundara's sound stage is wider and deeper and outside of the treble presentation is the area where the two most drastically differ. The DEVA sounds decidedly closer and more intimate, though I'd in no way say it sounds small even when compared to the Sundara. These are both full-sized planars after all. While they both image similarly well, the Sundara has a small edge when it comes to track layering and instrument separation.
When it comes to build I find the Sundara the more appealing product. It is quite a bit smaller and features a cleaner more mature design with a more liberal use of metal. I also prefer the floating headband style design which offers improved stability. That said, the DEVA is quite a bit more comfortable for me. A big part of that comes down to the earcups which can pivot in all directions, unlike the Sundara's which can only pivot to match the vertical orientation of your head. It is also lighter, though neither is particularly weighty, especially not for a planar. The DEVA's included cables are also much, much nicer. I'm not at all a fan of the Sundara's stiff, awkward cable and while I don't usually like cables with a nylon sheath, they're better than what the Sundara is saddled with.
Overall I prefer the DEVA. The Sundara is more technically impressive and has a more decidely “hifi” signature, but every time I switch to it from the DEVA I long for the extra bass and softer treble response of the more affordable planar. Add to that improved comfort and the added flexibility of the Bluemini and I don't really see much reason to get the Sundara, even if they're within spitting distance in terms of pricing right now. At the time of writing the Sundara was on sale for 349.00 USD through Hifiman directly.
ADV Alpha (500 USD): The Alpha is the brighter, leaner sounding headphone of the two with more upper treble and a much more airy, crisp sounding presentation. Detail and clarity are improved over the DEVA, especially in the midrange where the DEVA has a thicker sound; almost veiled but not quite. The detail is there, it's just not a prominent as it is through the Alpha. The DEVA has a more realistic, natural timbre though. The Alpha's brightness carries down into the mids and takes away from the realism of the presentation. Vocals are also set back further compared to the DEVA letting the treble take centre stage. While not necessarily ideal, this does have benefits in one other area in particular where the Alpha has a massive advantage. We'll get back to that in a second. Bass is clearly in the DEVA's camp. The Alpha's low end is slightly boosted over neutral and has good reach and impact with more texture, but it can't provide the same physical feedback as the DEVA which extends further, and has a faster, tighter, punchier presentation. Sound stage is where the Alpha trounces the DEVA. It is significantly wider and deeper, besting even the Sundara, and provides your music a fair bit of extra space to play within. Flipping back and forth between the two makes this quite apparent. That said, imaging is tighter and more accurate on the DEVA, though they layer tracks and separate instruments and effects about as well.
When it comes to build the Alpha feels a notable step ahead. It uses a lot more metal and while the ear cups are also mostly plastic, it has a more sturdy, dense feel to it. When gripping each headphone to place them on your head, the difference in how they feel is significant. The Alpha feels more solidly put together and while the DEVA not poorly built at all in my opinion, it exudes a feeling of value that isn't present on the Alpha. That said, with this lighter, cheaper build comes comfort. At first I found the Alpha to be the most pleasing to wear thanks to it's super deep, plush pads and elesticized floating headband, but past qualms raised their ugly heads after a couple minutes. The headband doesn't offer enough resistance lending to it sagging. Pressure that was previously well dispersed ends up below the ear against the neck so constant readjustments are necessary. With the DEVA you place it on your head and...well, that's pretty much the end of it.
Given I prefer the Sundara over the Alpha, I was surprised to find myself enjoying the Alpha more than the DEVA. I was really digging the extra midrange clarity and detail top to bottom and missed it when swapping back to the DEVA. That said, I'd still recommend the DEVA. It's lighter and more comfortable, sounds almost as appealing, costs a heck of a lot less and is easier to buy (Alpha has been discontinued in most countries), and again, the Bluemini. It's the DEVA's ace in the hole in my opinion.
Bluemini The Bluemini is the wireless module Hifiman includes with the DEVA, and in my opinion is a damn good little device.
