INTRODUCTION

My introduction to DUNU Topsound (over a year ago) was with their triple hybrid DN-1000, which rapidly became a hit with Head-Fi buyers, and was one of the first triple hybrid IEMs to show that top quality could be achieved at an affordable price. I lost touch a little with DUNU when Rocky left the company – so it was with great anticipation and gratitude that I was offered the chance to review their new Titan 1 IEM/earbud.  I just want to take this opportunity to thank DUNU (Vivian) for giving me the opportunity, and also to my friend Vic (djvkool) for facilitating the review samples and getting them to me.
 
For those who aren’t aware, DUNU Topsound was established in 1994 originally as an OEM supplier to other companies. Since then they have developed their own branded line of high quality earphones, and gone from strength to strength with each release.  They currently have their manufacturing plant in China and head office in Taiwan. They now have more than 100 employees, and market their product range all over the world.
 
The name DUNU is simply an acronym of the principle design points that the company strives to implement in their product range

1. Delicate
2. UNique
3. Utmost

 
I thought I’d quote this from their website, as it really does give an insight into what drives the company:

“With advanced technology and hi-end equipments, DUNU desires to be able to provide Delicate, Unique ＆ Utmost products for Hi-Fi embracers. Delicate means extremely quality demanding on product process, from every little component to product manufacturing. DUNU has complete production line and equipments, including precise equipments, B&K frequency machine, IMD sputter, CNC machine, anechoic room, etc. Concerning design of product, DUNU also devotes to create unique outer appearance and balance in all sound frequency.
 
Utmost is not only the expectation on products, but also the pursuit of an Earphone Manufacturer. The founder of DUNU, himself, has years of experience in OEM/ODM earphone products in which many worldwide famous earphone Brands are included. However, in order to create the most enjoyable earphone on his own, DUNU’s president establishes the brand “DUNU” and implants many hi-end equipments and hires talented employees. From then on, DUNU takes the lead in developing the first Chinese made metal earphone, developing 5.8mm Driver unit and produce the very first Chinese Balance Armature Earphone, in 2014 DUNU release China first triple driver Dynamic and Balance Armature Hybrid earphone, All these preparation are to step on the world stage and to challenge renowned earphone brands. The ultimate goal of DUNU is to provide worldwide HI-FI embracers our Delicate, Unique & Utmost earphone products.”
 

Click to expand...

 
DUNU’s full product catalogue can be found at http://www.dunu-topsound.com/product.html - and their products are supplied through their own storefront (globally) on Amazon.
 
The Titans arrived to me over two weeks ago, and I’ve been using them almost every day as one of my portable IEMs – so I’ve clocked up at least 30 hours with them so far.
 
Read on to find out my personal thoughts on the DUNU Titan and who they might be ideal for.
 
DISCLAIMER
 
I was provided the DUNU Titan 1 as a review unit from DUNU Topsound. I am in no way affiliated with DUNU - and this review is my honest opinion of the Titan 1.
 
PREAMBLE - 'ABOUT ME'.   (or a base-line for interpreting my thoughts and bias)
 
I'm a 47 year old music lover.  I don't say audiophile – I just love my music.  Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up.  I vary my listening from portable (Fiio X5, X1 and iPhone 5S) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP).  I also use a portable set-up at work – either X5/X1 > HP, or PC > Beyer A200p > HP.  My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600.  Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83 or A81, Dunu DN-1000 and Altone200. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).
 
I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock.   I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock.  I am particularly fond of female vocals.  I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences.  I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.
 
I have extensively tested myself (abx) and I find aac256 or higher completely transparent.  I do use exclusively redbook 16/44.1 if space is not an issue.  All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).
 
I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences.  I am not a ‘golden eared listener’.  I suffer from mild tinnitus, and at 47, my hearing is less than perfect.
 
For the purposes of this review - I used the DUNU Titan straight from the headphone-out socket of my iPhone 5S, X5, X1 and also from the Beyer A200p when at work.  I did not generally further amp them (I did test them with my X1 and E11K), as IMO they do not benefit greatly from additional amplification (YMMV and it may depend on your source).  In the time I have spent with the Titan 1, I have noticed no change to the overall sonic presentation (break-in), and for these particular earphones I did not require much brain burn-in at all as I very much liked their sound signature from the very first listen.
 
This is a purely subjective review - my gear, my ears, and my experience.  Please take it all with a grain of salt - especially if it does not match your own experience.
 

THE REVIEW

PACKAGING AND ACCESSORIES
 
The DUNU Titan 1s arrived in an approximately 170mm x 130mm x 50mm retail box.  The box “screams” high-quality product to me with s simple picture of the Titans on the front and accessory, contact, and specification information on the back and sides.
 
 
The box opens “book style” to show the IEMs, and on the inside cover gives some great information about the titanium transducer being used, and how DUNU have crafter it to contribute to the sound signature they were looking for.
 
Opening a second inner cover exposes the carry case, some of the tips, and also the Titans themselves. The actual retail box is extremely well made, and very solid.
 
 

The carry case is one of the best cases I’ve seen so far for an IEM, and IMO an improvement on their metal boxes (used in the DN-1000 / DN-2000).  It is a sturdy moulded plastic rectangular hinged lid box (with nicely rounded pocket-safe corners) measuring approximately 90mm long, 65mm wide and 23mm deep. It has a catch/lock to keep it closed, and has a matt exterior on the rear and sides, and shinier plastic top (personally I’d prefer matt all around – better for both scratches and finger prints).  The only thing missing with the case is no internal pockets for spare tips etc – but I’m OK with that considering how pocket friendly and sturdy it is.  I love this case.
 

 
The accessory pack includes 3 different varieties of silicone tips (all in S,M,L) – including some that look very close to the Sony hybrid type design, some more standard red and grey tips (again with very sturdy mounting stems) and some flatter silicones with a wider bore.  It’s great to see this option as it gives plenty of opportunity for the tips to meet your own personal sonic preferences.
 
 

Also included is a warranty card, 3.5-6.3mm adaptor, and shirt clip for the cable.
 
All in all – a very good and well thought out accessory range.
 
TECHNICAL SPECIFICATIONS
 
(From DUNU’s packaging / website)
 
FREQUENCY GRAPH
 
At the time of writing, I haven’t been able to locate a frequency graph, but for the record I’m hearing a reasonably well balanced and very clear signature. I think there is a slight mid-bass hump, slight recession in the lower mids, peaks at around 3kHz and a smaller one at around 6-7 kHz.  This gives it an overall balanced but still slightly V shaped signature.  There does seem to be reasonably good extension into the sub-bass, and plenty of sparkle in the upper registers.
 
Edit 22 May - Graph added from Innerfidelity (thanks Tyll) - as suspected, elevated mid-bass - good balance, and a slight V with an initial peak around 3kHz
 

 
BUILD & DESIGN
 
The Titan 1 appears to be extremely well made with a polished metal outer shell – very reminiscent of an earbud type shape – but with an angled nozzle designed to take an IEM tip and provide some measure of isolation.  The circular part of the body is 15-16mm in diameter, and designed to snugly in your ear with, the rear of the Titan shell against your antihelix, and the front underneath your tragus, with the nozzle angled forward into the ear canal.  It is designed to be worn cable down, and a ‘shallowish’ tip seal into the canal.
 
 
On the underside of the body is 11 vent holes plus there is also one more smaller one on the exterior adjacent to the cable. The right ear piece is designated with a red ring around the circumference of the main body.  The left earpiece has a blue ring.
 
 

The nozzles are approximately 50mm long, have a generous lip, and have a pinhole mesh type of opening with 7 holes to allow the sound into your ear.
 
The cable is a mesh cover from plug to Y split, then a smooth rubber from Y-split to each ear piece. The Y-split is metal with the top piece sliding off to form a cinch. The plug is a right angled gold plated 3.5mm plug, and is designed to be very friendly for portable devices.  No issues with my 5S with fitted case. The cable shows good flexibility, with no real signs of kinking, and has excellent strain relief at all the required major points (plug, Y-split and IEM body).
 
 

There is a moderately high amount of microphonic noise present with the upper portion of the cable – but this can be alleviated by using the shirt clip, or tucking under clothes.  In the next section I’ll also show you how I wear mine.
 
One of the most simple but innovative designs with DUNU’s cables is the inclusion of the rubber cable tie actually on the table.  When not in use it sits unobtrusively close to the plug (I never notice it).  When you’ve finished listening to the Titans, simply carefully coil the cable and use the tie.  Simple, elegant, brilliant.  I loved this with the DN-1000, and it works equally well with the Titan.
 
 

So apart from the design to be worn cable down, I can’t really fault the design or build quality. A lot of thought has gone into the Titan – and this shines through for me.
 
FIT / COMFORT / ISOLATION
 
I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. This is often even more of an issue with shallow fitting IEMs. I initially tried the included medium and large silicone tips (wide and small bore), and whilst they fit OK, they simply weren’t to my particular preference. I did try the Sony isolation tips I have and they also worked OK. But my preferred tips with the Titans are definitely my trust Comply foams (T400s).  I used both large Ts and also medium T – and in the end the slightly longer thinner medium T400s provided both a good seal and superior comfort.
 
 
Some may have an issue with foams attenuating the highs a little (silicone for me is definitely brighter) – but the Comply’s added length also provided me with an opportunity to wear the Titan’s over ear. This does put the body of the IEM hard against my tragus (as opposed to underneath it), and does make the fit slightly shallower still – but I still find it very comfortable, and it all but eliminates cable noise for me.
 
Even over ear, they fit very flush, and are quite comfortable to lie down with – I have no problems sleeping with them intact.
 
 

Isolation is below average, but this is due to the extensive venting, which is what contributes to the Titan’s open and wide sound profile. You won’t be using these on an aircraft or in a car (at least I wouldn’t be anyway) – but they are ideal for walking where you still need to be aware of your surroundings. Also, because they are not full sealed/closed, they are ideal for exercise as I don’t get much in the way of bone conduction sound.
 
The one thing I wish these did have was an i-capable cable option – as they would be brilliant for phone calls I think (allow me to finally retire my earpods). 
 
So how does the DUNU Titan sound?  Are the sonics as good as everything else up to this point?
 
SOUND QUALITY
 
The following is what I hear from the DUNU Titan.  YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline).  Most of the testing at this point (unless otherwise stated) was done with my Fiio X5 as source, no EQ, and Sony Isolation silicone tips with the cable worn down.  For the record – on most tracks, the volume level on the X5 was around 35-36/120 which was giving me around an average SPL around 70-75 dB and peaks at around 85dB.  I am hitting up to 50 though on tracks with better mastering.
 
Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.
 
Thoughts on General Signature
 
If I was to describe the signature in a few words/phrases – I’d choose the words “balanced” (but with slight bass emphasis), “spacious”, and “smooth but clear”.
 
I won’t beat round the bush, I loved the Titan’s sound signature from very first listen.  It really does tick most of my boxes.
 
I’m finding the DUNU Titan to have a nice coherence between bass, midrange and treble – with just a slight V shape (mainly mid-bass emphasis) plus a bit of a peak at around 3-4kHz for vocal clarity.  There is another small peak (I think) at around 6-7kHz which is giving snares a nice flat crack and cymbals enough body to contrast the other frequency ranges. So far I haven’t encountered any real sibilance – the upper mids and lower treble are emphasised enough to give some great detail, but not overdone or splashy (with my chosen music anyway).
 
Overall Detail / Clarity
 
For this I always use both Steely Dan’s “Gaucho” and Dire Strait’s “Sultans of Swing” as there is a lot of micro detail in both tracks, and the recording quality for both is excellent.
With Gaucho, the sax intro is natural sounding and very smooth, but definitely in the forefront.  Bass guitar is ever present in the background, but it’s not overpowering anything. Cymbals and snares are coming through very clearly, and the overall impression is one of cohesion.
 
Switching to Sultans of Swing, and wow – this is dynamic and really enjoyable. Detail is fantastic.  The constant background sound is again the bass guitar.  Snares are crisp and fast – and Knopfler’s guitar is forefront and crisp – with enough edge to keep things lively. Cymbals again are present but not overstated. For my particular preferences, these opening tracks in my critical listening are very enjoyable.
 
Sound-stage & Imaging
 
For this I use Amber Rubarth’s binaural recording “Tundra”.  I use this because it’s a pretty simple way to get comparative data on sound-stage.
 
It’s usually difficult to get a reasonable stage size from an inner ear monitor.  The stage is often quite small / close – with an average impression of space.  The DUNU Titan (because of its design) has a spacious and expansive stage for an in-ear monitor. It is also no slouch with imaging, providing good directional cues. In this track, the only detraction was a slight bloom on the bass (drums).
 
I also used Loreena McKennitt’s “Dante’s Prayer” and the Titan gave quite a smooth and captivating rendition of this track. Once again the tonality of this IEM is pretty near perfect for me, and the thing that is taking a little to get used to is the distance sometimes with vocals and instruments (I’m actually turning the volume up a bit from time to time). Directional cues are again very good (the cello is where it usually is to the right, and piano slightly off center). Loreena’s vocals are sweet and nicely centered.
 
In this track, the applause at the end is so well presented that with some headphones (HD600) I can actually close my eyes and imagine myself in the crowd.  With the Titan, I’m definitely there in the audience – it really is a strong point of the Titans.
 
Bass Quality and Quantity
 
I’ve been spoilt recently with impactful and good quality bass from my triple hybrid IEMs which I’ve been spending time with lately – so I was looking forward to seeing what the Titan could achieve with this new driver.  The Titan definitely has a little more bass than some of my more neutral earphones, and it does reach quite low (even with my hearing, I could easily hear 25Hz). Most of the time the bass is reasonably agile and well defined, but I have noticed the occasional track exhibiting  tiny bit of mid-bass bloom.
 
Amongst my test tracks, one of the tracks to emphasise this was Muddy Waters by Mark Lanegan.  This blues rock track is quite dark and brooding anyway – and the while Titan handled the bass exceptionally well, the kick drum just shows a slight bit more decay than my A83. It doesn’t detract from the track though – and I really like how the gravel in Mark’s voice comes through.
 
I wanted to see how low the bass would go in real music – so switched to Lorde’s “Royals” – and the Titan delivered – made it effortless really. Again there is some bloom from the bass guitar and kick drum – but I really think that some of this is in the recording itself. The good thing is that it doesn’t intrude into the rest of the spectrum. The amazing thing is despite the rendition of bass, the vocals are still crystal clear.
 
Female Vocals – A Special Note
 
I have added this section simply because around 60-65% of my music revolves around female vocals – be it jazz, pop, rock, electronic, or even opera.  I’m an unabashed fan.  For me personally, the sign of a successful IEM is how successfully it conveys emotion and timbre with my female vocalists. Other IEMs I’ve owned in the past had sometimes struggled with some of the artists I like – and this includes IEM’s like Shure’s SE535 LE (upper-mids on the SE535 LE were too forward/fatiguing with some tracks).
 
By now I was expecting good things from the Titans – especially with its upper mid-range bump. One of my early litmus tests is usually queuing Agnes Obel – as some of her recordings can become quite strident or shouty if the mids aren’t quite right.  With the Titans, her vocals aren’t as euphonic as the Fidue A83 or Altone200 – but the magic is definitely there, and the cello also shows great timbre and tone.
 
I then proceeded to play a medley of my other tracks from artists including Christina Perri , Gabriella Cilmi, Florence and the Machine, and Norah Jones. The Titan definitely portrays my female artists incredibly well – dynamic bass, sweet vocals, powerful when it needs to be. At times I could have just queued up more albums and strayed from my carefully laid out testing tracks. Stand-outs for me were Perri’s “Human”, Sara Jarosz “Mile on the Moon”, and anything from Norah Jones – simply captivating.
 
Male Vocals
 
At the other end of the scale sits a lot of my rock tracks. 
 
The continued theme here was good bass impact, clear vocals, and nicely balanced guitars and other instruments. Unlike my Altones which had a quite recessed lower mid-range, the Titan’s still portray male vocals really well – and they don’t sound thin or lacking life.  3 Doors Down, Green Day, Breaking Benjamin, Seether – they all sound excellent and once again the vocal quality is superb. The more I listen to these, the more I’m sure I need to compare (A/B) these with my DN-1000s. The overall coherency feels similar. Another good sign with the Titans was when I queued up Diary of Jane (Breaking Benjamin). This track has a lot of guitar distortion, and can overwhelm some drivers. The Titan has no problems with it, and still manages to be clear and detailed.
 
Time for my litmus test – Pearl Jam. And …. ding, ding, ding – winner. Great contrast, great tonality, and Vedder’s vocal presentation is spot on.  Deep enough to have timbre, but not dark, nor lacking body and depth.
 
Genre Specific Notes
 
Again for tracks, albums, artists – please refer to this list:  http://www.head-fi.org/a/brookos-test-tracks
 
Rock – Covered this one above. Very good. No problems with anything I’ve thrown at them so far.
 
Alt Rock – First up (in my usual test rotation) is Pink Floyd’s “Money”, and the Titan delivers wonderful clarity and contrast. I do have to turn the volume back up for this track – but the presentation is brilliant. Again the overall balance is what really makes the track. Next is Porcupine Tree’s “Trains”, and again this is simply magic with the Titans. The bump in the upper mid-range really suits Wilson’s voice, and when the bass hits – brilliant! The dynamic contrast is stunning. No complaints at all.
 
Jazz / Blues / Bluegrass – Portico Quartet’s “Ruins” is always a first stop for me when testing a new IEM with Jazz, and the Titan continues to take everything in its stride. The added sense of space really helps here as well, and I have to move on before I end up listening to the whole album. Again, key attributes are clarity, contrast, and a sense of dynamism.  Switching to some local Jazz/Funk (Sola Rosa) and boy does the Titan deliver on timbre and detail. The brass in this track is wonderful, and I’m sitting here tapping my feet with a smile on my face.
 
Time now for some blues, with Bonamassa’s vocals and guitar being a favourite of mine. The DUNU Titan is really good with guitar, and this live performance is really compelling listening. With Joe’s vocals I can hear the emotion and again I’m floored by how good these sound. I also briefly spent time with Union Station’s “Dust Bowl Children”, and the banjo was more than aptly presented. Crystal clear, and clean.
 