Testing for battery life was done at 30% volume connected to my LG Q70 with the preference set for quality over connection stability. I originally planned to test at 50% volume. It was so loud we could hear the headphone playing from anywhere in our apartment and I was worried it might damage the drivers over prolonged play, so down to 30% it goes and that is already way louder than I'm comfortable listening at.
At 7 hours battery life was still at 70%. At 8 hours it was still showing 60%. At 9 hours it finally dropped to 50%. At 10 hours the Bluemini had run dry. Turning it back on and reconnecting showed 10% battery life remaining but it would only go a couple minutes before automatically shutting down again. The Bluemini can achieve the 10 hours max rating, just don't expect the battery readout to be a accurate indicator of the remaining capacity during this time. How long does it take to charge? I forgot to measure that, sorry. Can't be any longer than the 1.5-2 hour industry average though, which in my opinion is perfectly acceptable. Battery life over USB DAC (cannot use while charging unfortunately) is rated for up to four hours. Didn't get the chance to officially confirm this but given how spot on the wireless rating is I would expect 4 hours to be achievable.
Connection quality over wireless is for the most part quite good. I could not locate any official specs for which version of Bluetooth is supported, or the range, so I won't speculate on this. I will however state that it performed no better or worse than most modern Bluetooth devices I've used recently. It can be used anywhere in my apartment with the source in the furthest location. Drops are easy to force simply by blocking the Bluemini when at extreme distances. Otherwise, the Bluemini provides a very stable connection with no stutters or weird behaviours.
Sound quality over wireless is similar to using the DEVA wired, though a loss in raw detail, clarity, and texture is apparent. The Bluemini adds additional midbass which warms up the sound slightly. While the DEVA sounds less crisp overall through the Bluemini, I felt that the midrange was hit the hardest with everything feeling slightly looser and less well defined. Some upper treble and subbass emphasis was also lost, although it still felt like the extension was there. Lastly, the DEVA's already average sound stage is pulled in a bit closer. The overall experience is still well beyond acceptable and probably the best Bluetooth experience I've had, but it is a step down from using the DEVA wired.
Moving into USB DAC territory and comparing to using it wired with another DAC, like the Earstudio HUD100, you hear a similar shift in signature as heard when using the Bluemini over Bluetooth. Midbass is boosted giving the DEVA a warmer sound, and some emphasis at either end is lost. Compared to wireless the sound stage lost returns, as does most of the detail and general texturing and resolution. While I still prefer the sound of the DEVA wired, I wouldn't hesitate to use the Bluemini as a DAC since it sounds good and can easily power the DEVA to more than comfortable listening volumes while at the same time saving your devices' battery from the strain of also having to power a headphone.
Around The Ear The DEVA is a headphone with presence, much of which is likely down to its large size combined with a somewhat unconventional silver and tan colour scheme. The last time I saw something similar was on the retro-designed Polk Audio Buckle which could be had in brown and gold or black and silver. While not my first choice, I think the DEVA pulls of this old-school colour combination quite well, though I can't say I would be disappointed if they released a matte black version with gunmetal accents. Not only would that look completely bad@$$, but it would satisfy those who prefer a more subtle and traditional high end audio look.
The DEVA is a well-built headphone crafted from a mix of metal, plastic, and faux leather. Both the ear cups and surrounds where the headband and yolks connect are solid feeling plastics, while the yolks and grills are metal. The headband is wrapped in faux-leather with reasonably thick foam inside. If you press hard enough, you can feel the band within. It does not feel like a solid strip of material thanks to spaced bracing that can be felt across with width of the band. I cannot tell if the inner band is metal or plastic and I'm not willing to risk the DEVA's structural integrity finding out.
I really appreciate that the plastic surrounds that house the base of the headband and pivoting system for the yolks are one solid piece of plastic. Most headphones that use plastic here sandwich two individual pieces together and either glue or screw them in place resulting in a clear weak point. I don't think we'll be seeing the same issues with the DEVA. I read somewhere that the grills were plastic. I'm in Canada and for whatever reason winter refuses to go away (at the time of editing we've been hit with a polar vortex bringing record snow and cold temperatures for the month of May). This means that it is still relatively cold and as such any metal on the DEVA has a distinctly cool feel to it when touched, the grills included. Also, if you press firmly on them there is almost no give or flex. While I wouldn't want to drop the DEVA for fear of the plastic cups being damaged and cracking, I have no doubt the metal yolks and grills could take some punishment if tested. All that said, if you pick up the headphone from the band and give it a shake, you do hear a fair bit of rattle and clatter since the pivoting yolks are not padded inside. It makes the DEVA sound cheaper than it is.
If I were to levy any durability concerns at the DEVA, they would be directed to the fine wires that feed through the base of each yolk and into the ear cups. The wires are quite thin and while Hifiman did leave slack to allow the cups to pivot freely without tugging at them, repeated, excessive movement will eventually wear them out. I just hope that this doesn't happen anytime soon since otherwise, the DEVA feels like the type of headphone that could survive multiple generations within a family, plastic bits and all.
When it comes to comfort the DEVA is probably the nicest planars I've worn. The hybrid pads are thick and plush out of the box and have only softened further during the month and tens of hours of testing I've put into the DEVA. The headband's padding is thick and fairly soft, though width is minimal. This combined with a fairly reserved clamping force meant that when tilting my head forward or backward the DEVA had a tendency to slide out of place. Thankfully the DEVA is quite light, else it would absolutely fall off with little resistance. While mighty comfortable, it's not the most stable headphone in the world.
When it comes to isolation, the DEVA offers basically none, and music bleeds out into the world around you at pretty much any volume. So much sound leaks out that you can press your ear to the grills and listen to the DEVA's awesome drivers from the wrong side without losing much in the way of quality. Pretty cool actually. However, going back to my earlier statement about this type of headphone being an odd candidate for wireless treatment, this section is why. The DEVA is a terrible choice for using on the go since everyone around you will hear what you are listening to, and you'll have to crank the volume to drown them out further compounding the leaking issue. Maybe less of an issue in our present Covid-19 ravaged world, but when things go back to whatever normal will become, the DEVA still won't be ideal as a travel headphone.
In The Box Packaging for the DEVA certainly lacks the usual Hifiman flair on the outside. It comes in a very unassuming black cardboard box with a simple wire frame image of the DEVA on the front, along with the usual branding and model information. Flipping to the back you find specifications for both the DEVA and Bluemini, a contents list, contact information for Hifiman, and a ton of codec logos. Note that battery life for the Bluemini is listed at 4 hours back there which is very much incorrect. Lift the front flap of the box to reveal the contents within and you then find the Hifiman experience lacking on the outside.
You are immediately greeted by a warranty card and 23 page Owner's Guide that in usual Hifiman fashion is made from thick card stock. Inside this manual you are presented with a message from Dr. Fang Bian, Hifiman's founder, and a wealth of information about the driver tech, specifications for both the DEVA and Bluemini, product use and maintenance, and more, supported with high quality images. This is the sort of manual I'd leave sitting on my coffee table for visitors to flip through when left alone momentarily.
After removing the manual and warranty card and similar to how the Sundara and Susvara are presented, you find the DEVA and most accessories snugly and safely tucked into a foam insert covered with flowing black fabric. I say most accessories because while the 3.5mm aux cable and Bluemini are contained in their own slots, the lengthily type-A to type-C USB cable and 1/4” adapter are tucked into a plastic bag and left loose, held in place by the documentation and thick foam glued to the base of the lid. This oddly seems to be a pretty common practice for the brand; design the packaging around the main device and a couple accessories, then toss in a few extras somewhat haphazardly. I'm not complaining because extras are always welcome and Hifiman always does a great job with that, it's just somewhat amusing in the way these bonus inclusions are handled sometimes. In all you get:
Final Thoughts Last years' Sundara was a very impressive headphone at 500 USD. I was not expecting Hifiman to do the same thing again this year, at a lower price, and certainly not with a planar headphone intended to be used wirelessly much of the time.