Rap / EDM / Pop / Indie – Eminem’s “Lose Yourself” was very good – crystal clear, and the bass was pretty good for my tastes. Plenty of thump. I really enjoyed this one, and I’m not the biggest rap/hip-hop fan (it’s the only album I have in this genre). Next up some straight Pop – and Adele’s vocals with piano accompaniment is once again stunning. As is Coldplay, and pretty much everything else I’ve tried today. I also tried Amanda Marshall’s “Let it Rain”, and this was a genuine “wow” moment.  This track normally has a holographic feel to it (must be the way it was recorded). The Titan is jaw dropping with the added sense of space. Quite possibly the best I’ve heard this track short of using full sized headphones.
 
For Indie, I listened to band of Horses and Wildlight – and the Titans are an Indie lover’s dream – or more correctly this indie lover’s dream. One more – vocal clarity, contrast and cohesion – magic.
Time for some Electronic / EDM – and Lindsay Stirling’s “Electric Daisy Violin” is another bit of  magic. The bass is thumping, the violin is clear and this track is so vibrant with the Titans. Little Dragon’s “Little Man” is equally as impressive, and any EDM or electronic music seems to work really well with the Titans. Lighter electronic like The Flashbulb is brilliant.
 
Classical / Opera – I’ll keep this short as it is more of the same. Wonderful sense of space, dynamics, timbre and tone. Standouts for me were Netrebko and Garanca with the Flower Duet. Vivaldi’s Four Seasons was a pretty special encounter as well.
 
AMPLIFICATION REQUIREMENTS
 
The Titan is an interesting IEM.  Despite its low 16ohm, it doesn’t have high sensitivity – so I am pushing the volume up a little further than I normally would with most other IEMs. But in a quick A/B between an amped and unamped X1 I haven’t really noticed a huge difference in dynamics. My iPhone 5S needs closer to 40-45% volume where with other IEM’s I’m often around 25% comparatively. But on all my devices the Titan is relatively easily powered straight out of the headphone out. If you have a really weak source you might have issues – I don’t.
 
RESPONSE TO EQ?
 
To be honest I didn’t try it.  I didn’t want to detract from the default sound.
 
QUICK COMPARISON OTHER IEMS
 
I’ll make this quick as the review has already become overly long. On the current Titan thread there have been questions regarding a few different IEMs (some of which I have), so here are my very quick (very subjective) thoughts:

• Titan vs DN-1000
  Similar balance. Titan sounds fuller and more cohesive.  DN1000 is thinner, more bass. I like the Titan more.
   
• Titan vs A71
  A71 is darker, warmer, boomier.  Titan is clearer, more balanced, more cohesive. I’m not a big fan of the A71 – so take that into account.
   
• Titan vs Brainwavz S5
  S5 is darker but also a little hollow sounding – but still quite clear. The Titan is slightly fuller sounding but at the same time lighter tonally – more balanced.
   
• Titan vs Altone 200
  Interesting. Altone is clearer, and bass goes lower. Depending on track the Altone can sound a little thinner – but this is the first one where I don’t clearly prefer the Titan. Biggest difference is in lower-mids and of course the sound stage.  Upper mids (vocals) actually sound quite close.
   
• Titan vs Fidue A83
  I thought these might be very similar but vocals are quite different. A83 are a little darker and fuller + sub bass goes much lower. Titans sound lighter and slightly leaner. Both very clear. I like balance and presentation on both – and my ears are probably too much accustomed to the Titan now to be making a definitive call.

 

DUNU TITAN 1 - SUMMARY

Before I first received these, I had a couple of PMs from Vic and Luke (H20fidelity) – both of them suggesting that the Titan might be a good signature for me.  They both know my tastes well.
 
 
The DUNU Titan is an incredibly well designed, well built, and beautiful sounding “semi-open” IEM. It is relatively well balanced in frequency range, and has very good clarity for its price range. Its venting allows for a very open and spacious presentation of sound stage.
 
The Titan will likely suit:

1. Fans of a balanced or slightly V shaped sonic presentation
2. People who value clarity
3. People who do not need high levels of isolation

 
The Titan May not suit anyone who:

1. Requires high isolation
2. Prefers a darker, warmer, smoother presentation
3. Does not like wearing IEMs cable down (unless you can adapt like I did)

 
At a current probable retail price of USD 125-150, the Titan represents an incredible bargain in my opinion, and despite having the A83, I will continue to use these regularly.
 
A common summary question I ask myself is would I buy these, and would I recommend them to friends or family.  The answer is a resounding yes.
 
At this price point, along with my A83, the DUNU Titan would be the best IEM I have heard (for my tastes) in the last 12 months.
 
Once again I’d like to thank Vivian at DUNU and Vic for giving me this wonderful opportunity.
 
RECOMMENDATIONS TO DUNU
 
It really is hard to recommend any changes – these are simply “that good”.  If there is anything I would like though, it would be the ability to wear them “properly” with the cable over ear. I realise this is unlikely, so at some stage I will probably simply reterminate them and swap the ear pieces.

INTRODUCTION

For those who haven’t heard yet, Trinity Audio Engineering (from this point we’ll just call them “Trinity”) is a new company, based in the UK, who is about to come to market with 3 brand new IEMs.  Trinity is the brainchild of the main designer from RockJaw UK (you know him on the forums as RockBob). Bob is starting the new company with RockJaw’s blessing, and as I understand it, the whole reason for the new company is simply so that Bob can pursue his dream to build a range of IEMs purely to his specification. He will also continue to work and design for RockJaw.
 
The underlying vision and philosophy behind Trinity is that high quality audio should be affordable to everyone – and without compromising on build or materials.  And just because it is high quality – it shouldn’t mean it has to be high cost.
 
So in the last few months, Bob has been working behind the scenes on his new product line, and along the way has enlisted the help of Mark2410, H20fidelity, and myself, to help him with feedback on what we’ve liked and didn’t like along the design process. One thing I really appreciate with a company like Trinity, and a designer like Bob, is the willingness to involve his consumers in some of the design decisions, so that the end result is (hopefully) exactly what the target audience sis looking for.
 
 

I count myself incredibly lucky to have been approached to work with Bob on this project – via email, PM and phone – and must admit a little personal pride in what Trinity have achieved. So without further comment – let’s have a look at the Hyperion – the smallest and cheapest entrant to the Trinity range.
 
DISCLAIMER
 
I was provided the Hyperion by Trinity as part of development and for final review of the end product.  Apart from my obvious involvement in feedback on the development, I am not otherwise affiliated with Trinity in any way, nor do I make any financial gain from my contributions.
 
PREAMBLE - 'ABOUT ME'.   (or a base-line for interpreting my thoughts and bias)
 
I'm a 48 year old music lover.  I don't say audiophile – I just love my music.  Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up.  I vary my listening from portable (Fiio X5, X3ii, X1 and iPhone 5S) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP).  I also use a portable set-up at work – either X5/X3ii > HP, or PC > Beyer A200p > HP.  My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600.  Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan and Altone200. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).
 
I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock.   I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock.  I am particularly fond of female vocals.  I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences.  I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.
 
I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent.  I do use exclusively redbook 16/44.1 if space is not an issue.  All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line). I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences.  I am not a ‘golden eared listener’.  I suffer from mild tinnitus, and at 48, my hearing is less than perfect.
 
For the purposes of this review - I mainly used the Hyperion straight from the headphone-out socket of my Fiio X1, X3ii, and also used (at different times) my iPhone 5S, and Beyer A200p when at work.  Although I tested them with an amplifier, I do not think they benefit from additional amplification.  In the time I have spent with the Hyperion, I have noticed a slight change in the overall sonic presentation, but am aware that this is simply that I am becoming more used to the signature of the Hyperion as I use them more often (brain burn-in).
 
This is a purely subjective review - my gear, my ears, and my experience.  Please take it all with a grain of salt - especially if it does not match your own experience.
 

THE REVIEW

The Hyperion I am reviewing today is essentially a prototype – but Bob has said that any further changes will be purely cosmetic rather than sonic. As such I do not have complete packaging and accessory information, but I will share with you what I do know, and I can update any missing detail as it comes to light.
 
PACKAGING AND ACCESSORIES
 
The review sample I have did not come with packaging, and the accessory package is not finalised, so at this stage I’ll show you what it “should” some with.
 
 
So for a start I’ll show you the packaging I’ve seen from the Delta – which should be roughly similar to what is being used for the rest of the line. The box is likely to be a “book-style” (fold out top cover) in a grayish slate type design with the name and simple statement about the product on the front cover, and specifications and other details on the rear. Opening the front flap will reveal a foam inner with appropriate cut-outs to house the Hyperions, carry case and provided tips.  A small note here – the photo shown does show a different IEM, and the filter capsule at the top – but the Hyperion doesn’t have removable filters, so none will be provided.
 
 

The accessory package at this stage includes the carry case, 4 sets of silicone filters (1 pr small, 2 pr medium and 1 pr large), and Bob confirmed they will also provide 2 pairs of foams (M, L) and 1 pair of double flange silicone. The Trinity standard case is a nice rich red colour, has an internal mesh pouch for tips etc, is triangular shaped, and zips to open/close.  It is very spacious, has a good mix of both flexibility and strength – so it is comfortably to pocket, but still protects your IEMs really well.
 
 

TECHNICAL SPECIFICATIONS
 
(From Trinity)
 
FREQUENCY GRAPH
 

 
At the time of writing, I’m waiting for a frequency response graph from Bob, but just for a bit of fun, I’ve composed my own measurements using my trusty SPL meter. For this recording I used A-weighting in a quiet environment.  While I was at it, I checked for channel matching using 500, 1000, and 5000 Hz tones, and both earpieces were within 0.1 dB on my system for all 3 readings.  Very impressive.
 
 
I’ve said before to Mark and H20 that I thought the Hyperion sounded just a little like my Altone200.  So I also measured them – and below 1kHz, every measurement was within 0.1-0.2 dB of the Hyperion.  It’s only when you get into the upper mid-range and treble, that the Altone’s hotter tone starts making itself shown fully.
 

 
Altone graph added from Bob
 
BUILD QUALITY / DESIGN
 
The Hyperion is a gorgeous little IEM featuring a practically flawless polished aluminium housing.  It is definitely 2 piece – because you can see the seam – but the join is pretty smooth on the sample I have. At the rear of the housing is a single vent for the dynamic driver (adjacent to the cable exit). The Hyperion is tiny too! It is only 9mm in circumference, and 15mm from the rear of the housing to the tip of the nozzle.  The nozzle itself is approx. 5mm long, has a slight bevel at the end (making it easier to get tips on), and has a generous lip to make sure they stay on.  In terms of width of the nozzle – brand new T400 Comply tips fit perfectly. On my prototype sample there is no L/R markings – but these definitely should be in place for the finished product.
 
 

The strain relief at the housing is flexible and appears reasonable strong.  Personally I’d prefer something a little more rigid – as they fit so far inside my ear, that the only way to remove them is to gently pull on the relief.  Bob has informed me that the final model will have both sturdier exit relief, and these will also be colour coded for easy L/R identification.  Nice!
 
 

The Y-split is a really nice looking aluminium tube, a really good strain relief at the bottom.  The jack is gold plated, and both spring loaded and also covered with Trinity’s heat shrink, so plenty of protection.  Again – personally I’d prefer a right angle jack – but this is built to last and there should be no issues long term.
 
 

The cable is flat out gorgeous. Bob and I talked at length about this in the development phase, and how a lot of “budget” IEMs can have terrible cables. The cable is very different from the original prototypes, and consists of 4 ofc wires – both sets of two tight woven into a spring like weave. These two weaves are then woven again together below the Y-split. The end result is an extremely flexible, and gorgeous looking cable with virtually no memory.  The weave also gives it strength.  So far in my testing (over-ear), cable noise is minimal – unless it comes into contact with a rough surface (zipper etc).  My model does not have a cinch – but the final release will have.  The cable can be slightly tangle prone – but careful winding and storage solves that easily.
 
So for me, the build quality and attention to detail is among the best I’ve seen at this price point.  Factor in the quality of the cable – and I haven’t seen a design yet of this quality at this price.
 
FIT / COMFORT / ISOLATION
 
I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well.  I initially tried the included large silicones and I couldn’t get a consistently decent fit or seal. Not Trinity’s fault – just my weird ears. I next tried Sony Isolation tips, and they sealed beautifully, but caused some driver flex, and every time I swallowed or moved my jaw – I got some pressure problems in my ear drums. Isolation was excellent – but I needed a new solution.  So I switched to the Comply T400s, and it hit the spot for fit, comfort and isolation. Zero driver flex, and no pressure issues. Isolation with the Hyperion is better than average for a dynamic driver (pretty good in fact) – probably due to the single small vent.
 
 

Comfort is excellent – they are so light and small that I hardly feel that I’m wearing them.  With their micro size, they stay well within my ears, and it is easy for me to lie down or sleep whilst wearing them.  The cable is very soft, and extremely comfortable in my preferred over-ear position.
 
The Hyperion looks good, and has a fantastic build – can this tiny IEM deliver where it matters most – the sound?
 
SOUND QUALITY
 
The following is what I hear from the Trinity Hyperion.  YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline).  Most of the testing at this point (unless otherwise stated) was done with my Fiio X3ii as source.
 

 
 
Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.
 
Thoughts on Default Signature
I mentioned earlier, my immediate impression listening to the Hyperion the first time was like listening to the Altone200 – with just a little less heat in the upper mid-range and lower treble, and possibly a little more balance overall.
The other major impression – surprise really – on my first lesson was the really “big sound” I was getting from such a tiny IEM.  I just didn’t expect it. This is the sort of sound I’d expect from a well-tuned dual driver – not a tiny single dynamic!
 
If I was to describe the Hyperion in a few words, it would be “vivid”, “detailed”, “alive” – yet at the same time, it has its own refinement and balance.  When I first heard the Hyperion I was sure there was a slight V shape – and I guess there still is – but it doesn’t seem out of place (and for someone who like’s overall balance, that is really saying something).  The Hyperion seems to strike a very good match between detail and balance.
 
Overall Detail / Clarity
For this I always use both Steely Dan’s “Gaucho” and Dire Strait’s “Sultans of Swing” as there is a lot of micro detail in both tracks, and the recording quality for both is excellent.
 
The Hyperion’s detail retrieval is brilliant – in both tracks I’m getting everything I’d normally expect to be hearing from both tracks. On Gaucho there isn’t as much cymbal shimmer as my Altones, but the cymbal hits themselves are clear. The brass is gorgeous – especially the sax, and the bass has plenty of depth and definition. Switching to Dire Straits, and cymbal hits come to the fore a little more. Knopfler’s voice has pretty good tone, and the guitar has nice edge and crunch.  Really dynamic portrayal – I like it.
 
Sound-stage & Imaging
For this I use Amber Rubarth’s binaural recording “Tundra”.  I use this because it’s a pretty simple way to get comparative data on sound-stage.
 
It’s usually difficult to get a reasonable stage size from an inner ear monitor.  The stage is often quite small / close – with an average impression of space.  The Hyperion (like most IEMs) has an intimate stage with this track, and the sense of space is not expansive. Again, this is not a bad thing, as few IEMs manage an expansive presentation.
 
I switched to Loreena McKennitt’s “Dante’s Prayer” and it was an enjoyable listen – wonderful tonality in both piano and cello. Loreena seemed to be quite close, so again very intimate presentation overall.  I always use this track because at the end the applause on a few headphones (HD600, Titan, T1) has been able to literally put me in the audience (it’s a special moment when the applause washes around you). The Hyperion almost managed it (close and still enthralling) – but the overall listening experience was still very good.
 
I finished this section with Amanda Marshall’s “Let It Rain” – which was recorded in such a way that it can sound quite holographic on many headphones and IEMs.  The Hyperion handled this brilliantly.  The presentation was very 3D – quite close, but still very dynamic and alive. Thoroughly enjoyable.
 
Bass Quality and Quantity
I’ve been spoilt recently with impactful and good quality bass from some of my other hybrid IEMs (Altone 200, DN-1000 and A83), and looking at the tiny Hyperion you’d be forgiven for thinking that it might be weak in this area. As I mentioned earlier though, the Hyperion sounded a little like the Altone200 to me from day one – and it is in the sub-bass, bass, and lower mid-range where this really exhibits itself.
 
The bass on the Hyperion reaches impressively low (even with my hearing, I could easily hear 25Hz). The bass is pretty agile and well defined, and I’ve noticed no real mid-bass bloom, maybe just a little mid-bass hump on some tracks where big hits can get a little boomy. But overall, bass impact, texture and speed so far have been very good.
 
Amongst my test tracks, one of my go-to test tracks is “Bleeding Muddy Waters” by Mark Lanegan.  This blues rock track is dark and brooding – and exposes any mushiness or imbalance in bass cohesion. The Hyperion was really good with this track, clean and impactful bass, and Mark’s voice also has great tone and texture.
 
I wanted to see how low the bass would go in real music – so switched to Lorde’s “Royals” – and the Hyperion delivered (massively). When the bass guitar kicks in, there is definite rumble, and yet Ella’s vocals remain clear, and well defined.
 
Female Vocals
Around 60-65% of my music revolves around female vocals – be it jazz, pop, rock, electronic, or even opera.  I’m an unabashed fan.  For me a necessary attribute for any IEM is how it renders female vocals.
 
The one thing I’ve noticed so far has been how well the Hyperion has handled vocalists like McKennitt and Lorde. But how would it handle some of the tougher artists like Agnes Obel – as some of her recordings can become quite strident or shouty if the mids aren’t quite right.  With the Hyperion, her vocals aren’t as perfectly euphonic as the Altone200 (missing some of the upper mid-range maybe) – but the overall presentation is still thoroughly enjoyable, and there is no hollowness or shoutiness present.
 
I then proceeded to play a medley of my other tracks from artists including London Grammar, Angus & Julia Stone, Christina Perri, Feist, Gabriella Cilmi, Florence and the Machine, and Norah Jones. The first track I played from London Grammar gave me chills – Hannah’s voice was close to perfect – and this continued as I queued up each artist. Again – presentation is not quite as euphonic as the Altone200 – but it’s still captivating, and thoroughly enjoyable. The contrast between the dynamic beat with Feist and FaTM was also brilliant.  The standout for me though was Gabriella Cilmi’s “Safer” – instant chills from the first words, and I know at that stage that the Hyperion is really well tuned for my tastes. Any time I can get this sort of reaction from music I know well – it’s just magical.
 
Male Vocals
At the other end of the scale sits a lot of my rock tracks.
 
The theme here was coherence, balance, clarity and dynamics. The combination of clear vocals and dynamic bass is something the Hyperion presents really well. Factor in a nice crunch from guitar, and you’ve got a great base for most rock tracks.
 
3 Doors Down, 10CC, Alter Bridge, Green Day, Breaking Benjamin, Eagles, Jethro Tull, Nils Lofgren, Seether – all sound excellent and the vocal quality is superb.  Maybe slightly missing some of the finer nuances of texture (compared to say my A83, or a DN-2000) – but then I have to remind myself that I’m listening to essentially a budget IEM – and then reality hits home, the Hyperion has no right to sound as good as it does at this price point. When I played Diary of Jane (Breaking Benjamin), there was very little guitar distortion (this track can overwhelm some drivers), so I’m pretty impressed. Standouts for me were anything acoustic – the Hyperion nails these big time – Hotel California, Keith Don’t Go, and Immortality were just wonderful with this little IEM.
 
My litmus test still is Pearl Jam (huge fan). Once again, wonderful overall presentation, and the dynamic contrast was again brilliant. My one critique again (and it is very minor) is that the Hyperion doesn’t quite capture the texture of Vedder’s voice (I know this track really well) – but that is when it is compared to IEMs 5-6 times the price of the Hyperion. It doesn’t stop the track being thoroughly enjoyable – and just shows I’m being overly picky.
 
Genre Specific Notes
Again for tracks, albums, artists – please refer to this list:  http://www.head-fi.org/a/brookos-test-tracks
 
Alt-Rock – I listen to quite a bit of Alt-Rock, so tried my two usual tracks (PF’s “Money” and PT’s “Trains”). “Money” showed good dynamic contrast and clarity – and “Trains” was absolutely brilliant – the tonality of Wilsons voice suits the Hyperion down to a tee.  When the bass kicks in – pure magic. I definitely need to listen to all my Porcupine Tree albums with the Hyperion (note to self)!
 
Jazz / Blues / Bluegrass – Portico Quartet’s “Ruins” is always a first stop for me when testing a new IEM with Jazz, and the Hyperion didn’t disappoint.  In fact I had to tear myself away from listening to the whole album – great detail, excellent tonality.  In the end I caved and also listened to PQ’s “Steepless” with Cornelia on vocals – another absolutely enchanting interlude – but I need to finish this, so onward …
 
Switching to female vocal jazz, and Diana Krall’s “Love Me Like A Man” is equally as enthralling –Krall’s voice is clear and clean, and the piano is coming through perfectly. The electric guitar is the perfect accompaniment – the whole track just gels perfectly.
 
For a change with Blues I used Beth Hart’s “Lift’s You Up”, and for me this one of the top tracks of the entire review. Hugely passionate and thoroughly vivid presentation, with so much dynamism throughout.
 
Rap / EDM / Pop / Indie – Although so far the Hyperion has been a wonderful all-rounder, all of these genre it seems to absolutely excel with. Eminem’s “Lose Yourself” is amazing with the Hyperion – bass hits incredibly low and hard – and this contrast perfectly with the crystal clear vocals. Switching to EDM and Little Dragon, portrays the same traits – fantastic bass, and crystal clear vocals. Lindsay Stirling almost had me “bopping” in my seat (a good sign), and even milder electronic music (The Flashbulb) had the same overall magic.
 
Switching to some pure Pop, and first Adele and then Coldplay continued with the Hyperion’s versatility. The presentation of both was hugely enjoyable.
 
I’ve become quite the Indie fan in the last couple of years. My usual test tracks are Wildlight’s “Dawn To Flight” and Band of Horses “Is There A Ghost”. Probably easiest to say that if for some reason the Hyperion was my only IEM for listening to Indie – I wouldn’t be disappointed.  With my Indie – it’s all about tonality – especially the transition between lower and upper mids. The Hyperion nails it yet again – and especially Ayla Nereo’s voice – euphoric, captivating, brilliant.
 
Classical / Opera – Ticks all around here – although I have to admit, I prefer something with a little more of an expansive stage (like the Titans). Piano in Kempffs Beethoven Sonatas, and Zoe Keating’s Cello performances were really good – but I would have preferred just a little more space with Opera (Netrebko/Garanca), and especially the full symphony presentations (Fischer / Mutter). It was enjoyable – but just a touch flat.
 
AMPLIFICATION REQUIREMENTS
 
The Hyperion is easily powered straight out of the portable devices I have, and I haven’t experienced any issues with the iPhone 5S, or any of the Fiio Daps. With typical pop/rock songs on the iP5S I’m usually at a volume level of around 30-35%, on the X3ii around 35-60/120.  I did try amping with the E11K, but noticed no obvious signs of improvement.
 
EQUALISATION
 
I think it’s likely that most people will love these without EQ, but being the tinkerer that I am, I had to give it a go.  The only area (for my own tastes) that I wanted to try and lift was to try and get a little extra sparkle and euphony – especially from my female vocalists.  So on the X3ii I raised the 2K (+6) and 8K (+4) sliders, leading everything else intact. The X3ii automatically drops volume by ~ 4dB to compensate for the cut, so I readjusted volume and then retried my test tracks. To my ears this is practically perfect (for my own peculiar tastes), and the only track that suffered was Beth Hart (which is mastered very hot anyway).  There was no sign of added distortion. I think I’ll keep this as a permanent EQ setting for this little gem.
 
VALUE
 
Indications we have from Bob is that the Hyperion (after initial launch) will retail at around £30.00/ $45.00 USD (at today’s rates). This makes the Hyperion incredible value – and I cannot think of another IEM in this price bracket that gives a better combination of sonics and build quality.
 

HYPERION - SUMMARY

I’ve pretty much covered everything above, but I’ll try to boil it down into a short summary.
 
The Trinity Hyperion has no right to be aiming for the price point it is currently being targeted at, and will be a real wake up call for many manufacturers.  There are some great sounding IEMs in this bracket – but I am yet to see an IEM with this level of sound, and of build, and of quality (remember the driver matching!)
 
You’d be forgiven (looking at its diminutive size) for assuming this is simply another budget offering – but when you look at the total package, you realise how much you are getting. Fully aluminium shell, a cable that you’d normally only find on much higher level IEMs, and SQ that just continues to shine no matter what the genre. They also seem to respond well to EQ – so you can further fine tune them to your liking if desired. The biggest shock for me was the first time I listened to them – how could a sound this “big” be coming from something so tiny?  It still stuns me.
 
Would I recommend these to my friends and family – unequivocally yes! In fact I’ll be telling them all about the Kickstarter campaign soon to be launched. At its current RRP it’s already a steal.  At the discount that is going to be offered to early adopters (Bob tells me it is likely to be £20.00/ $30.00 USD), it is one you simply can’t turn down. I’ll be one of the first in line for the Hyperion – I’ll be getting 3 of them as Christmas gifts for my immediate family. At this price it would be a crime not to.
 
I looked back over my reviews to date - and I've only ever given three 5 start ratings - the HD600, the A83 and the Titan.  The Hyperion joins the 5 start brigade because of what it delivers for such a low cost.  It isn't going to match higher end offerings for outright resolution - but I can't think of any other current IEM that delivers this much for so little.
 
Trinity’s mission was to make high quality audio affordable to everyone – mission accomplished with the Hyperion.
 

INTRODUCTION

My introduction to DUNU Topsound (almost two years ago) was with their triple hybrid DN-1000, which rapidly became a hit with Head-Fi buyers, and was one of the first triple hybrid IEMs to show that top quality could be achieved at an affordable price. Since then DUNU has been a consistent performer, releasing a string of very good IEMs, including the exceptional DN2000J, and extremely well regarded Titan.

I’ve used this introduction before in my other reviews – and I think it serves as a good reminder of who DUNU is, and where they come from, so please excuse me if I state again …..

DUNU Topsound was established in 1994 originally as an OEM supplier to other companies. Since then they have developed their own branded line of high quality earphones, and gone from strength to strength (IMO) with each release. They currently have their manufacturing plant in China and head office in Taiwan. They now have more than 100 employees, and market their product range all over the world.

The name DUNU is simply an acronym of the principle design points that the company strives to implement in their product range

1. Delicate
2. Unique
3. Utmost

Here is a quote from their website, which really does give an insight into what drives the company:

“With advanced technology and hi-end equipments, DUNU desires to be able to provide Delicate, Unique ＆ Utmost products for Hi-Fi embracers. Delicate means extremely quality demanding on product process, from every little component to product manufacturing. DUNU has complete production line and equipments, including precise equipments, B&K frequency machine, IMD sputter, CNC machine, anechoic room, etc. Concerning design of product, DUNU also devotes to create unique outer appearance and balance in all sound frequency.

Utmost is not only the expectation on products, but also the pursuit of an Earphone Manufacturer. The founder of DUNU, himself, has years of experience in OEM/ODM earphone products in which many worldwide famous earphone Brands are included. However, in order to create the most enjoyable earphone on his own, DUNU’s president establishes the brand “DUNU” and implants many hi-end equipments and hires talented employees. From then on, DUNU takes the lead in developing the first Chinese made metal earphone, developing 5.8mm Driver unit and produce the very first Chinese Balance Armature Earphone, in 2014 DUNU release China first triple driver Dynamic and Balance Armature Hybrid earphone, All these preparation are to step on the world stage and to challenge renowned earphone brands. The ultimate goal of DUNU is to provide worldwide HI-FI embracers our Delicate, Unique & Utmost earphone products.”

DUNU’s full product catalogue can be found at http://www.dunu-topsound.com/product.html - and their products are supplied through their own storefront (globally) on Amazon.

After the unprecedented success of the Titan T1, DUNU have spent the time listening to customer feedback and improving the new Titan series, and this has culminated in the release of the Titan 1es (budget version), T3 and T5. The review today is of the T5.

The Titans arrived to me almost six weeks ago, and unfortunately due to my review schedule, I didn’t really get a chance to put them fully through their paces until the last three weeks. In that time though, I have clocked up many hours (at least 60+). Read on to find my thoughts on the Titan T5, and why I think DUNU have yet another winner on their hands.

DISCLAIMER

I was provided the DUNU Titan T5 as a review unit from DUNU Topsound. I am in no way affiliated with DUNU - and this review is my subjective opinion of the Titan T5.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)

Over the last month I’ve used the T5 out of practically every source I have available – including my iPhone 5S, Fiio X1, X3,ii, X5, X5ii, X7, M3, Luxury & Precision L5 Pro and L&P5. For the purposes of this review however – I’ve used Titan T5 mainly from the X3ii and E17K. In the time I’ve been using the T5, I haven’t noticed any sonic change. And as you’ll read later in the review – although I tried them from various amplifiers – the T5 are perfect for use straight out of the headphone sockets of most DAPs – and that includes the very tiny Fiio M3.

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The DUNU Titan T5 arrived in the now very familiar DUNU Titan book style retail box – measuring approximately 170mm x 130mm x 50mm retail box. I’ve been impressed with their presentation of their recent IEMs and the T5 is no exception. The immediate thought you get when you see the packaging is “premium”. On the front of the box you get a simple picture of the Titan 5s (complete with an illustration of the detachable cable), and on the rear an explanation of the box contents and main features of the T5. On the sides DUNU lists specifications in six languages. One notable addition to the front of the box now is the “Hi-Res Audio” logo which certifies that a product meets the Hi-Res Audio standards (must have transducer frequency performance to at least 40 kHz). While this means little in practical terms to the listener – it does reinforce that DUNU is serious about standards.


The box opens “book style” to show the IEMs, and on the inside cover gives some more information about build material and the manufacturing process. Opening a second inner cover exposes the carry case, some of the tips, and also the Titans themselves. The actual retail box is extremely well made, and very solid.



The carry case is a very good one for an IEM, and IMO an improvement on their metal boxes (used in the DN-1000 / DN-2000). It is a sturdy moulded plastic rectangular hinged lid box (with nicely rounded pocket-safe corners) measuring approximately 90mm long, 65mm wide and 23mm deep. It has a catch/lock to keep it closed, and has a matt exterior on the rear and sides, and shinier plastic top (personally I’d prefer matt all around – better for both scratches and finger prints). The only thing missing with the case is no internal pockets for spare tips etc – but I’m OK with that considering how pocket friendly and sturdy it is. I really like this case.



The accessory pack includes 2 different varieties of silicone tips (in S,M,L) – including some that look very close to the Sony hybrid type design, a 3.5-6.3mm adaptor, shirt clip, and warranty card. Also to be included with the accessories in future is a set of silicone ear stabilisers.

TECHNICAL SPECIFICATIONS

(From DUNU’s packaging / website)
I’ve listed below the T5 specifications, and because I know the three will be compared, I’ve also listed specifications for the original Titan 1 and new Titan 3 as well.


FREQUENCY GRAPH

The graphs below are generated by a new measuring system I’m using – the Vibro Veritas coupler and ARTA software. I don’t have the calibration 100% correct yet – but the graphs I am getting are relatively close to Innerfidelity’s raw data (on other earphones), and I think are “close enough” to get a reasonable idea of the frequency response for the Titan 5. My aim is still to eventually construct a pre-set compensation curve so that I can get the graphs more consistent with calibrated curves.






Later in the review, and perhaps of more use, I’ll comparatively graph the T1, T3 and T5.

What I’m hearing (subjective)

1. Quick, clean and well extended bass which is in very good balance to the overall signature
2. Clean coherent mid-range with slight recession in the lower mid-range, and elevation in the vocal presence area (2-3 kHz)
3. Clean and extended lower treble which falls short of sibilance (for me) yet remains quite bright and has very good clarity.

BUILD & DESIGN

The Titan 5, like its older sibling (T1) appears to be extremely well made with a polished stainless outer shell – very reminiscent of an earbud type shape – but with an angled nozzle designed to take an IEM tip and provide some measure of isolation. The circular part of the body is 15mm in diameter, and designed to snugly in your ear with, the rear of the Titan shell against your antihelix, and the front underneath your tragus, with the nozzle angled forward into the ear canal. The nozzles are approximately 50mm long, have a generous lip, and have a pinhole mesh type of opening with 7 holes to allow the sound into your ear.



However, the T5 departs from the T1 in a number of ways. First up, there is just a single vent/port for the dynamic driver compared to the T1’s 11 hole vented underside. Secondly, the body of the T5 is taller than the T1 (approx. 14mm vs 11mm), so protrudes slightly further, and lastly, the T5 has a removable cable system where the T1 cable was fixed. This time there is no red ring or blue ring around the IEM body (I’ll explain why in a second).

The removable cable on the T5 uses an MMCX connector, and is quite firm, and from my time with them so far, is one of the better MMCX implementations I’ve seen. I’ve been a bit cautious with the MMCX connector system since the issues I had with cut-out on my A83 – but thankfully so far this has not been the case with the T5. One of the differences between the T5’s MMCX connector and the connectors on the Shure series is that the T5 male connector appears to be slightly longer (about 1mm). This does make it more secure – but means that The T5 cable won’t fit the A83, and also common after-market cables won’t fit the T5 (I’ve tried with both the Shure SE series cable and also the standard cable from the new Trinity Atlas). But the good thing is that the T5 cable is beautifully made – supply, with low microphonics, and a firm connection.



The other great thing about the cable is that for those who prefer cable up (my preference), then you simply swap ear-pieces. And this is why it’s smart for DUNU not to use the coloured bands. You choose an orientation which suits you, and then the actual normal fit of the earphones will let you know which is which (left and right). If you ever lose track of which is which though, there is a small “L” or “R” on each earphone body, and also on the cable connectors.

So a welcome change from the T1, and the cable is also different in that the cloth covered mesh (below the Y split) is gone and replaced by DUNUs satiny rubber coated finish – both above and below the Y split. The Y-split is the usual DUNU cylindrical metal tube with the top piece sliding off to form a cinch. The plug is a right angled gold plated 3.5mm plug, and is designed to be very friendly for portable devices. No issues with my 5S with fitted case. The cable shows good flexibility, with no signs of kinking, and has excellent strain relief at all the required major points (plug, Y-split and IEM body).



The cable carries DUNU’s usual innovation with the rubber cable tie attached to the cable. When not in use it sits unobtrusively close to the plug (I never notice it). When you’ve finished listening to the Titans, simply carefully coil the cable and use the tie. Simple, elegant, brilliant. I’ve loved this all DUNU’s IEMs.



I cannot fault a single thing with the DUNU build – it just all makes sense, and is executed brilliantly.

FIT / COMFORT / ISOLATION

I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. This is often even more of an issue with shallow fitting IEMs – and the Titan 5 is a shallow fitting IEM. But both types of included single silicone large tips fit me perfectly – and I think this is the stabilisers at work (I’ll get to them shortly).

I also tried Spin-fit (perfect nozzle fitting, but for me no seal), Ostry black or blue (tuning) tips (perfect seal), Spiral Dots (again perfect nozzle fitting, but for me so seal), and comply T200s (perfect fit and seal). But with the T5s I still use Sony Isolation tips for day-to-day use which continually give me best combination of fit, seal, comfort and durability (they are a silicone tip with inner foam). It is a credit to Dunu's design that such a variety of tips fit well without coming off the nozzle



One of the things DUNU are now including with the Titan series are some ear stabilisers – which are a soft silicon fin which fits over the body of the Titan, with the fin pointing upward, and allowing it to be locked under your antihelix. They work brilliantly, are very comfortable, and effectively lock the T5 in place, and work with both orientations (cable up or down). I can do strenuous exercise with the stabilisers in place, and the Titans never come loose (the same fins work with the T1 and T3). My only critique of the stabilisers is that because they are so soft, almost every time I take the T5 out of my ear, the stabilisers come off the shiny body. It isn’t a big issue, as they are easy to get back on, but a more rigid “harness” with a softer fin would alleviate the issue (I don’t know if this is possible – but worth mentioning).