The DEVA's build is solid and it is comfortable to wear for long periods, though a little unstable if moving the head around. The Bluemini is a killer wireless module with a reliable connection and excellent battery life, plus it can be used as a USB DAC. It's not small though and adds to the DEVAs already considerable (but lightweight) bulk. While the DEVA doesn't achieve the same technical prowess as the Sundara, it's not that far off. The slightly bassier, warmer signature, and less fatiguing treble region is perfect for a portable headphone. That said, there is no folding capability and being open back, noise is free to bleed in and out at will so you'll probably want to stay inside and use it exclusively around the house.
Overall a great headphone. At 299 USD it is a pretty ridiculous value given the performance on hand, further supported by the addition of the Bluemini wireless module that allows you to go wireless without the DEVAs excellent sound quality taking a massive hit. Awesome work Hifiman. This completely makes up for the interesting but divisive TWS 600.
Thanks for reading!
- B9
**If you enjoyed this review, there are tons more to be found over on The Contraptionist.**
Disclaimer Thanks to Mark with Hifiman for arranging a sample of the DEVA for the purposes of review. The thoughts within this review are my own subjective impressions based on a steady month of use and general testing. They do not represent Hifiman or any other entity. At the time of writing the DEVA was retailing for 299.00 USD: https://store.hifiman.com/index.php/deva.html
DEVA Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Today we're checking out a new planar magnetic headphone from a brand that specializes in the technology, the Hifiman DEVA.
While Hifiman has released plenty of relatively inexpensive planar headphones over the years, the DEVA represents Hifiman's recent shift towards affordably addressing the wireless market. Previous models to address this audience were the full-sized Ananda BT, and their true wireless in ear monitors, the TWS-600. While the DEVA shares driver tech with the Ananda BT, it veers off and does things slightly differently with its wireless function being provided through the Bluemini module. This device acts as a wireless receiver/amp/DAC all-in-one unit that simply plugs into the balanced 3.5mm port on the bottom of the left ear cup. If you don't want to use it and prefer to listen to the DEVA the traditional way, them plug in a regular 3.5mm cable instead. You've got that flexibility with the DEVA.
Personally I find this headphone a very interesting product. Open-backed planars with next to no isolation aren't your typical candidate for wireless treatment. For a variety of reasons, this isn't something you're going to want to take with you out into the world. For me the DEVA represents a shift in the way audio fans will listen to music in their own home, and I am very much on board.
Let us take a deeper dive into the DEVA, shall we?
What I Hear The DEVA sounds a little more “mainstream” compared to other planar magnetic headphones I've got on hand. Treble is well extended with moderate emphasis in the upper treble. This means you get a little bit of sparkle and shine on cymbals and chimes, just not a ton. It gives the DEVA enough air between notes to avoid congestion, but is not lifted enough to cause fatigue. Notes are well-weighted and thanks to the uber thin, light drivers remain very quick and nimble. You can launch a barrage of smashing cymbals at the DEVA and it will somehow maintain composure, such as those found on the live renditions of King Crimson's “Night Watch” and “Cat Food”. Thrash metal fans might appreciate this quality, though I'd still recommend the Sundara over the DEVA for that genre.
The midrange is full and lush with a welcome warmth to it that carries up from the midbass region. This really benefits female vocalists which sound intimate and organic. Male vocals also sound fantastic though sometimes they can sit a little further too far back in the mix to share a bit more space than is ideal with the midbass region. This is generally only an issue on modern pop and rap tracks. Detail and clarity are good, but compared with something a little more aggressively voiced can sound somewhat overly smooth. I'd hesitate to say veiled, though if listening to something like a stream burbling away, fine details are glossed over. Timbre is outstanding through the DEVA with acoustic guitars mirroring their real life counterparts nigh flawlessly. The slow decay and snappy attack of each strum sounds just right. The same can be said for the bombastic brass tones and other instruments found through the wonderfully recorded official soundtrack for The Witcher 2: Assassins of Kings.