Worn both over ear or straight down, they aren’t quite flush, protruding maybe a millimetre or two at most, but are still quite comfortable to lie down with – I have no problems sleeping with them intact. YMMV depending on your outer ear size.

Isolation is average to below average for external noise coming in, and I wouldn’t use these in a high noise environment. They do well enough to isolate with music playing – but are not high isolators. Where the improvement is over the Titan T1 though is in their passive attenuation of sound coming from them. They are now a lot more isolating, and I’d have no issues wearing these in a library at moderate volume (I couldn’t say the same about the T1).
So great fit, very comfortable, reasonable isolation – how do they sound?

SOUND QUALITY

The following is what I hear from the DUNU Titan T5. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my Fiio X3ii as source, no EQ, and Sony Isolation silicone tips with the cable worn up. For the record – on most tracks, the volume level on the X5 was around 40/120 (C weighted) which was giving me around an average SPL around 75 dB and peaks at around 80-82dB.



Driver matching was excellent – as can be seen from the graph.

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.


Initial Thoughts
When I received the T3 and T5 from DUNU, I listened to both for about half an hour (T3 first and T5 second) and my initial reaction was that the while both sounded beautifully clear, the T5 was a bit bassy / v-shaped. But as time went on (past the first week), I found myself listening to the T3 less, and concentrating more and more on the T5. While I still think the T3 is a very good IEM – the T5 is the far superior one IMO, and I’m so pleased now that I didn’t try and write the review within a week of getting them (simply because my thoughts have changed so much in the last month). I sometimes think that the curse of the modern reviewer is that we try to push too many reviews out in too short a time-span, and we don’t allow enough time for the signature to be properly understood.

Thoughts on General Signature
If I was to now describe the signature in a few words/phrases – I’d choose the word balanced, with an upper mid-range emphasis, beautifully clear, and an intimate rather than spacious vocal presentation.
The Titan 5 in a short time has become one of my favourite IEMs, and reminds me a little of Trinity’s Delta, but with less quantity (yet more articulate and faster) bass, and a little brighter / clearer top end. But it is closer and more akin to the signature of the DUNU DN2000J (you’ll see why in the comparisons).

The T5 has really impactful, but also quick and well textured bass that is never too boomy, but extends really well, and is only there when called for (does not dominate). The mid-range is the type of mid-range I absolutely love – maybe a little thin (comparatively) on lower mids, but has a peak in the 2-3 kHz (vocal presence area) and again at around 6 kHz – which falls mainly short of sibilance for me (related to listening volume) but lends a sweetness to female vocals which I absolutely adore.

Overall Detail / Clarity
Tracks used: “Gaucho”, “Sultans of Swing”

The clarity is stunning on both tracks, but more than that, the balance is also really good. Bass guitar is present and supplies a good constant backdrop without overpowering. Vocals are up front, but mesh nicely with piano, guitar, and brass. Finer details are excellent – easy to discern, but not spot-lit. Cymbals in particular are brilliant because I can hear the decay, and it’s not splashy or overdone. Knopflers vocals in Sultans don’t sound weak, and guitar has good edge or crunch. The micro detail is really good. I could listen to this presentation for hours.

Sound-stage & Imaging
Tracks used: “Tundra”, “Dante’s Prayer”, “Let it Rain”

Amber Rubarth’s binaural track was up first, and the imaging is amazingly good and very precise. Stage is definitely not overly expansive, and more intimate than wide or deep – but it doesn’t feel under-done or constricted. Overall stage is perhaps right at the peripheral edge of my head space.

Next was “Dante’s Prayer” and although I’ve known for a while now how good these are, it wasn’t until I started critically listening that I realised how good. The first thing to hit was how good the piano sounded (full and natural), and then the cello hit and the goosebumps started. To cap it off Loreena started singing and the captivation was complete. Again imaging is the strength here (pin-point), and the size of stage is intimate, but still well-articulated (very good separation and sense of individual instruments). One of the reasons I use this track is for a particular point at the end of the performance when the last note dies, and the applause starts. With my HD600s, I’m in the crowd, and this has also happened occasionally with IEMs. With the T5 I’m in the crowd - jazz club rather than the arena it’s actually recorded in – but immersive, and that is what I treasure more.

I finished with Amanda Marshall’s “Let It Rain” for two reasons – it has been miked to give a holographic feel (and the T5 renders this perfectly), and it’s a good track to test sibilance (I know it is in the recording). At my listening levels, the sibilance is pretty much unnoticeable – but with increased volume it starts to rear its head. So if you are a high volume listener, then it is something to take note of (although an EQ cut at 6kHz should clean it up).

Bass Quality and Quantity
Tracks used: “Bleeding Muddy Waters”, “Royals”

Mark Lanegan’s track is first up. This blues rock track is quite dark and brooding – but is a good test of bass bleed and also male vocals. The T5’s bass is just effortless with this track – good impact without being over emphasised – and no sign of bleed. Mark’s vocals are perhaps a little on the thin side, and I guess this is the trade-off with having such a good upper mid-range. For all that though, I can still hear the “gravel” in Mark’s voice and the track remains really enjoyable.

“Royals” is my sub-bass impact test – and the T5 again was just wonderful – enough low rumble to show the impressive extension, but again the balance is impressive, and it is the quality and speed of the bass which is really impressing me. Ella’s vocals are sweet and crystal clear, and mesh brilliantly with the energy and impact of the low bass. Really impressive.

Female Vocals
Tracks used: “Aventine”, “Strong”, “For You”, “The Bad In Each Other”, “Howl”, “Safer”, “Light as a Feather”

By now you already know what I’m going to say here, so I’ll shorten it a bit. In a word “euphonic”, and for my tastes, perfect. Aventine was first up, and Agnes Obel can be slightly strident if the vocal mix is a little out. The way the T5 presents this track is as good as I’ve heard it. The cello is deep, rich and captivating, and in contrast with her vocals, you have a combination I could listen to for hours.

I’m also aware that the T5’s upper mid-range is quite forward which has in the past brought fatigue to me with earphones like Shure’s SE535, but this is definitely not fatiguing (even after some hours).

Next was London Grammar, and again Hannah’s vocals were haunting in their presentation – this is as close to perfection with female vocals as I’ve heard.

And this was the repeated theme with every female vocalist I tried. Standouts for dynamics were Feist and FaTM – the combination of bass impact and vocal “beauty” (I honestly can’t describe it another way) were breath-taking. But even slower tracks like Cilmi’s “Safer” or anything by Norah were equally as captivating. I should stop now because I know I’m gushing – but for me they really are that good.


Male Vocals
Tracks used: “Away From the Sun”, “Art for Art’s Sake”, “Broken Wings”, “Diary of Jayne”, “Hotel California”, “Keith Don’t Go”, “EWBTCIAST”

The continued theme here was good bass impact, clear vocals, and nicely balanced guitars and other instruments. And for the most part the T5 delivered Rock brilliantly – but …….

Male vocals are definitely a little thinner, and this is the cost of having such a perfect mid-range for female vocalists. What I like with the T5 is the dynamic contrast and clarity – especially with the overall impact from drums, mid-range bite of guitar, and upper detail from cymbals. It makes for a great listen. But Todd’s voice (3 Doors Down) definitely doesn’t have the same depth as when listening to it on my U6. It still sounds very good – but there is a difference and it should be noted.

Older classic rock (10CC, Eagles, Nils Lofgren) was also very listenable and one of the strengths of the T5 is presentation of guitar – especially acoustic. Saying that though, faster music is definitely no issue for the T5, and even Breaking Benjamin’s ‘wall of sound’ with “Diary of Jayne” came nowhere near overwhelming the T5’s drivers.

My litmus test is always Pearl Jam – if Vedder sounds good to me, then they’ve passed my personal test. And the presentation is really good – the emotion and timbre is captured nicely. I’d still like just a little more depth, but I’m not willing to trade that for the default female vocalist presentation, and I can always EQ slightly anyway.

So brilliant for female vocals, but just a little thin for male vocals (still enjoyable though) – what about specific genres?

Genre Specific Notes
Again for tracks, albums, artists – please refer to this list: http://www.head-fi.org/a/brookos-test-tracks

Alt Rock – Really good for both Pink Floyd and Porcupine Tree, and the slightly higher pitch of Wilson’s vocals really suited the T5 well. What I like is the level of detail they are delivering, and this is really apparent with Pink Floyd’s “Money” – too often the detail on this track can be lost, especially with too much bass. The overall balance is what really makes the T5 shine.

Jazz / Blues / Bluegrass – If you haven’t checked out Portico Quartet, you should. They play a fusion of jazz and electronic, and their track “Ruins” is usually a first stop for me when genre testing a new IEM. The T5 is wonderful with this track – a perfect mix of double-bass, sax, and cymbals. Sometimes I’d like a little more space in the presentation, but for low volume listening, there aren’t too many better. Key attributes once again are clarity, contrast, and a sense of dynamism. Bonamassa was another one to shine with the T5 – it renders guitar brilliantly, and does a pretty good job with Joe’s almost husky vocals too.

Hip-hop / EDM / Trance – This is where the T5 shows some additional strength, and the bass (which most of the time is perfectly balanced) suddenly shows some extra depth and impact. It is still articulate, quick, and textured – but now there is a visceral quality with it. Eminem’s “Lose Yourself” is crystal clear, but still portrays the sort of impact that should make most bass-heads happy. Likewise Little Dragon and also Lindsay Stirling show similar qualities, and it’s amazing how the T5 can be so well balanced for one track – and then when extra bass is called for in the track, it just stands and delivers. I really enjoyed a bit of Trance with AVB, and especially when it was coupled with female vocals.

Indie – I’ve been listening to a lot of Indie music lately – Band of Horses, Wildlight, Yesper (my collections seems to be growing at an alarming rate actually) – and the T5 (like the T1s) are IMO an Indie lover’s dream – or at least this Indie lover’s preferred sound anyway. Wildlight especially (Dawn To Flight) was incredible.

Classical / Opera – Strings were wonderful, and I was enjoying Mutter’s rendition of Vivaldi’s 4 Seasons so much I actually ended up listening to the entire recording. Kempffs rendition of Moonlight Sonata was very good, but didn’t quite convey the overall timbre as well as I’ve heard. Netrebko and Garanca rendition of Lakme’s Flower Duet was a standout, but once again Pavarotti (while good) wasn’t quite there.

AMPLIFICATION REQUIREMENTS

The Titan T5 is easily driven out of a smartphone or DAP, and although on my iPhone 5S I’m sitting around 45%, and in the 40-50/120 range on the Fiio, there is still plenty of headroom left, and the T5 never feels as though it is lacking.



I also volume matched and compared X3ii vs X3ii + E17K, and there was no discernible audible difference in dynamic presentation – so I think it is pretty safe to say that extra amping won’t be necessary. Based on the specs alone (32 ohm and 108dB SPL), straight out of the headphone out of most sources should be more than enough. Even Fiio’s new M3 sounds wonderful as a source.

RESPONSE TO EQ?

I wouldn’t be one to change this too much as I love the default sound, but I revisited some of my male vocalists and applied some subtle alterations in the lower mid-range, and reduction in the upper mid-range, and the T5 responded well. With such a clear signature, they are reasonably easy to apply EQ to, and seem to respond well to some tweaking.

QUICK COMPARISONS

I’ve measured all 3 Titans, and outlined my subjective thoughts on their tuning below. To perform the comparisons, I used a calibrated SPL meter, and matched each with a 1 kHz test tone, and then used a splitter plus volume attenuator so that I could fast switch and know that each was precisely volume matched.



Titan 5 vs Titan 1
Quite similar sounding with very similar bass presentation. T5 mid-range is a little more forward and this gives the feeling that the T1 has a little more soundstage. Mid-range is also very similar, but the T5 carries overall detail a little further. T5 has more articulation (or apparent detail) with cymbals, and also reaches just a bit lower with sub-bass. Build is similar, but the T5 has better isolation, replaceable cables, and can be worn cable up. My preference T5. The T1 requires comparatively more power, and is approximately 3.5 dB lower in volume is played at the same source level.

Titan 5 vs Titan 3
This time the difference is more stark. The T3 is a lot leaner, and also seems more forward in the vocals (this may be because of the lower bass volume). And the biggest change is in the bass, and comparatively the T3 is almost anaemic. It does give the T3 a lot more mid-range emphasis, but unfortunately for my tastes this isn’t a good point. The overall balance just seems to be missing, and when fast switching, the T3 just tends to sound slightly tinny. Build is essentially the same. T3 is easier to drive and at the same source volume, the difference is just a shade under 4dB. My preference is very much the T5, and I’d actually also take the T1 over the T3.



Titan 5 vs Trinity Delta (gun-metal filter)
I chose to compare these two as they are very similarly priced, and are comparable in overall quality. The Delta is harder to drive, and at the same source level is ~ 5.5 dB less than the T5. The Delta has a bigger bass response and sounds richer, and thicker than the T5. The T5 comparatively sounds quicker and cleaner. Both have quite forward vocals, but in this case, the Delta is even more forward than the T5 which sounds almost relaxed comparatively. Both have stellar builds & the main feature difference is the Delta’s filter tuning system vs the T5’s removable cables. Both are wonderful earphones and in this case the Delta is just a little warmer and fuller – but my preference would be slightly favouring the T5’s overall presentation.

Titan 5 vs DN2000J
I chose this comparison because although there is a big difference in price, the two sound quite alike. The DN2000J are slightly easier to drive, and at the same source level there is a difference of ~ 3dB. Both have very similar bass delivery both in quantity and speed. The DN2000J has a slightly thicker and richer mid-range, and to me probably has the best overall balance of all the IEMs I’ve listed above. The T5 is slightly brighter and slightly leaner, but the two signatures are closer than contrasting. For anyone wanting to know roughly how the DN2000J sounds, or vice-versa, the T5 is a good indicator. My preference ultimately would be the 2000J for everything except comfort – the T5 is simply a joy to wear.

DUNU TITAN 5 - SUMMARY

The DUNU Titan 5 is an incredibly well designed, well built, and well executed IEM. It is relatively well balanced in frequency range, and has exceptional clarity for its price range. Some may feel that the overall presentation is slightly V shaped, and I can live with the assessment too – but for me there is more overall balance there than colouration. There is definitely an emphasis on the upper mid-range, and this take precedence over the lower mid-range a little. For female vocals it is among the best I have heard, but the downside of this is that male vocals can be a little thin comparatively.

The addition of the removable cables has been executed well and allows me to wear them in my favoured cable up position.

The Titan 5 will likely suit:

1. Fans of a balanced or very slightly V shaped sonic presentation
2. People who value clarity
3. Fans of a euphonic presentation of female vocals

The Titan 5 may not suit anyone who:

1. Requires very high isolation
2. Prefers a darker, warmer, smoother presentation, or is treble sensitive
3. Has a mainly male vocal oriented library, and likes deeper timbre and tone

At a current RRP of USD 135, the Titan 5 represents incredible value in my opinion, and despite having higher end IEMs including the Adel U6, DN2000J, and q-Jays, I will continue to use these regularly. At this price point they are an easy 5. One of the best IEMs I’ve heard all year.

A common summary question I ask myself is would I buy these, and would I recommend them to friends or family. The answer is a resounding yes.

Once again I’d like to thank Vivian at DUNU for giving me this wonderful opportunity to review their Titan range.

RECOMMENDATIONS TO DUNU

It really is hard to recommend any changes – as I think you have really hit the target with the T5. My only requests would be to perhaps think about releasing an iPhone compliant cable (volume & track controls) as an add-on option, and also to see if the stabiliser bodies could be made just a little firmer.

The Sennheiser HD600 is an open dynamic circumaural head-phone which Sennheiser market for audiophiles, and also state as ideal for studio monitoring.
 
 
Pre-amble (about me at time of writing)

I'm a 44 year old music lover.  I don't say audiophile - just love my music.  Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current entry/mid-fi set-up.  I vary my listening from portable (i-devices + amp) to my desk-top's set-up (PC > coax > NFB-12 > HP).  My main headphones at the time of writing are the Sennheiser HD600s, a modded set of Alessandro MS1i, and a set of B2 iems.  I previously owned Beyer DT880, Shure SRH840 and 940 + various other IEMs. I have auditioned quite a few entry and mid-tier cans, but have yet to hear any flagships (at current time of writing this review).  I have very eclectic music tastes listening to a variety from classical and opera to grunge and hard-rock.   I listen to a lot of blues, jazz, folk music, classic rock, and alternative rock.  I am particularly fond of female vocals.  I tend toward cans that are relatively neutral/balanced - with a slight emphasis on the mid-range.  I prefer a little warmth in the overall signature.  I am neither a bass or treble head.  Current amps = NFB12, GoVibe PortaTube, Fiio E11.  Previous desktop set-up was a Fiio E7/E9 combo.
 
Packaging and Accessories
I purchased my HD600s from another Head-fi member.  They come with a very solid and well padded case, and a 3.5-6.3mm adapter.
 
Technical Specifications
From the Sennheiser website :
 
Nominal impedance = 300Ω
Contact pressure = ca. 2,5 N
Weight w/o cable = 260 g
Jack plug = 3,5/6,3 mm stereo
Transducer = principle dynamic, open
Ear coupling = circumaural
Cable length = 3 m
Frequency response (headphones) = 12 - 39000 Hz
Sound pressure level (SPL) =  97 dB at 1 mW
THD, total harmonic distortion = 0,1 %
 
Frequency Response Graph
(From HeadRoom)
 

 
 
Build / Comfort / Isolation
The HD600's build is solid - but not 'bullet proof'.  They are very light-weight (plastic headband - with a carbon fibre inner band) - but they are well put together.  If I had one criticism, it would be that the headband is not as strong as I expected.  When I got mine, I found them a little 'clampy' - so thinking the carbon fibre inner would be strong enough, I tried to stretch them to alleviate the clamp.  Big no-no.  Snap!  One broken headband, and me almost shedding 'manly' tears.  Admittedly, I stretched more than I should have - but it was because I expected the carbon fibre to allow the plastic outer to bend.  Anyway  - you have been warned.  I'll tell you how I fixed them down the page shortly.  The shell is plastic (very light) with some plastic moldings - the outer shell has a marbled look - that I think actually looks quite classy.
 
 
 
 The headband padding is actually very soft and extremely comfortable.  The ear pads are a soft velour which has quite deep cups, and are also very comfortable.  Note - after a while you get used to the tight clamp - and I've found I could wear them for hours.  They would be the second most comfortable headphones I've owned - just behind the DT880s.
 
 
 
These are an open can - so there is no isolation in or out.  They are not as bad as a Grado - but they are open.
 
The huge benefit with these cans is that they are completely modular - you are able to break them down fully, and all parts are replaceable - even the drivers.  So after my "mishap" - I got in touch with Sennheiser, and they had a replacement headband on it's way to me.  It was a very simple operation to dismantle the headphone and swap the parts out.
 

 
The cable is also replaceable, and you can go after market if you wish.  Personally I find the stock cable to be very sturdy (advertised as OFC copper and kevlar reinforced) - and it doesn't seem to be prone to cable noise or tangling.
 
Listening Set-up
My main set-up with the HD600 is PC > Coax > NFB-12 >HD600.  For a transportable rig, I use iPhone4 > PortaTube > HD600. 
 
Sound Quality
These are very simply "keepers".  They are the most natural sounding headphone I have used or auditioned to date.  They are very well balanced across the spectrum - with a slightly elevated mid-bass and lower mids.  Overall I would call the sound slightly warm without being dark.  I used to play guitar, and have spent time in my youth listening to live orchestra and solo violin - and I found the HD600 to be quite realistic.  A quick summary of the main sound quality headings:
 
Detail - While not as detailed as the DT880, I found the detail on these still quit high.  They do tend to be slightly laid back, and can get slightly congested with very fast music.  The clarity is very good.  I find them articulate and refined.
 
Sound-stage - Similar to the DT880 in overall size.  Depth and width ifs quite good, and instrument separation (particularly for classical) is quite good.
 
Highs - These surprised me.  They are nowhere near as etched as the DT880, but I don't find them veiled at all.  For me the highs are quite natural - no trace of sibilance or harshness, with still good detail.  Highs are not the focus, but they are still presented beautifully.
 
Mids - IMO this is where the HD600 really shines.  Acoustic guitar (any stringed instrument really), piano, and female vocals especially are wonderful on the HD600.  I recently bought Alison Krauss and Union Station's album Paper Airplane.  The combination of Alison's vocals and the bluegrass flavour of the music is simply divine.
 
Bass - on the NFB-12, the bass is well defined and punchy - with good impact.  it just doesn't reach low into the sub-bass like the DT880.  But it doesn't need to - because once again the bass is beautifully balanced with the rest of the frequencies.
 
Power Requirements
The HD600 has 300 ohm nominal impedance - but what surprised me is how easy these are to actually drive.  They do sound wonderful out of the NFB-12 and also my PortaTube - which both have plenty left on the pot.  But I can also play these easily on the little Fiio E11, and even out of the headphone out of my iPhone4 (admittedly on about 80% volume).  On the iPhone4 unamped, the bass becomes quite boomy and muddled - so it's obviously not being driven properly - but these don't require huge power.  They do seem to scale well - the difference between E11, my E7/E9 (when I owned it) and now the NFB-12 is noticeable - with extra body and definition from the NFB-12.  I'm looking forward to trying these with a Schitt Valhalla sometime next year.
 
Summary / Conclusion
The HD600 has become my favourite headphone for simply listening to music.  They are well built, comfortable, and sound simply phenomenal.  Their tonal balance and the naturalness of their sound is the best I've personally heard so far.  While I wouldn't recommend them for critical listening (the DT880 is better for the extra detail and extension it brings), for non-critical listening enjoyment - there are few better IMO.

INTRODUCTION

For those who haven’t heard yet, Trinity Audio Engineering (from this point we’ll just call them “Trinity”) is a new company, based in the UK, who is about to come to market with 3 brand new IEMs.  Trinity is the brainchild of the main designer from RockJaw UK (you know him on the forums as RockBob). Bob is starting the new company with RockJaw’s blessing, and as I understand it, the whole reason for the new company is simply so that Bob can pursue his dream to build a range of IEMs purely to his specification. He will also continue to work and design for RockJaw.
 
The underlying vision and philosophy behind Trinity is that high quality audio should be affordable to everyone – and without compromising on build or materials.  And just because it is high quality – it shouldn’t mean it has to be high cost.
 
So in the last few months, Bob has been working behind the scenes on his new product line, and along the way has enlisted the help of Mark2410, H20fidelity, and myself, to help him with feedback on what we’ve liked and didn’t like along the design process. One thing I really appreciate with a company like Trinity, and a designer like Bob, is the willingness to involve his consumers in some of the design decisions, so that the end result is (hopefully) exactly what the target audience is looking for.
 
I count myself incredibly lucky to have been approached to work with Bob on this project – via email, PM and phone – and must admit a little personal pride in what Trinity have achieved. So without further comment – let’s have a look at the Delta – the current ‘flagship’ and only hybrid of the new entrants to the Trinity range.
 
DISCLAIMER
 
I was provided the Delta by Trinity as part of development and for final review of the end product.  Apart from my obvious involvement in feedback on the development, I am not otherwise affiliated with Trinity in any way, nor do I make any financial gain from my contributions.
 
PREAMBLE - 'ABOUT ME'.   (or a base-line for interpreting my thoughts and bias)
 
I'm a 48 year old music lover.  I don't say audiophile – I just love my music.  Over the last couple of years, I have slowly changed from cheaper listening set-ups to my current set-up.  I vary my listening from portable (Fiio X5, X3ii, X1 and iPhone 5S) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP).  I also use a portable set-up at work – either X5/X3ii > HP, or PC > Beyer A200p > HP.  My main full sized headphones at the time of writing are the Beyer T1 and Sennheiser HD600.  Most of my portable listening is done with IEMs - and up till now it has mainly been with the Fidue A83, Dunu Titan and Altone200. A full list of the gear I have owned (past and present is listed in my Head-Fi profile).
 
I have very eclectic music tastes listening to a variety from classical/opera and jazz, to grunge and general rock.   I listen to a lot of blues, jazz, folk music, classic rock, indie and alternative rock.  I am particularly fond of female vocals.  I generally tend toward cans that are relatively neutral/balanced, but I do have a fondness for clarity, and suspect I might have slight ‘treble-head’ preferences.  I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the T1 and DT880.
 
I have extensively tested myself (abx) and I find aac256 or higher to be completely transparent.  I do use exclusively redbook 16/44.1 if space is not an issue.  All of my music is legally purchased (mostly CD – the rest FLAC purchased on-line).
 
I tend to be sceptical about audiophile ‘claims’, don’t generally believe in burn-in, have never heard a difference with different cables, and would rather test myself blind on perceived differences.  I am not a ‘golden eared listener’.  I suffer from mild tinnitus, and at 48, my hearing is less than perfect.
 
For the purposes of this review - I mainly used the Delta straight from the headphone-out socket of my Fiio X3ii, and also used (at different times) my iPhone 5S, and Beyer A200p when at work.  Although I tested them with an amplifier, I do not think they benefit from additional amplification.  In the time I have spent with the Delta, I have noticed a slight change in the overall sonic presentation, but am aware that this is simply that I am becoming more used to the signature of the Delta as I use them more often (brain burn-in).
 
This is a purely subjective review - my gear, my ears, and my experience.  Please take it all with a grain of salt - especially if it does not match your own experience.
 
[size=24.5699996948242px]THE REVIEW[/size]
 
The Delta I am reviewing today is essentially a prototype – but Bob has said that any further changes will be purely cosmetic rather than sonic. As such I do not have complete packaging and accessory information, but I will share with you what I do know, and I can update any missing detail as it comes to light.
 
PACKAGING AND ACCESSORIES          
 
The review sample I have did not come with packaging, and the accessory package is not finalised, so at this stage I’ll show you what it “should” come with.
 
So for a start I’ll show you the packaging I’ve seen from an early Delta we sampled – which should be roughly similar to what is being used for the final release. The box is likely to be a “book-style” (fold out top cover) in a grayish slate type design with the name and simple statement about the product on the front cover, and specifications and other details on the rear.
 
 
Opening the front flap will reveal a foam inner with appropriate cut-outs to house the Delta, carry case, provided tips, and filters.
 
The accessory package at this stage includes the carry case, 4 sets of silicone filters (1 pr small, 2 pr medium and 1 pr large), the filters (3), and Bob confirmed they will also provide 2 pairs of foams (M, L) and 1 pair of double flange silicone.
 
 

The Trinity standard case is a nice rich red colour, has an internal mesh pouch for tips etc, is triangular shaped, and zips to open/close.  It is very spacious, has a good mix of both flexibility and strength – so it is comfortably to pocket, but still protects your IEMs really well.
 
 

TECHNICAL SPECIFICATIONS
 
(From Trinity)
 
FREQUENCY GRAPH
 
At the time of writing, I’m waiting for frequency response graphs from Bob, but just for a bit of fun, I’ve composed my own measurements using my trusty SPL meter. I used A-weighting in a quiet environment.  While I was at it, I checked for channel matching using 500, 1000, and 5000 Hz tones, and both earpieces were within 0.1 dB on my system for all 3 readings (just like the Hyperion). Again very impressive.
 
Silver filter
 
Black Filter
 
Champagne Filter
 
Couple of points to note – the champagne filter does have visible acoustic dampening – which could explain the lower readings throughout the spectrum. All 3 were taken without touching the volume pot.
 
Also – the bass on the gun-metal filter shows slightly higher under A-weighting, but I later switched to C and just measured the bass frequencies.  The Silver filter showed more bass than either of the other two filters – especially in the sub-bass frequencies.
 
EDIT - I've added graphs below from Bob for each of the filters, and also a combined graph showing (rough) an idea of all 3 filters.
 

 

 

 

 
 
BUILD QUALITY / DESIGN
 
The Delta is once again a very good looking IEM, featuring a beautiful polished gun-metal aluminium housing.  At the rear of the housing is a single vent for the dynamic driver (adjacent to the cable exit). The Delta is approximately 11-12 mm in circumference, and 14-15mm long with filters removed, or 20mm long with filters in place.  The mathematicians among you will be able to work out that the exposed filter measures approx. 5mm long.  It has a slight bevel at the end (making it easier to get tips on), and has a generous lip to make sure they stay on.  In terms of width of the nozzle – again my new T400 Comply tips fit well (tight – but firm). On my prototype sample there is no L/R markings – but these definitely should be in place for the finished product.
 
 

The Delta comes with three screw in filter options, which I’ll go into more detail regarding sonics later in the review. The filters look to be very well made and fit my unit extremely well.
 
The strain relief at the housing is flexible and appears reasonable strong.  Bob has informed me that the final model will have both sturdier exit reliefs, and these will also be colour coded for easy L/R identification. The Y-split is a really nice looking aluminium tube, a really good strain relief at the bottom.  The jack is gold plated, and both spring loaded and also covered with Trinity’s heat shrink, so plenty of protection.  Again – personally I’d prefer a right angle jack – but this is built to last and there should be no issues long term.
 
 

The cable is the same as the one used on the Hyperion and is gorgeous. The cable consists of 4 OFC wires – both sets of two tight woven into a spring like weave. These two weaves are then woven again together below the Y-split. The end result is an extremely flexible, and gorgeous looking cable with virtually no memory.  The weave also gives it strength.  So far in my testing (over-ear), cable noise is minimal – unless it comes into contact with a rough surface (zipper etc).  My model does not have a cinch – but the final release will have.  The cable can be slightly tangle prone – but careful winding and storage solves that easily.
 
 

So again for me, the build quality and attention to detail is top notch, and befitting the top end of the Trinity line.
 
FIT / COMFORT / ISOLATION
 
I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well.  I initially tried the included large silicones and I couldn’t get a consistently decent fit or seal. Like my experience with the Hyperion - not Trinity’s fault – just my weird ears. I next tried Sony Isolation tips, and they sealed beautifully, were very comfortable, and showed no signs of driver flex, or pressure issues at all. The nozzle for the Delta is almost slightly too large for the Sony tips (they do fit – but I have to force them), so I next tried my trusty Comply tips – and for my particular tastes – the T400 sport were ideal.
 
Isolation with the Delta is average for a hybrid containing a vented dynamic driver.  With music playing you’re isolated pretty well.
 
 

Comfort is excellent – and once again they are very light, so that I hardly feel that I’m wearing them.  With their relatively short length, they stay inserted without protruding past my outer ear, and it is easy for me to lie down or sleep whilst wearing them.  The cable is very soft, and extremely comfortable in my preferred over-ear position.
 
The Delta looks good, and likes its sibling (the Hyperion) has a fantastic build.  Let’s have a look at the filters, and then move onto sonic impressions.
 
DELTA FILTER SYSTEM
 
The Delta comes with three exchangeable filters to allow you to tailor the sound to your preference. Whenever I’ve tried most other IEMs with filters, they’ve often just been bass+ / “neutral” / treble+, and depending on the flavour of the “neutral”, sometimes this has been very hit or miss.
 
The Delta is a bit different in this regard, and we even had a discussion on how to name the filters because they were so different. So here is my take on the three included filters:

1. Silver = “fun”
2. Gun metal = “smooth”
3. Champagne = “vivid”

 
 

The silver “fun” filter is the only one with nothing in the chamber, and no vent. What this filter appears to do is raise both sub-bass and also the upper mid-range and treble response. So it basically creates a more V shaped signature.  I’m not usually a huge bass lover – but I really like this filter. Not only does it give a lot more life in the bottom end – and it can really thump – it also lifts the clarity a notch.  Too many bass filters make the overall sound very warm and quite dark.  The silver filter just adds slam and clarity.  It’s an intoxicating combo – and when you need a lift sometimes, it has the ability to just pick you up and put a huge grin on your face. Thumbs up from me for this one.
 
The gun metal "smooth" filter is really the default or reference filter. It has a micro vent, and a membrane to give its particular tuning. I call it smooth – because to me that’s exactly what it delivers – beautiful smooth sound.  It is definitely the most balanced of the three filters, and while the sub bass is there – it doesn’t over-power. Nor is there a massive mid-bass hump, but there is enough mid-bass and lower mid-range IMO to sound really natural.  I once commented to Bob that I thought the black filter almost had an HD600 tonality about it. Of course it can’t come close to the timbre and truly natural sonics of the legendary HD600 – but it does deliver a lovely clear, smooth, liquid sound. It’s the sort of sound I can listen to for hours, and although it didn’t wow me at first, it has rapidly become my favourite filter, and one of the most favourite IEMs I own (more on that during the comparisons). If you’ve read my reviews before, you’ll know I tend toward slightly brighter IEMs – and with the “smooth” filter you actually get clarity without being overly bright. But I don’t reach for the EQ with this one. It’s perfect without the hyper clarity. With the tuning of the Delta this is one of the best IEMs I’ve heard to date for long term relaxed listening.
 
The third filter I’ve called “vivid”, and it’s the only one of the three I don’t tend to listen to a lot. I do think it’s necessary to round out the range – but it’s just not my ideal tuning. The champagne filter has both a vent and acoustic dampening. The biggest change is that a lot of both sub and mid bass has been attenuated – so you are left with more mid-range and treble. The nice thing about this filter though is that the way it’s tuned the treble isn’t overdone at all.  It gives you a very light, but very clear and “vivid” presentation.  Personally I like a little more bass than this filter delivers – but anyone preferring a lighter overall sound will enjoy this filter.
 
All three filters simply screw off the main body, then screw easily back on again. Possibly the only thing that I’d change would be the addition of a small rubber washer just to make tightening and loosening a little more secure.
The spare filters are housed in a clever little aluminium tube with a screw on cap.  This is brilliant as the tube fits neatly in the case so that your filters are always with you – and the tube should be big enough so that it won’t get easily lost.
 
The implementation of the filters on Delta is amongst the best (if not the best) I’ve experienced so far.
 
SOUND QUALITY
 
The following is what I hear from the Trinity Delta.  YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline).  Most of the testing at this point (unless otherwise stated) was done with my Fiio X3ii as source, the gunmetal “smooth” filter in place, and Comply T400 sport tips.
 
Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.
 
I’ve also shortened the genre section a little so that I could spend more time on comparisons – as that seems to be what a lot of people have asked for (on the forums and via PM).
 
Thoughts on Default Signature
I mentioned earlier, my immediate impression listening to the Delta with the “smooth” filter the first time was like listening to my HD600. The sound is natural, effortless, clear, and velvety without losing any clarity.
 
One of the things I love about it is the natural progression from bass through lower and upper mids and into the lower treble. It extends pretty well into the sub-bass, and I tested this by using a calibrated 1 kHz test tone at 70 dB, and then switching the same volume to 25 Hz – easily heard, even with my “aged” ears. In the upper end, it’s detailed and clear – but not brash or in your face like some of my other IEMs. Now some may want a little more shimmer – but the funny thing is that I don’t with this IEM (and that is really weird considering my normal tastes).  I know there is roll-off in the upper treble yet despite sounding smooth, the Delta also manages effortless detail. I’m not sure how he achieves it – but I do know I like it.
 
Overall Detail / Clarity
Nothing missing with “Gaucho” or “Sultans of Swing”- good balance, great tonality and dynamism. There is crunch to the guitar, shimmer on the cymbals, timbre in the bass guitar. Bass is well defined. Overall cohesion is excellent.
 
Sound-stage & Imaging
Much better sense of space than the Hyperion and the imaging during Tundra is really clean, clear and well defined. It’s not hugely “out of head” with this binaural track – but it’s far enough not to qualify as intimate. With McKennitt’s “Dante’s Prayer”, the presentation was stunning – so natural, smooth yet compelling at the same time.  The tonality of piano and cello was gorgeous. With the applause at the end, it was more width than depth – but I was in the audience which is very good for an IEM.
 