Bass is personally where I think the DEVA sets itself apart, especially from other planars I've heard. It is deep and full yet still extremely quick and articulate. Midbass is politely boosted to the point where it slightly overshadows lower bass and has a very punchy, meaty feel to it. Texturing is impressive but grungy bass notes like those utilized by artists like Tobacco and The Prodigy have been more grimy through other products. Scroobius Pip's “Feel It” and Massive Attack's “Teardrop” highlight the DEVA's bass reach with extended, deep notes providing plenty of physical feedback. Speed is as expected as quick as ever for a Hifiman. You can't trip up the DEVA with the rapid double bass common to heavy metal, regardless of how quick it gets. As long as the recording is at least halfway decent, every press of the pedals comes through.
The DEVA's soundstage is fairly average for this style of product, falling somewhere between it's close relative, the Sundara, and a competing planar like the Brainwavz Alara. Width is somewhat moderate with music emanating from just beside the head. The DEVA can toss effects off into the distance, but for the most part the presentation is reasonably intimate for a large, open-back set of headphones. Imaging is very accurate when placed in a moderate sized stage and when used for gaming, can provide a pretty impressive experience. Sounds move cleanly and accurately from channel-to-channel and when you bring multiple instruments and effects into the mix, remain well separated. The DEVA also does a satisfying job of layering track elements ensuring you never experience a wall-of-sound effect on dence instrumentals or orchestral pieces.
Overall I am very impressed with the quality of sound Hifiman pulled out of such an inexpensive, full-sized plan headphone. Clarity in the mids could be improved upon and the sound stage is slightly underwhelming for the format, but neither of things take away or significantly subtract from with is otherwise a gorgeous presentation.
Compared To A Peer
Hifiman Sundara (500 USD): The Sundara is my benchmark headphone at 500 USD so it was surprising to hear the 300 USD DEVA go punch for punch so effectively. Upper treble out of the Sundara is more prominent and sparkly giving it a lighter more airy presentation than the DEVA. This also gives it an advantage in terms of raw detail and clarity since lower treble is so similar. The midrange of the DEVA is slightly thicker and warmer with a hint less clarity. Timbre out of either is fantastically accurate so I have no complaints there. Bass is in the DEVA's camp to my ears. Extension is similar but the DEVA has more midbass presence giving it a mildly warmer sound, though it's no less quick and punchy. Texture is basically on par too. The Sundara's sound stage is wider and deeper and outside of the treble presentation is the area where the two most drastically differ. The DEVA sounds decidedly closer and more intimate, though I'd in no way say it sounds small even when compared to the Sundara. These are both full-sized planars after all. While they both image similarly well, the Sundara has a small edge when it comes to track layering and instrument separation.
When it comes to build I find the Sundara the more appealing product. It is quite a bit smaller and features a cleaner more mature design with a more liberal use of metal. I also prefer the floating headband style design which offers improved stability. That said, the DEVA is quite a bit more comfortable for me. A big part of that comes down to the earcups which can pivot in all directions, unlike the Sundara's which can only pivot to match the vertical orientation of your head. It is also lighter, though neither is particularly weighty, especially not for a planar. The DEVA's included cables are also much, much nicer. I'm not at all a fan of the Sundara's stiff, awkward cable and while I don't usually like cables with a nylon sheath, they're better than what the Sundara is saddled with.
Overall I prefer the DEVA. The Sundara is more technically impressive and has a more decidely “hifi” signature, but every time I switch to it from the DEVA I long for the extra bass and softer treble response of the more affordable planar. Add to that improved comfort and the added flexibility of the Bluemini and I don't really see much reason to get the Sundara, even if they're within spitting distance in terms of pricing right now. At the time of writing the Sundara was on sale for 349.00 USD through Hifiman directly.
ADV Alpha (500 USD): The Alpha is the brighter, leaner sounding headphone of the two with more upper treble and a much more airy, crisp sounding presentation. Detail and clarity are improved over the DEVA, especially in the midrange where the DEVA has a thicker sound; almost veiled but not quite. The detail is there, it's just not a prominent as it is through the Alpha. The DEVA has a more realistic, natural timbre though. The Alpha's brightness carries down into the mids and takes away from the realism of the presentation. Vocals are also set back further compared to the DEVA letting the treble take centre stage. While not necessarily ideal, this does have benefits in one other area in particular where the Alpha has a massive advantage. We'll get back to that in a second. Bass is clearly in the DEVA's camp. The Alpha's low end is slightly boosted over neutral and has good reach and impact with more texture, but it can't provide the same physical feedback as the DEVA which extends further, and has a faster, tighter, punchier presentation. Sound stage is where the Alpha trounces the DEVA. It is significantly wider and deeper, besting even the Sundara, and provides your music a fair bit of extra space to play within. Flipping back and forth between the two makes this quite apparent. That said, imaging is tighter and more accurate on the DEVA, though they layer tracks and separate instruments and effects about as well.