Side note too - Amanda Marshall’s “Let It Rain” – wonderful. Holographic, but so natural sounding too – in a word – magical.
 
Bass Quality and Quantity
Goes low (we discussed this above), and has very good impact with “Bleeding Muddy Waters” by Mark Lanegan.  No mushiness or imbalance in the overall bass cohesion. Mark’s voice had great timbre, and the gravel really came though well.  Lorde’s “Royals” took the Delta impressively low and had great impact. Ella’s vocals were clear, well defined, and euphoric.
 
Female Vocals
Tick, tick, tick – euphonic, no stridency, no noticeable sibilance. Agnes Obel was dreamy (and that cello tone!), London Grammar was clean, clear and perfect (Hannah - release another album please!), and it didn’t matter what I played – each track eminently enjoyable. Cilmi’s “Safer” once again gave me chills & Norah was sublime (like she was singing just to me). If you get the chance, check out Lianne La Havas – on the Delta she is amazing.
 
Male Vocals
Dynamic, clear, balanced, but also delivering vigorous punch and very good guitar attack. Acoustic is brilliant. Even older stuff like 10CC and Jethro had zest. Vocal quality is outstanding and this is one of the few IEMs I’ve heard which does both male and female vocals really well (like the DUNU 2000 for instance). There is something about the tonality with most instruments as well – really cohesive – really involving, but no sign of harshness or grit.
 
My litmus test is always Pearl Jam. In a word – perfect. All the detail is there, but best of all I can hear the emotion in Vedder’s voice. I’m finding it hard to listen critically at this point.  Too easy to egt lost in the music with the Deltas.
 
Genre Specific Notes
Not going to bore you with this section – except to say that the Delta just kept knocking everything out of the park. I’d list the strongpoints, but there were too many.  What the Delta does is portray everything with realism. Tonally I find it magical – especially with well recorded Jazz (Portico Quartet and Miles both shone), and Blues (Bonamassa’s live performances were enthralling). Even EDM and Rap were very good – purists might want a bit more bass, but if you do, simply swap for the silver filter.
 
I could listen to Indie on the Deltas for hours – again the tonality just seems to hit a spot. And Wildlight’s “Dawn to Flight” for some strange reason was actually better than the Altones normally deliver it!
 
Classical was light, lively, enthralling – very different from my experience with the Hyperions.  The standout though was Netrebko & Garanca’s duet from Lakme. Soaring vocals – but never peaky, and a real sense of space
again.
 
AMPLIFICATION REQUIREMENTS
 
The Delta is again easily powered straight out of the portable devices I have, and I haven’t experienced any issues with the iPhone 5S, or any of the Fiio Daps. With typical pop/rock songs on the iP5S I’m usually at a volume level of around 40%, on the X3ii around 40-50/120.  Again, I did try amping with the E11K, but noticed no obvious signs of improvement.
 
EQUALISATION
 
Didn’t try, doesn’t need it – and if you do, change the filters first.
 
COMPARISONS
 
OK – this is the section I was asked about a lot – and this is very subjective. Comparison was once again with the X3ii, gun-metal filter, and Comply tips.  All IEMs were volume matched with a 1 kHz tone and using a proper SPL meter.
 
Small note though – I’ve been using the Delta a lot in the last 3 days, so I am very used to its signature – more so than some of the IEMs I’ve put it up against tonight.  I also am getting over a dose of influenza, so my ears are unlikely to be 100% (are they ever?). Please take this into account when trying to assimilate my thoughts.
 

1. Vs Altone200
   Altone is clearly brighter, and bassier, detail is a lot more apparent. Very much more in your face and vivid. Delta still has plenty of detail, but somehow sounds cleaner.  There is more distance and space, and far more balance. Male vocals sound natural – where on the Altone, they are slightly contrived.  Both do female vocals well – but I’m leaning toward Delta as being the more enjoyable of the two. If you prefer V shaped, and leaning toward upper mids than lower – then the Altone is still king.  If you want more balance and realism, the Delta nails it. My preference – Delta (by quite a bit actually).
    
2. Vs Fidue A83
   This is a lot closer. The Fidues again are bassier, but show a lot more balance than the Altones. The do show more overall detail and have a very vivid presentation.  Deltas still show more distance and separation, and clearly have less grain – despite the slightly lower resolution. Deltas also continue to show a more natural tonality. Another thing I noticed – personally they are more comfortable to wear. The A83 have been my go to for a long time now – they are wonderful earphones, but at this point for my personal tastes, I’m leaning toward the more natural tone of the Delta as preferable to the more vivid tone of the Fidue.  I wasn’t expecting this.
    
3. Vs DUNU Titan
   Tonality is very similar – surprising as I would have expected the Titan to be a lot brighter than the Delta, and it isn’t. Titan has a bit more mid bass, and might be slightly brighter in the lower treble, where I think the Delta might have a little more upper mid-range. Titan has a slight bit more overall space – but it’s not as much (again) as I’d expect. Vocals are slightly further back on quite a few tracks, where the Delta brings them closer. Titan also has more apparent sub-bass presentation (Lorde Royals)  - and shows its slight V, where the Delta remains very balanced. Hard to pick a preference with these two – but for similar price, the ability to go over-ear, change filters, and the better cable – I’d just about give the nod to Delta.
    
4. Vs Havi B3 Pro1
   I know there is a bit of a price difference here, but I know it will be asked – so …… Havi is comparatively thin.  Both sound pretty balanced.  Delta sounds cleaner, clearer. Havi struggles a bit on sub-bass where it is more easily heard on the Delta. Havi still has that wider stage, but Delta has the ability to portray a more believable stage (if that makes sense). Although both have a good sense of balance, the Delta sounds a lot more natural, and that plus the overall refinement makes it for me.  The Havi puts up a good fight though.
    
5. Vs Alclair Curve
   This one really isn’t fair – because I’ve only had the Curve for 3 days and hardly have had a chance to listen to them so far. The Curve is warmer, bassier.  Both are very smooth, and also quite refined – especially in the vocals. Delta is a more natural sound. On comfort – the Curve by a long shot though – easily the most comfortable IEM I’ve ever worn. I won’t pick a preference on this as it’s not fair on the Curve. But the Delta is still probably closer to my default preference as far as sound goes.
    

VALUE
 
Indications we have from Bob is that the Delta (after initial launch) will retail at around £90.00/ $135.00 USD (at today’s rates).  This makes it very good value – given (for my tastes) it is on virtually equal footing (or better) than some triple hybrids at much higher pricing.
 
At the KickStarter introductory price of £60.00/ $90.00 USD, this is daylight robbery, and Trinity is the victim. Don’t stop – go buy one now.  You can thank me for it later.
 

DELTA - SUMMARY

Once again, I’ve pretty much covered everything above, but I’ll try to boil it down into a short summary.
 
The Trinity Delta is the best tuned dual driver earphone I’ve heard to date, and I’d even go so far as to say that it sits up there in SQ with a lot of the triple driver earphones I’ve heard.
 
It’s playing in a crowded price bracket though – but when you look at what Trinity offers with the Delta, it’s hard not to admire the overall package.
 
You get the Trinity build promise (quality throughout), with aluminium shells, a fantastic cable, and a really nice filter system that breaks the mould on most typical filter systems I’ve seen. You also get SQ that is balanced, or flavoured, depending on your choice of filter – but more importantly is refined, and (with the “smooth” filter) very natural and non-fatiguing.
 
The Delta is an easy recommendation due to all of the above – and is now most often the IEM I reach for when I want relaxation (away from the reviews).  The fact that you can pick one up on KS at the moment for under $100 USD makes it possible the best value you may see this year.
 
I’ve already backed the campaign – and my review should show how much I like the Delta.  5 stars from me. I’d give it 6 if I could.
 

INTRODUCTION

I can remember when I first joined Head-Fi, I started with some pretty cheap gear, and I remember looking at the signatures of some of the long-time posters, and marvelling at some of the gear they had available to them. Over the next few years, I bought, sold, and slowly worked my way through a lot of former flagships in order to find out what sort of signature moved me.

In that time, I got to hear and own the AKG K701/702, DT880, RS1, SRH1840, HD700 and HD600. Then things changed when I bought the Beyerdynamic T1, and all of a sudden it was time to thin down the number of headphones I owned, and concentrate on what I really liked. From that point – most of my listening was with either the T1 or HD600. This was mostly thanks to Head-Fi friendship with a fellow NZer (Rizki – I still owe you), when I finally got to hear the legendary HD800 and also AKG's new K812, and compare them with my set-up at the time. For anyone wanting to read about my findings then – try here and here.

After spending some good quality time with both headphones, I ended up keeping the T1 and HD600, and although I knew one day I'd probably end up with an HD800 – I really didn't feel the need to move onward and upward at the time. In fact this year, the T1 has had very little head time, and it has predominantly the HD600 which has stolen all my leisure listening time. The HD600 remains for me the one headphone I've consistently gone back to, and that never ceases to wow me. It has also slowly become my main headphone by default. Until now that is.

Cue Jensy (Head-Fi's “White Lotus”) sending me a PM asking if I'd like to take the new HD800S for a spin for a week, and write a review based on what I'd heard. Of course I jumped at the chance, keen to hear what changes Sennheiser had made, and what the initial fuss was all about.

So a week ago I received the HD800S, and since then I've been steadily putting them through their paces, and in that time they've made me completely change my idea of what my audio chain will look like in the long term. So if you don't mind accompanying me on a little journey, we'll take a look at the HD800S and why (for me) it has become end-game.

ABOUT SENNHEISER
I'm not going to go into too much detail in this section – because I'd imagine practically everyone must know who Sennheiser is. The company was formed in 1945 by Fritz Sennheiser and seven fellow engineers, and their first product was actually a voltmeter. In 1946 they built their first microphone, and by 1955 the company had grown to 250 employees. As the company grew, so did their product range, and in 1968 they have been credited with introducing the world's first open headphones. Sennheiser has been a pioneer in high end audio, always pushing the boundaries, and several of their products have reached legendary status over a number of years – especially the incomparable HD600 and HD650 (still popular almost 2 decades on), the HD800 (widely regarded as one of the World's best dynamic headphones, and of course the Orpheus (1 & 2) – statement electrostats built with no budget restraints and designed to be the best headphone the world has experienced.

Sennheiser now has more than 2700 employees globally and an annual turnover of almost 700m Euro. Not bad for a company that started from such small beginnings just 70 years ago. And the vision that drives the company is still as strong today:
We are shaping today the audio world of tomorrow - that is the ambition that we and our company live by from day to day. This vision statement describes what we are hoping to achieve together. The foundation for this is our history, our culture of innovation and our passion for excellence.

DISCLAIMER
I was provided with a tour review sample of the HD800S by Sennheiser and facilitated by Jensy for the purposes of review. I am not affiliated with Sennheiser in any way, nor do I make any financial gain, and this is my opinion of the HD800S after just over a week with them. The HD800S will be returned this week to the next tour recipient.

PREAMBLE - 'ABOUT ME'.
For the purposes of this review – I have used the HD800S out of many sources – including my iDSD (desktop), FiiO X7, L&P LP5, and utilised both solid state amplifiers (FiiO K5 + E17K, and iFi iDSD) and tube amplifiers (LD MKIV and Venture Electronics Enterprise. This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

The Sennheiser HD800S come in an unmistakably Sennheiser box, consisting of outer printed sleeve / box over an inner protective case. The outer box measures 273 x 350 x 150mm, is relatively thin cardboard, and is all black except for the distinctive Sennheiser blue logo on the lower front. The front also features in image of the left hand ear-cup, and the simple slogan “crafter for perfection”. There are some barcodes on the back and sides, along with logos for the Hi-Res Audio standard and their own 2 year warranty.


Opening the outer box/sleeve reveals the inner case, which is essentially a well internally padded hinged lid hard case. Also revealed are the comprehensive manual, a cleaning cloth, and USB key which has an electronic copy of the authenticity certificate and frequency response, and also a full electronic copy of the manual. The manual also contains full specifications and other information (in multiple languages) about the HD800S – and I've quickly photographed the English section in case anyone is interested.


Opening the case reveals the new look HD800S in all its glory, safely nestled in a form fitting foam enclosure covered with black satiny material. There is a balanced cable in another bag, and also the main single ended cable nestling in its own indentation (which is covered by its own foam cover – to keep everything snug and secure).


The overall package is simple yet elegant. Unfortunately I have no balanced amp which can utilise the balanced connection – but for some this will be an added bonus.

TECHNICAL SPECIFICATIONS
(From Sennheiser)


FREQUENCY GRAPH
Unfortunately I have no way of properly measuring the HD800S – my measuring system is only designed for IEMs, and I would not attempt to try for crude measurements on such a precision headphone. Lucky for me, Tyll (Innerfidelity) has already measured them, so I have included their graphs for both the HD800 and HD800s. For more on Tyll's methods of measuring, please visit the Innerfidelity website, which is an absolute wealth of information regarding measurements, what they are, and how to interpret them.


The graphs are provided merely as a point of discussion, and later in the review I've included comparisons to other headphones also using Tyll's graphs for similar reference.

What I’m hearing from the HD800S:

1. Excellent sub-bass extension which has enough slam to clearly rumble, but is in perfect balance with the rest of the spectrum.
2. Slightly elevated mid-bass with enough punch to be highly enjoyable, but not enough to dominate. Again the bass sounds perfectly natural to me – if maybe slightly elevated.
3. Crystal clear mid-range which equally portrays amazing timbre and depth in both male and female vocals
4. Mildly emphasised upper mid-range which gives a slightly euphonic and sweet air – particularly to female vocals. This adds some euphonic warmth, but does seem to overly colour the sound.
5. The lower treble may be slightly elevated, particularly around 6 kHz but to me it is not overdone at all, and the clarity and extension of the treble overall is quite breathtaking.
6. Overall the HD800S is a headphone which has amazing levels of vocal clarity, but also enough bottom end to sound completely natural, and maybe ever so slightly warm. And this is the strength of the HD800S – the clarity, speed, timbre and depth of the bass, yet the presence, air and clarity of the mid-range and lower treble – without any perceived masking at all.

BUILD QUALITY / DESIGN / TECHNOLOGY
The overall look of the Sennheiser HD800S (which is a continuation of the HD800 and to a lesser extent the HD700) could be described as futuristic, perhaps slightly sci-fi, but always distinctive. I know people who regard it as a bit pretentious, and others who love the unmistakable design. I fall very much in the latter camp – and the one thing I always liked about some of the Colour-ware HD800 mods was how good the black looked. Well this time The HD800S frame is primarily in black and to me it looks gorgeous.


The build is really good too, and a lot of the things we don't see all ultimately deliver sonically. Starting with the headband assembly, it consists of a 22mm width of sprung stainless steel which has the serial number and model designation engraved in it. This sits atop a 45mm wide and 10mm high padded underside with microfibre covering. It is very soft and very comfortable, and for me has good weight distribution. What you don't see is the layered metal and plastic construction is especially designed to dampen or attenuate vibrations to the ear-cups – so that the drivers are completely isolated from unwanted distortion.

The extenders look at first glance to be plastic, but research into the construction reveals that they are actually a special polymer initially developed within the aerospace industry, with the sole purpose of contributing qualities of high strength and at the same time light weight. The yokes are made from the same material, and are hinged to allow the cups to swivel on 4 axis. I have no problem adjusting quickly and easily for a fantastic seal.


The cups themselves are D shaped, with the ear-pads well padded and covered by the same extremely comfortable micro-fibre outer. They measure externally 120mm high and 110mm wide at the outer pads. Internally the pads have 75mm of available height and 60mm of available cavity with a depth of approximately 25-30mm, so my ears never come close to touching either the edge of the pads or the protective mesh over the transducer.

The transducer itself is 56mm (which Sennheiser tells us is the largest to be used in a dynamic headphone), is a ring radiator design, and is encased in stainless steel for further dampening of unwanted vibration. Sennheiser also goes on to describe their new absorber technology innovation which is designed to absorb resonance so that bass will not mask higher frequencies, and also prevents any higher peaks in the lower treble. The inner cup is also designed so that sound waves will enter the ear on a slight angle to enhance the perception of spatial awareness, and create a more natural 3D sound.


The outer cup is made of the same high grade polymer, with an inner fine silver mesh to protect the transducers and allow the headphone to breathe. And there is a final black honey comb mesh directly over the drivers for protection and ideal airflow.

Each of the yokes has a left and right designator printed in silver on the rear, and adjacent to this is the cable socket. These connectors are a barrel type which is unique to the HD800 and HD800S, and consists of a single male plug (on each side) with two recessed pins, which fits perfectly into a slotted receptacle socket on the HD800S. When mated, they fit extremely firmly together.


The cable is 3m long (there are two of them), and both utilise silver plated copper wiring which is in balanced configuration (separate signal and ground for each side). The wires are then shielded and covered with a para-aramid outer sheath (so it is either Kevlar or Twaron fibres) which provides and exceptional strength to weight ratio. There is extremely good cable relief at both the earphone connectors and at the single-ended or XLR jack.


The build on the HD800S is exceptional, and I can't see any flaws

FIT / COMFORT
I've already covered the cup dimensions and covering, and apart from one small issue, they are quite possible the most comfortable headphones I've worn. Unfortunately I wear glasses and the clamp force (while by no means excessive) is enough to force my glasses onto the bridge of my nose. If I take the glasses off, the comfort is quite simply amazing – good distribution of weight, really soft pads, and the sort of headphone I can quite literally wear for hours.

The answer to the glasses issue is of course to slightly bend the headband to relieve a little of the clamping pressure – but unfortunately for now (because it is a tour unit) I've had to persevere with the slight discomfort. Not Sennheisers fault, and very fixable if it was my own pair. Something to note anyway.

SOUND QUALITY
The following is what I hear from the HD800S. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my iFi iDSD both as DAC and amp.

For the record – on most tracks, during my listening evaluation the volume level on the HD800S measured at the ear was around 60-70dB A-weighted. The room was fairly quiet, and I simply had no reason to add more volume (there was enough clarity definition not to look for any more volume). Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

Relativities

1. Sub-bass – well extended, and able to stretch to extremely low frequencies in a sine sweep. Slightly recessed comparative to mid-bass, but enough presence for rumble, and very good impact.
2. Mid-bass – slightly elevated compared to sub-bass and lower mid-range, but a natural hump which doesn't sound too boomy or over done. No bleed into mid-range, and speed is amazing. Impact is very good. Adds some warmth to the overall signature – but again very natural sounding.
3. Lower mid-range – sounds reasonably flat to me (which is good). Might be the slightest bit recessed compared to slightly elevated mid-bass but in perfect balance. Texture and tonality with vocals is incredible, as is clarity.
4. Upper mid-range – elevated compared to lower mid-range, but utilising the natural rise which lends to great cohesion between upper and lower mid-range. Clarity and air carry incredible detail, and female vocalists in particular have a touch of euphony in their presentation. For me the mid-range on the HD800S is simply sublime.
5. Lower treble – detailed, extended, maybe slightly on the bright and airy side, but not peaky at all, and in perfect harmony to the rest of the sonic signature. Cymbals especially are a joy to behold, with the decay from hits, or softer brush strokes (Jazz) sounding very alive, and definitely realistic.

Resolution / Detail / Clarity

1. I have heard nothing with this level of clarity whilst maintaining a balanced overall signature.
2. Cymbal hits and decay on cymbals have life-like presence, no early truncation on decay.
3. Excellent portrayal of both texture and tone throughout the spectrum
4. Micro details clearly presented – from the sounds of fingers sliding on strings through to singers drawing a breath. Life-like.

Sound-stage, Imaging

1. Again I'm lost for superlatives here. I haven't heard anything which images quite like the HD800S (maybe the original HD800). The word which keeps coming to me is precision.
2. Directional queues are stunning, and portrayed outside the periphery of my head space with binaural tracks – excellent width and depth. I should note here that I have heard headphones (AKG) which portray more width with Binaural tracks, but the actual impression is wrong because the instruments simply aren't as far away as portrayed. I use Amber Rubarth's binaural album Sessions from the 7^th Ward, and I know from video footage how they've positioned the instruments. The HD800S manages incredible realism with Amber's tracks, and for me that is far more important than the illusion of width that isn't really there.
3. Completely spherically presented stage with impressive width depth and height
4. Holographic and compelling sense of immersion both with applause section of Loreena McKennit's live recording of “Dante's Prayer” (the HD800S has me sitting in the crowd with the applause washing around me), and also the very spatial “Let it Rain” from Amanda Marshall.

Other Strengths

1. Tonality and timbre are incredible. The only other headphone I have heard which comes close to the overall tonality and timbre of the HD800S is Sennheiser's own HD600. My mother played both violin and piano, my brother and I both played guitar (he was actually in a band in his younger years), and I have grown up around live instruments and live performances my entire life.
2. One of my mother and grandmother's favourites piano pieces was Beethoven's Moonlight Sonata. I have Wilhelm Kempff's excellent performance, and what I'm hearing takes me back to my youth (just the player and the actual instrument are clearly superior).
3. Likewise with guitar – as a self taught amateur, I am intimately familiar with how a real acoustic guitar sounds – and especially the realism of fingers on strings, the sharp edges of a picked string, and even the rap of fingers on the body. With Nils Lofgren's Acoustic Live album, it is as though I am in the room with him – and it is completely realistic.
4. Brilliant with both male and female vocals
5. Excellent with dynamic music – especially if it has some bass slam (incredible with rock)
6. Genre master – I enjoyed it with all genres tested – from classical, jazz and blues to electronic, grunge and pop. I haven't heard a better headphone with my favourite band (Pearl Jam). Eddie's voice has perfect timbre and texture, and the detail in the cymbals and acoustic guitar in “Elderly Woman Behind the Counter ...” is utterly addicting.
7. My favourite though is female vocals – they have been a passion of mine for as long as I can remember, and it is this area which for me personally I have not heard any IEM or headphone portray more perfectly than the HD800S. It's really hard to describe simply how good the HD800S is – but for me when listening to an artist like Sarah Jarosz (if you haven't heard her before be sure to check out “Build Me Up From Bones”), the mix of realism and detail without the cost of pure tonality – for me it is end game.

Weaknesses

1. Sonically I haven't been able to spot any in my week with this headphone. Perhaps I need more time.
2. This is a question which may be asked so I'll pre-empt. The HD800S doesn't mask sibilance – it will portray it if it is in the recording. But that's all it does – portray honestly – neither enhancing or masking. I don't see this as a weakness of the headphone
3. Apart from sonically – the only other weakness is the initial clamp force – which can be easily alleviated by adjustment of the headband.

SOURCE / AMPLIFICATION
The HD800 was always described by others as needing a synergistic source and amp combo to get the best out of them. And I have to admit when I originally spent time with the original HD800, I liked it best out of my LD MKIV OTL tube amp. Interestingly enough when I had it at a NZ Head-Fi Meet a couple of years ago, there were two sources at my table which proved very popular with the HD800 – the Little Dot, and also the L&P LP5 DAP. I tried various amplifiers (properly volume matching with an SPL meter and test tones), with the aim at seeing what level of amplification was required, and what (subjectively) I preferred with the HD800S.

Desktop
For a desktop solution, I tried Venture Electronic's $800 Enterprise tube amp, and also my LD MKIV. Both sounded incredible with the HD800S, a good sense of dynamics and detail, but both were also a little softer in presentation – almost relaxed compared to my initial testing with iFi's iDSD. Later during my comparisons with the T1 and HD600 it reinforced that I still prefer both with an OTL tube amp (especially the HD600 + Enterprise pairing), but with the HD800S I've been finding that consistently I'm preferring the SS iDSD's amplifier section over the use of tubes. The presentation of the iDSD is similar, but there seems to be slightly sharper and clearer definition, and for me the HD800S is perfect as it is without any extra smoothing. Swapping rapidly between the two was easy too – as I was simply using the DAC section of the iDSD for both, so once volume matched it was simply a matter of hot-swapping.


My next test as a desktop was to utilise FiiO's K5 – first with the E17K (real budget set-up), and then with the X7. The K5 + E17K was a revelation on how good the HD800S could sound on a relatively modest set-up, and is more a testament to the versatility of the HD800S. This time when switching between LD MKIV (or Enterprise) and the K5 + E17K there was very little noticeable difference. Both sounded very good, very clean, and slightly on the smooth side. However neither matched up to the overall definition and tonality of the iDSD. Keeping the K5 and switching to X7, and this time a little more depth and overall definition was present, but again fast switching with the OTLs yielded little significant advantage.


The tough part was trying to compare the iDSD to the K5 + E17k or X7 – it just took too much time to swap out the sources. But the one thing I kept coming back to was the overall tonality of the iDSD by itself. For my tastes it is a perfect pairing with the HD800S and one that I feel no need to look at upgrading. This suits me perfectly as it it the ultimate small form factor for a desk set-up which keeps clutter to a minimum. So my subjective desktop rankings from the gear tested – ranked from top to bottom would look like this:

• iDSD + HD800S
• iDSD + LD MKIV/VE Enterprise + HD800S
• K5+X7 (with or without the OTLs) + HD800S
• K5+E17K (with or without the OTLs) + HD800S

Edit 28 Sept - My own pair of HD800S arrived, and I spent a couple of hours with them and the Enterprise. If anyone wants an idea of how revealing the HD800S are, I finally noticed a low level bit of noise with the Enterprise and no music playing. Basically the amp is picking up some USB noise from the mouse. Spent the next 2 hours trouble shooting - including changing cables. Suddenly had a brainwave and removed the iPurifier 2 from the iDSD (I won one in a competition, and thought - why not?). Not sure if the iPurifier2 is faulty - but suddenly the distortion was gone, and everything is back to crystal clear again. Retried some of my comparisons, and now I'd put the HD800S + iDSD, and HD800 + iDSD + Enterprise on the same plane. They are both excellent - slight variations in tone - but both incredibly transparent. And in this scenario, the Enterprise pulls ahead of the Little Dot as well.

New order of preference (desktop)

• iDSD + HD800S = iDSD + VE Enterprise + HD800S
• iDSD + LD MKIV + HD800S
• K5+X7 (with or without the OTLs) + HD800S
• K5+E17K (with or without the OTLs) + HD800S

Portable Devices
You're kidding right Brooko? No actually – the HD800S is a pretty benign load if the player has a half decent amplification system, and one of the things I love doing is trying it with a reasonable portable source.

First up was the FiiO X7 – with the AM3 module – but running single ended. I realise the AM2A and AM5 modules are more powerful – but I just like the linearity of the AM3 module better and think it pairs far better with the HD800S. At a volume level of 70-75/120 on low gain I am getting my target SPL of 60-70 db A-weighted, with peaks around 75 dB. The sound is incredibly well layered and dynamic, and this set-up would be perfect for taking the HD800S to another room or outside on the deck during a quiet sunny day.


Next was the Luxury & Precision L5 Pro. Approximately 40/60 on high gain (it still has another gain level to go) nets around the same volume as the X7 + AM3, and again this presentation is eminently listen-able and thoroughly enjoyable. Compared to the X7, the LP5 Pro is perhaps a little smoother overall, and maybe also a little more laid back. The dynamics and depth of presentation are alls till there – but for my tastes, it is just a little behind the X7 in terms of overall fidelity with the HD800S.

Lastly was the TOTL Luxury & Precision LP5. And it is with this DAP that the HD800S absolutely shines. I'd taken this DAP to a meet previously – and had a couple of HD800 owners tell me that it rivalled their home desktops systems. Unfortunately the pot doesn't have markings but I'd estimate I'm only at ¼ of the overall pot for similar volume levels. And I have to agree with the others who tried the original HD800 with the LP5 – it truly is fantastic sound, and when I eventually get my HD800S, this is the combo which I am likely to use often when I'm not at my desktop. The sense of depth and immersion is every bit as good as the iDSD – phenomenal performance for a transportable set-up.

OTHER USES
This is getting a little long, so I'll try and be a little more concise with this.

Gaming
Truly excellent – especially with FPS. The first thing you notice is the clarity, the second is the completely 3D imaging and positional awareness. But its the third factor which really drew me n, and that is the overall tonality. The bottom end of the HD800S is truly magnificent and very much immersive – but it does this without masking detail of what is happening around you. I also used the HD800S with Darin Fong's Out Of Your Head low latency gaming preset, and that simply further added to the overall sense of space. Thoroughly recommended, although it is clearly a expensive option for a TOTL gaming experience.

Movies
Again I combined the HD800S with the iDSD and Darin's OOYH and settled down to watch “Inception”. I love this move both for it's score, and also some of the dramatic and dynamic audio moments in the movie. With this set-up, the movie was totally immersive, and TBH I'd prefer utilising the HD800 than using our modest Sony speaker set-up at home. Again – recommended.

COMPARISONS
For this section I only really wanted to compare the HD800S to my two favourite open headphones – the legendary HD600 and the Beyerdynamic T1 (original).

All of these comparisons are very subjective – and influenced by my own preference, physiology and bias. Comparison was this time with the iDSD and also the LP5. All comparisons were volume matched with a 1 kHz tone and using a proper SPL meter first.

HD800S vs T1

These two TOTL dynamic headphones both have impeccable build and overall comfort, although for subjective looks, I'd probably take the sleek black look of the HD800S if I had the choice. In terms of sonic ability, the T1 is slightly brighter and peakier overall – with the HD800S having no less clarity and resolution, but a more balanced signature overall. And that is where the HD800S strength lies for me – brilliance in overall resolution yet without the overall brightness which now seems a little unnatural with the T1. Bass is actually very similar, although the HD800S bass seems to have a little more body, and a litle more extension. In terms of imaging, they both perform incredibly well with very precise positional cues – but the HD800 has a slightly larger sound-stage in terms of width, depth and height. The other big difference comes down to price. If we look at the 2^nd hand market, you can pick up a T1 nowadays for around $550-$600 USD, and an equivalent HD800S would be just under double that price.

So is the added fidelity and tonality worth the outlay? I guess that is a personal question for each of us. If you don't mind a brighter signature, and this is your first foray into the upper tiers of dynamic headphones, the T1 represents incredible value for money. I still very much enjoy what it brings to the table. But the HD800s for me brings those last illusive traits to the table – true tonality and timbre. And for me personally it does represent end-game, so it is with regret that the T1 will move on.

HD800S vs HD600

Hardly a fair fight I'd imagine a lot of people are thinking – yet I think in the retuned HD800S, Sennheiser has actually created a sonic signature very much akin to the HD600's overall tone, timbre and texture. If we look first at the two in terms of build and comfort, the HD800S is clearly the better built headphone, but you really can't fault the HD600 for its modularity, and also for its ability to withstand the test of time. Mine is probably more than 10 years old, and apart from changes in pads, headband padding, and one failed driver, it is still in incredible condition. For comfort overall, I rank a well broken in HD600 and HD800 pretty similar. The secret to both is relaxing the clamp. The HD600 is definitely lighter, and this may appeal to some.

In terms of tonality the two are very similar with the HD800S having more bass extension, better bass definition, and better impression of overall speed and precision. The mid-ranges are similar, yet also different – with both having similar tonality, but the HD600 appearing just a little hazy in comparison. And the mid-range is where the definition and clarity of the HD800S again shows its strengths – but it is the HD600 which appears brighter, and also appears slightly less natural (in the vocal presence area), and its the first time I think I've ever said that about the HD600. The HD800S just sounds more life-like. In terms of imaging and sound-stage, the HD800S again is more expansive, clearer, and more defined – but these are not massive differences. Finally again we look at price, and this time the difference is a gulf with the HD800S being 4-5 times the price of an HD600 on the used market.

So again, is it worth the outlay? Well considering I said last time (after my 3^rd purchase of the HD600) that this time they were keepers, I now find myself eating my words. Someone else will end up getting a well loved but in great condition HD600, and I will move onto the HD800S. And although I will look back fondly on the HD600, and I still truly believe it is one of the greatest dynamic headphones Sennheiser has released, ultimately the HD800S moves me more. For my tastes it does everything perfectly.

SENNHEISER HD800S - SUMMARY

And here I am at the end of my time with the HD800S, and it hasn't been a “wow” experience over the last week, but instead a growing realisation that for my tastes, this headphone does very little (if anything) wrong, and everything (for my tastes) right.

From design and build through to fit and finish, the HD800S is definitely TOTL and one of the best dynamic circum-aural open headphones you can buy today.

Whilst we all know the previous strengths of imaging and sound-stage from the original HD800, the thing Sennheiser has addressed with this updated version centers more on tonality and balance. With added extension (particularly into the bass, a touch more warmth, and a reduction in the peak at 6 kHz, Sennheiser has addressed some of the perceived shortcomings of the earlier model. This feels like more of a music lovers headphone as a result, and for me personally seems more like a vastly improved HD600. Overall the balance, tonality and timbre are simply sublime, and all I could personally want in a headphone.

One of the best things about the HD800S is that its not particularly picky (IMO) regarding source or amplification. It sounds really good out of practically everything I've tried, and sublime out of the iDSD and also the LP5 – which really was a clincher. So for me, my time with tube amps is essentially over for now. There is a certain romanticism with tubes which I will miss, although I’m going to love having a little more space on my desk again.

I mentioned in my previous comparison of the T1 and HD600 vs the original HD800 that it was probably a headphone that I'd end up getting long term – but that it wasn't a priority issue at the time. The HD800S moved me in a way that the HD800 original failed to do – and as a result this afternoon I managed to find a nearly new HD800S locally, and have purchased it (waiting shipping advice now). All that is left for me to do now is sell my T1, HD600 and AKG K553 + likely the Little Dot, and whatever else I need to sell in order to get back on-side with my lovely wife again.

Its very hard to look at assigning a ranking for this review because it is a large sum of money to outlay, and because comparatively there are cheaper options out there which deliver a lot of what the HD800S represents. But value will be relative to individual perception, and as I stated in my title – these are end-game for me (essentially they tick every one of my boxes). I've heard many fine headphones in my time on Head-Fi – including the LCD2 and 3, top line Grados, and many others – particularly at our local meet. For me nothing has captured me like the HD800S has. It is very hard to find real faults with it. Yes it is expensive, but to me it is utterly worth the outlay.

I'd like to end by thanking Sennheiser for the chance to review the HD800S, and also Matt for making it possible.

INTRODUCTION

Most of you will know my review style by now – and typically it has always been listen and measure, and then try to reconcile the two. I'm also a strong proponent of blind testing (where possible), volume matching properly when making comparisons, and trying to look as objectively as possible at a product when evaluating.

But very occasionally some of the methodology goes out the window – usually when I find something I can't measure (don't have the gear), and especially so when I find something I really like and can't explain why properly. So this is going to be one of those reviews – pretty much completely subjective. It'll be honest, and I'll try to dial back any superlatives or hype – as the two are things I try to stay away from.

Anyone who frequents Head-Fi will have probably have heard of Venture Electronics by now, and if you don't know the company name, you'll probably know some of their products – especially their ear-buds (Monk, Asura and Zen). I've reviewed all three in the past and came away more than impressed about how good an ear-bud could sound. Last year Lee approached me, and asked me if I'd be interested in reviewing a statement amplifier – showing what their capabilities really are. I agreed and took delivery of the VE Enterprise. There is quite a story which I'll come to in a minute – but lets first get an idea of who VE is.

ABOUT VENTURE ELECTRONICS (VE)

Venture Electronics (or VE) is a 6 year old audio company based in Shenyang, Liaoning in the Peoples Republic of China. I was able to ask Lee a little about the company, and he has been very open and approachable – something I love to see when dealing with a manufacturer. It really shows a lot about a company when they show pride in their own achievements, and are so open about sharing information with their customer base.

VE is relatively small (for now) with less than 10 employees, and had a small product line (Zen, Asura and Monk ear-buds, Duke IEM, Runabout portable amp). Over the last couple of years, they've branched out with cables and interconnects, and 3 statements amps – designed to show audio lovers what the company really can do. These include the VE Amp One (transistor), VE Amp Three (electrostatic), and the Enterprise Tube amp which I'm reviewing today.