When it comes to build the Alpha feels a notable step ahead. It uses a lot more metal and while the ear cups are also mostly plastic, it has a more sturdy, dense feel to it. When gripping each headphone to place them on your head, the difference in how they feel is significant. The Alpha feels more solidly put together and while the DEVA not poorly built at all in my opinion, it exudes a feeling of value that isn't present on the Alpha. That said, with this lighter, cheaper build comes comfort. At first I found the Alpha to be the most pleasing to wear thanks to it's super deep, plush pads and elesticized floating headband, but past qualms raised their ugly heads after a couple minutes. The headband doesn't offer enough resistance lending to it sagging. Pressure that was previously well dispersed ends up below the ear against the neck so constant readjustments are necessary. With the DEVA you place it on your head and...well, that's pretty much the end of it.
Given I prefer the Sundara over the Alpha, I was surprised to find myself enjoying the Alpha more than the DEVA. I was really digging the extra midrange clarity and detail top to bottom and missed it when swapping back to the DEVA. That said, I'd still recommend the DEVA. It's lighter and more comfortable, sounds almost as appealing, costs a heck of a lot less and is easier to buy (Alpha has been discontinued in most countries), and again, the Bluemini. It's the DEVA's ace in the hole in my opinion.
Bluemini The Bluemini is the wireless module Hifiman includes with the DEVA, and in my opinion is a damn good little device.
Testing for battery life was done at 30% volume connected to my LG Q70 with the preference set for quality over connection stability. I originally planned to test at 50% volume. It was so loud we could hear the headphone playing from anywhere in our apartment and I was worried it might damage the drivers over prolonged play, so down to 30% it goes and that is already way louder than I'm comfortable listening at.
At 7 hours battery life was still at 70%. At 8 hours it was still showing 60%. At 9 hours it finally dropped to 50%. At 10 hours the Bluemini had run dry. Turning it back on and reconnecting showed 10% battery life remaining but it would only go a couple minutes before automatically shutting down again. The Bluemini can achieve the 10 hours max rating, just don't expect the battery readout to be a accurate indicator of the remaining capacity during this time. How long does it take to charge? I forgot to measure that, sorry. Can't be any longer than the 1.5-2 hour industry average though, which in my opinion is perfectly acceptable. Battery life over USB DAC (cannot use while charging unfortunately) is rated for up to four hours. Didn't get the chance to officially confirm this but given how spot on the wireless rating is I would expect 4 hours to be achievable.
Connection quality over wireless is for the most part quite good. I could not locate any official specs for which version of Bluetooth is supported, or the range, so I won't speculate on this. I will however state that it performed no better or worse than most modern Bluetooth devices I've used recently. It can be used anywhere in my apartment with the source in the furthest location. Drops are easy to force simply by blocking the Bluemini when at extreme distances. Otherwise, the Bluemini provides a very stable connection with no stutters or weird behaviours.
Sound quality over wireless is similar to using the DEVA wired, though a loss in raw detail, clarity, and texture is apparent. The Bluemini adds additional midbass which warms up the sound slightly. While the DEVA sounds less crisp overall through the Bluemini, I felt that the midrange was hit the hardest with everything feeling slightly looser and less well defined. Some upper treble and subbass emphasis was also lost, although it still felt like the extension was there. Lastly, the DEVA's already average sound stage is pulled in a bit closer. The overall experience is still well beyond acceptable and probably the best Bluetooth experience I've had, but it is a step down from using the DEVA wired.
Moving into USB DAC territory and comparing to using it wired with another DAC, like the Earstudio HUD100, you hear a similar shift in signature as heard when using the Bluemini over Bluetooth. Midbass is boosted giving the DEVA a warmer sound, and some emphasis at either end is lost. Compared to wireless the sound stage lost returns, as does most of the detail and general texturing and resolution. While I still prefer the sound of the DEVA wired, I wouldn't hesitate to use the Bluemini as a DAC since it sounds good and can easily power the DEVA to more than comfortable listening volumes while at the same time saving your devices' battery from the strain of also having to power a headphone.
Around The Ear The DEVA is a headphone with presence, much of which is likely down to its large size combined with a somewhat unconventional silver and tan colour scheme. The last time I saw something similar was on the retro-designed Polk Audio Buckle which could be had in brown and gold or black and silver. While not my first choice, I think the DEVA pulls of this old-school colour combination quite well, though I can't say I would be disappointed if they released a matte black version with gunmetal accents. Not only would that look completely bad@$$, but it would satisfy those who prefer a more subtle and traditional high end audio look.
The DEVA is a well-built headphone crafted from a mix of metal, plastic, and faux leather. Both the ear cups and surrounds where the headband and yolks connect are solid feeling plastics, while the yolks and grills are metal. The headband is wrapped in faux-leather with reasonably thick foam inside. If you press hard enough, you can feel the band within. It does not feel like a solid strip of material thanks to spaced bracing that can be felt across with width of the band. I cannot tell if the inner band is metal or plastic and I'm not willing to risk the DEVA's structural integrity finding out.
I really appreciate that the plastic surrounds that house the base of the headband and pivoting system for the yolks are one solid piece of plastic. Most headphones that use plastic here sandwich two individual pieces together and either glue or screw them in place resulting in a clear weak point. I don't think we'll be seeing the same issues with the DEVA. I read somewhere that the grills were plastic. I'm in Canada and for whatever reason winter refuses to go away (at the time of editing we've been hit with a polar vortex bringing record snow and cold temperatures for the month of May). This means that it is still relatively cold and as such any metal on the DEVA has a distinctly cool feel to it when touched, the grills included. Also, if you press firmly on them there is almost no give or flex. While I wouldn't want to drop the DEVA for fear of the plastic cups being damaged and cracking, I have no doubt the metal yolks and grills could take some punishment if tested. All that said, if you pick up the headphone from the band and give it a shake, you do hear a fair bit of rattle and clatter since the pivoting yolks are not padded inside. It makes the DEVA sound cheaper than it is.
If I were to levy any durability concerns at the DEVA, they would be directed to the fine wires that feed through the base of each yolk and into the ear cups. The wires are quite thin and while Hifiman did leave slack to allow the cups to pivot freely without tugging at them, repeated, excessive movement will eventually wear them out. I just hope that this doesn't happen anytime soon since otherwise, the DEVA feels like the type of headphone that could survive multiple generations within a family, plastic bits and all.
When it comes to comfort the DEVA is probably the nicest planars I've worn. The hybrid pads are thick and plush out of the box and have only softened further during the month and tens of hours of testing I've put into the DEVA. The headband's padding is thick and fairly soft, though width is minimal. This combined with a fairly reserved clamping force meant that when tilting my head forward or backward the DEVA had a tendency to slide out of place. Thankfully the DEVA is quite light, else it would absolutely fall off with little resistance. While mighty comfortable, it's not the most stable headphone in the world.
When it comes to isolation, the DEVA offers basically none, and music bleeds out into the world around you at pretty much any volume. So much sound leaks out that you can press your ear to the grills and listen to the DEVA's awesome drivers from the wrong side without losing much in the way of quality. Pretty cool actually. However, going back to my earlier statement about this type of headphone being an odd candidate for wireless treatment, this section is why. The DEVA is a terrible choice for using on the go since everyone around you will hear what you are listening to, and you'll have to crank the volume to drown them out further compounding the leaking issue. Maybe less of an issue in our present Covid-19 ravaged world, but when things go back to whatever normal will become, the DEVA still won't be ideal as a travel headphone.
In The Box Packaging for the DEVA certainly lacks the usual Hifiman flair on the outside. It comes in a very unassuming black cardboard box with a simple wire frame image of the DEVA on the front, along with the usual branding and model information. Flipping to the back you find specifications for both the DEVA and Bluemini, a contents list, contact information for Hifiman, and a ton of codec logos. Note that battery life for the Bluemini is listed at 4 hours back there which is very much incorrect. Lift the front flap of the box to reveal the contents within and you then find the Hifiman experience lacking on the outside.
You are immediately greeted by a warranty card and 23 page Owner's Guide that in usual Hifiman fashion is made from thick card stock. Inside this manual you are presented with a message from Dr. Fang Bian, Hifiman's founder, and a wealth of information about the driver tech, specifications for both the DEVA and Bluemini, product use and maintenance, and more, supported with high quality images. This is the sort of manual I'd leave sitting on my coffee table for visitors to flip through when left alone momentarily.
After removing the manual and warranty card and similar to how the Sundara and Susvara are presented, you find the DEVA and most accessories snugly and safely tucked into a foam insert covered with flowing black fabric. I say most accessories because while the 3.5mm aux cable and Bluemini are contained in their own slots, the lengthily type-A to type-C USB cable and 1/4” adapter are tucked into a plastic bag and left loose, held in place by the documentation and thick foam glued to the base of the lid. This oddly seems to be a pretty common practice for the brand; design the packaging around the main device and a couple accessories, then toss in a few extras somewhat haphazardly. I'm not complaining because extras are always welcome and Hifiman always does a great job with that, it's just somewhat amusing in the way these bonus inclusions are handled sometimes. In all you get:
- Hifiman Deva
- Bluemini module
- 3.5mm-3.5mm balanced nylon-sheathed cable
- Type-C USB nylon-sheathed cable
- 1/4” adapter
Final Thoughts Last years' Sundara was a very impressive headphone at 500 USD. I was not expecting Hifiman to do the same thing again this year, at a lower price, and certainly not with a planar headphone intended to be used wirelessly much of the time.
The DEVA's build is solid and it is comfortable to wear for long periods, though a little unstable if moving the head around. The Bluemini is a killer wireless module with a reliable connection and excellent battery life, plus it can be used as a USB DAC. It's not small though and adds to the DEVAs already considerable (but lightweight) bulk. While the DEVA doesn't achieve the same technical prowess as the Sundara, it's not that far off. The slightly bassier, warmer signature, and less fatiguing treble region is perfect for a portable headphone. That said, there is no folding capability and being open back, noise is free to bleed in and out at will so you'll probably want to stay inside and use it exclusively around the house.
Overall a great headphone. At 299 USD it is a pretty ridiculous value given the performance on hand, further supported by the addition of the Bluemini wireless module that allows you to go wireless without the DEVAs excellent sound quality taking a massive hit. Awesome work Hifiman. This completely makes up for the interesting but divisive TWS 600.
Thanks for reading!
- B9
**If you enjoyed this review, there are tons more to be found over on The Contraptionist.**
Disclaimer Thanks to Mark with Hifiman for arranging a sample of the DEVA for the purposes of review. The thoughts within this review are my own subjective impressions based on a steady month of use and general testing. They do not represent Hifiman or any other entity. At the time of writing the DEVA was retailing for 299.00 USD: https://store.hifiman.com/index.php/deva.html
DEVA Specifications
- Frequency Response: 20-20,000Hz
- Impedance: 18ohms
- Sensitivity: 93.5dB
- Weight: 360g
- Socket: TTRS 3.5mm
- Frequency Response: 20-20,000Hz
- Codecs: aptX, aptX HD, LDAC, HWA (LDHC), AAC, SBC
- Battery Life: 7-10 hours
- Amp Output: 230mW
- THD: <0.1% @ 1W/1KHz
- Weight: 25g
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
B9Scrambler
Not a ton of power needed, for a planar. Hip Dac would be plenty.
I more have issues with reviewers not putting disclaimers period. It's required per Head-fi rules (but not really enforced anymore for whatever reason), and also legally in most places. Pricing for something can be found with a 10 second Google search, so that being left out is a pretty minor problem.