I asked Lee about their core business, and he said they were primarily an internet based company. Their goal long term is “to have the best budget and hi-end gear”, and it was refreshing to see some frank and honest comments in reply to some of my inquiries. I’m going to quote one of Lee’s replies, because it really does add to my impression of VE as a company.

“We see our fans, not just as moving wallets. I see our budget gear (like the Monk) as a walking ad for our brand, among our online community (people who love earphones), because they mainly they love the ART the earphones can deliver, like gaming, movie, anime and stuff. We believe the Zen is the best ear-bud in the world, and as we can sell the monk for cheap then it might go viral and get more attention to the other products. We believe to be the best Hi-Fi company, we need to have the best of the best gears, not only budget ones. If we only do budget, people will have a false image of us not being serious enough, so the idea is very simple”

And to close, I asked Lee about VE’s mission statement or values statement, and the answer I received made perfect sense – “keeping it real”. As I’ve furthered my correspondence with him – I can reassure anyone reading that this is a value very much in evidence.

BREAKING NEWS

Lee just contacted me to advise that he and KK intend open sourcing the design of the amp - they want to share what they've done with the World. He says probably in a month or two (they are busy with other more pressing things at the moment. Anyway - given how good the Enterprise is, I think this is quite amazing news!

DISCLAIMER

The Enterprise tube amplifier I'm reviewing today is a loaner, and I'll have to return it to Lee. I do not make any financial gain from this review – it is has been written simply as my way of providing feedback both to the Head-Fi community and also VE themselves. I have now had the Enterprise for a year, and I sincerely apologise to Lee for the time taken. The retail price at time of review is USD 849, and can be purchased via Ali Express at VE's online store-front.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)


For the purposes of this review - I used the Enterprise in a number of different configurations (which I'll cover as we progress), and with a number of different headphones. The review has also been written in several different stages over the last 12 months, and this is the culmination of finally bringing things together. Time spent now with the Enterprise is in the 100's of hours.

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

THE DELIVERY
I took some photos of the arrival – but its easier if I just go through the story – as the photos at the time were simple iPhone shots (from memory). Anyway – the courier arrived with a large package securely foam wrapped and also boxed in a pretty sturdy corrugated outer box. The first thing I noticed though was that the box was showing signs of wear, and when I picked it up, there were ominous audible rattling from inside. Uh-oh.

So I got it out – and everything looked fine from the outside. Plugged it in and turned it on – tubes lit up. Check the headphone socket – and no sound. Time to open the sucker up. Undid the top, and …… mess. The standards holding the tube tray were sheared off (it was amazing it was still lighting up), and one of the rear RCA inputs had a broken wire.

I contacted Lee, sent photos of the damage, and waited to see what he said. Anyone who knows Lee will know that under the sometimes gruff exterior, he's a guy with a heart of gold (which he sometimes shows for all to see). He can be fiery, and always passionate. After venting about the guy who packed it, and also the courier companies – he offered to get it returned and repaired (and post would be expensive as the amp is heavy!). I suggested instead that if he sent me replacement parts, I'd have a go at fixing it.

So despite not being the most electronically capable person, I received the parts, successfully repaired the tube tray, and soldered the RCA wire. Ever since, the Enterprise has run without a hitch – except for one very minor issue. When connected to a powered DAC, there can be a very low feedback (hum) – which I can only attribute to damage on delivery. The reason I surmise this is because VE are simply too good not to notice this for delivery, and also because if I use one of my DAPs (battery powered) as source, there is zero hum – just crystal clear, beautiful sound. My K5 with X7ii seems to be a bit of an exception though. Out of the other powered DACs, the hum is barely audible most of the time – but for critical listening for the review, I simply used the battery powered sources I have at my disposal (isolated from my PC's USB).

Why am I relating this? Because it gives you an idea of the service level VE has with there gear. There was never any questions regarding the damage, just concern for getting things right. And for anyone worried about possible damage with a future delivery of an Enterprise – don't be. I know Lee has addressed this particular problem – it shouldn't happen again.

There wont be a packaging section – so lets move on to specifications, build and design.

TECHNICAL SPECIFICATIONS



BUILD


The VE Enterprise is a big amplifier. It's solid, heavy, and looks reassuringly clean and industrial. The prototype I have has a matt black front and rear plate, and steel sides, top and bottom. The steel is 3mm thick, and the whole unit is very well put together.

The front panel has a red “operating” LED at the front, a single 6.3mm headphone jack just right of centre, and the volume potentiometer at the right. The pot has extremely smooth tracking and runs from about 7 o'clock to 5 o'clock – so around 300 degrees of movement.[/SIZE=12px]

Side View	Tube array

The rear panel features two RCA inputs at the left, two RCA pre-outputs next to this, and a standard power socket at the far right (adjacent to this is an on/off switch and fuse).

The top plate is a plain sheet of steel with four cut-outs to house the vacuum tubes. Both sides are fully closed, as is the underside. The feet are circular with rubber rings for surface protection and damping.[/SIZE=12px]

Rear panel	RCA inputs and outputs

Internally, the Enterprise has (looking from the rear) two power transformers on the right hand side, and the tube tray and circuit board on the left. The circuit board and tube tray are mounted on metal standards. The topology for the amplifier is a WCF+CF arrangement. I'm afraid it doesn't mean much to me – but I have been able to ascertain that it is a full tube output. The WCF (white cathode follower) refers to the main output topology, and the CF (cathode follower) is an impedance conversion stage which transforms a high impedance circuit into a lower impedance signal.[/SIZE=12px]

Internal view from rear	And from side

This makes it less susceptible to interference, and can aid overall tonality (something to do with sine waves, synced oscillations and overtones). I'm afraid most of it was over my head – but I can tell you it sounds pretty amazingly good – whatever magic Lee and KK have managed to design.

The amp is powered by three Electro Harmonix 12AU7/ECC82 electron tubes, and one Electro Harmonix 12AT7 electron tube.[/SIZE=12px]

Tube tray and board	Top plate with tubes

Although I had a few issues with the initial delivery, in the time since the Enterprise has been rock solid, and never missed a beat.

POWER AND HEAT

The Enterprise will (understandably) heat up over time, but what surprised me was that despite the 4 tubes, it never got excessively hot. It gets slightly warm, but my LD MKIV was the warmer of the two amps when running for a few hours. Even after 3-4 hours, I can comfortably rest my hand on the top. The use of the steel and overall design to dissipate heat is pretty good.

So what about power? I have to confess when I first looked at the specs, I baulked and even had to ask Lee if he hadn't made a typo. But of course what I was forgetting was that this is a full tube output, and the key here is voltage and not current. Probably the easiest way of relating how the output translates in terms of real power is to use the HD800S and and SPL meter to give some real values.[/SIZE=12px]

Enterprise and HD600	Enterprise and T1

At the ear, with well recorded music (I was listening to a little Genesis at the time), and my HD800S, 8 o'clock was giving me 65dB (a comfortable listening level for me), 9 o'clock was in the 70-75 dB range, and 10-11 o'clock was hitting 90+ dB. Switching to Amber Rubarth's “Sessions from the 17th Ward” and around 9 o'clock on the pot was giving me my normal listening level. In all cases with the HD800S, I wouldn't be able to go over 12 o'clock on the pot (or even get near it), it would be just too loud. So the Enterprise is a power house for voltage hungry cans. The great thing about the pot was that there was plenty of room for fine tuning – it never felt restricted. I also couldn't detect channel imbalance – even at low listening levels. This pot is amazingly well implemented

So what about something a little easier to drive – maybe something which might not respond so well to voltage. For this I used the more efficient 32ohm 98 dB SPL Alessandro MS Pro. There wasn't a great deal of play on the plot (about 8 o'clock with modern music) was at a normal listening level – but the MS Pro sounded genuinely pleasant. The good thing about using the X7ii or any of the other FiiO DAPs as source for the Enterprise was that you can set the line-out to variable, and give yourself more play on the pot, and this worked well. Would I use the MS Pro with the Enterprise regularly? No – not really. The Enterprise doesn't manage to capture the same gains that it does with the HD800S – and the MS Pro (for me anyway) is there as an open portable.

I've also tried the Enterprise with my Beyer T1 and HD600S, and both cans shone with the Enterprise. It's simply a fantastic amp for higher impedance cans.

Which brings us to sound – how good is the Enterprise?

SOUND QUALITY

The following is what I hear from the VE Enterprise. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my FiiO X7ii as source and the HD800S. There was no DSP engaged.

For the record – on most tracks, the volume level was calibrated to around 65-75 dB, so no more than 9 o'clock on the pot. Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.

I choose not to comment on bass, mids, treble, and most definitely not sound-stage – simply because IMO when we are talking about an amp – they shouldn’t be discussed. An amp's job is to amplify with as low distortion as possible, and output as linear signal as possible. If it is doing its job properly, there is no effect on bass, mids, or treble. And IME an amp does not affect perceived sound-stage (unless there is DSP or cross-feed in play) – that is solely the realm of the transducers and the actual recording.

I can however comment on clarity, tonality, and on any perceived strengths or weaknesses, and to do this I simply used the K5 which is measurably one of the most linear (neutral) amps I have (capable of driving the HD00S) and then rapid swapped between the two. I volume matched using an SPL meter and calibrated test tones. Both amps used my X7ii as DAC.

Tonality
The first thing I noticed slipping backwards and forwards between the two was that the two sounded very, very similar. I was expecting the Enterprise to sound warmer, and it simply doesn't. To me that is a good thing. Lee and KK were aiming to build a very linear tube amp, and they have achieved that. Over time though, what I did notice was that despite the very similar tonality, there is an ever so slight softening of consonants in female vocals (Amanda Marshall's “Let It Rain” is a sibilant recording, and there wasn't the same harshness with the Enterprise+HD800S than the K5+HD800S). I'm guessing that this is simply the 2nd order harmonic distortion from the tubes, and although you could argue its not really Hi-Fi (adding distortion), I don't care – it simply sounds better to me with the Enterprise. This trait was repeated often (and especially in that upper mid-range / lower treble region) where vocals particularly just sounded a little more organic, more realistic – while with the K5 there was the faintest sheen. I have to stress though, the differences are very small, and the K5 is still a brilliant amp, especially considering its relative price range.

Clarity
Everything is portrayed that is in the recording, and I mean everything. This is not a syrupy, overly warm tube amp. I was particularly impressed by the resolution of micro details in the likes of Pink Floyd's “Money”, or the ability to hear Lofgren's bridge finger work on “Keith Don't Go”. The Enterprise has no problems keeping up with it's solid state counterparts, and resolution is definitely not an issue.

Strengths

• Neutrality
• Tonality
• Resolution
• Natural portrayal – particularly of vocals

Weaknesses

• Sonically I can't find any – and the only weakness I really see with the Enterprise is that unfortunately its a big amp – and for me personally the size causes issue with my desktop set-up.

COMPARISON WITH OTHER AMPS

For this series of tests, I'm simply going to compare the Enterprise with my LD MKIV (now sold), Audio GD NFB-12, and iDSD. I'm going to keep this section relatively short because it is very subjective, and a lot of this was taken from notes over the past year.

Enterprise vs NFB-12
The NFB-12 was my first real desktop DAC/amp, and although my daughter now monopolises it in her own PC set-up, I still to this day find its rich tonality and copious power to be brilliant. As far as form factor goes, the NFB-12 is roughly quarter the size of the Enterprise and does include a pretty good DAC (dual Wolfson). The NFB-12 has easily enough power for cans up to 600 ohm, and equally was able to drive my passive speakers extremely well. But in direct comparison, the solid state NFB-12 is actually warmer than the full tube Enterprise, and I actually find the Enterprise overall a cleaner and clearer listening experience. Both are excellent amps – well built, and with very good tonality. But for my tastes, the Enterprise is the more resolving of the two and I prefer its overall sonic signature – especially with the HD800S.

Enterprise and HD800S	LD MKIV and HD800S

Enterprise vs Little Dot MKIV
The MKIV was my first desktop tube amp. It now lives in Australia with its new owner and if I hadn't had to sell it (to help pay for the HD800S), I'd still own and use it. Its another full tube (OTL) and much like the Enterprise, I found it to be quite linear, with enough tube warmth (and 2nd order harmonics) to make any higher impedance headphone shine. It didn't have quite the overall linearity in comparison with the Enterprise – being just a little on the warm side, but its advantage was in price, tube rolling options, and the smaller footprint. Overall I preferred the tonality off the Enterprise in direct comparison, but could easily live with both. I preferred the T1 with the LD, but the HD800S with the Enterprise.

Enterprise vs iFi iDSD
The iDSD is my current desktop amp. It has been the one constant in my set-up for the last 18 months, and to be honest I'm not intending changing it any time soon. It does have a DAC section as well so please take this comparison with a grain of salt. In terms of power output, both amps have the ability to power any and all of my headphones beyond listenable levels. The difference is that the iDSD will easily handle very low impedance loads with it's switchable amp modes, where the Enterprise is more limited. Both are very linear and very resolving, but once again the slightly warmer of the two is iDSD. I can lose my self in the music with both amps, and especially with the HD800S. In terms of overall sonics, I would hand it marginally to the Enterprise, because I've had more of those moments with it in the last 12 months where I've totally lost myself in the moment, and completely forgotten what I was doing. This may have contributed to the length of time I've taken with this review. The only other thing I can comment on is footprint. The iDSD is tiny – its the perfect desktop companion – so for my current needs its why I've stuck with it. The Enterprise is the amp that I will gravitate to when the kids eventually leave home, and I have the space for my own “den”. Two great amps – two different uses.

VE ENTERPRISE – SUMMARY

Firstly I do want to apologise to Lee for taking so long with this. He has been exceedingly patient, and I guess I've put this off for a while simply because its a difficult amp to review. I tend to like to shy away from the completely subjective, and yet with this review, that is all I could cover.

The Enterprise is an all tube output high voltage amplifier which has exceptional build quality, and an industrial (aesthetically) but very clean design. Sonically it has a very clean, linear tonality, with an extremely pleasing tonality which adds to the music rather than masking it.

Its a reasonably large and heavy amp, but would be perfect for a large shelf or rack system. Its one of the few pieces of audio gear I have absolutely fallen in love with but (at this time) won't be buying. My only issue (and it is a personal one) is the size. I have two teenagers, a house that feels too small at the best of times, and no dedicated listening area other than at my PC. If I could miniaturise this without affecting its sonic signature, I'd buy it tomorrow. Sadly for now I will have to bid it adieu, and send it back to Lee. But it is likely to be in my future at some stage when I have both more room and more time.

Lee and KK wanted to build a statement amp – something which showcased their design skills. They achieved it and more. Its the best tube amp I've heard (and that includes some of the Woo amps - admittedly under Meet conditions). It goes back in the box next week, and I will be counting days until I get the chance to reacquaint myself again. 5 star – and eventual end game for me.

Below are some of the other photos – click for larger images:

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INTRODUCTION

 
I'd watched the growth of MEE Audio over the years, first as Meelectronics, and then more recently as MEE Audio. In that time they've released a lot of “budget” products , and I've read the various reviews with passing interest. But it wasn't until MEE released the P1 Pinnacle (their flagship), and I read some of the reviews that they were getting that I began to take real interest in the company. My friend Alex (Twister6) has had a long term relationship with MEE, and it was during one of our many PMs that he told me I needed to try the P1. But Alex went further, and actually got in touch with Mike to suggest that he contact me. Mike duly did so and I've had the MEE P1 now since April.
 
ABOUT MEE AUDIO
I actually found it pretty hard to get a lot of information online about Meelectronics or MEE Audio. They were founded in 2005 as Meelectronics, and in 2009 decided to focus on headphones, earphones and accessories – both wired and wireless. As their legacy name no longer described the direction of the company, in 2015 it was shortened to simply MEE Audio – or Music Enjoyment for Everyone. MEE Audio are based in California, and already have an extensive product range including both full sized and in-ear audio products, both wired and wireless. Their Company Overview section gives an insight into how they see themselves:
 
MEE is home to a group of audio enthusiasts who enjoy hearing music at its absolute best. We spread our passion by crafting innovative high-performance audio gear in order to let music inspire everyone as it inspires us. Where others see a pair of headphones, we see the final step in experiencing music as it was meant to be. This is why we obsess over every detail of how our products look, feel, and sound, bringing you the ultimate listening experience.
 
Today I'll be looking at the Pinnacle P1 – their flagship IEM. MEE Audio can be found on the web (http://www.meeaudio.com/pinnacle) or on facebook (https://www.facebook.com/MEEaudio/)
 
DISCLAIMER
The MEE Pinnacle P1 that I’m reviewing today was provided to me gratis as a review sample. I have made it clear to Mike that I still regard any product they send me as their sole property and available for return any time at their request. Mike told me to keep them though (he wouldn't want them back) – so they are a freely given sample for the purpose of reviewing.
 
I do not make any financial gain from this review – it is has been written simply as my way of providing feedback both to the Head-Fi community and also MEE themselves.
 
I have now had the MEE P1 since April 2016. They are currently available from Amazon for USD 180.00 (https://www.amazon.com/MEE-audio-Audiophile-Headphones-Detachable/dp/B01A60I4P6)
 
PREAMBLE - 'ABOUT ME'.
Over the last few months – I’ve used the MEE P1 from a variety of sources, but for this review, I’ve mainly used it with my FiiO X3ii and E17K, FiiO X7, and L&P L3.
 
This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.
 

THE REVIEW

 
PACKAGING AND ACCESSORIES
The MEE Pinnacle P1 arrived in a relatively large 163 x 210 x 66mm retail box. The box has a white, black and grey outer sleeve which has a photograph of the P1 on the front, list of specs and accessories on the side, and description of the main features of build and design on the rear.
 
 
Removing the sleeve reveals a black matt box with the two sides pivoting to reveal the actual contents. The whole experience screams “flagship” to me, and I had to keep reminding myself that this was a sub $200 ear phone I was reviewing.
 
Inside the box safely nestled in a foam insert are the P1 earpieces. In the center is the P1 carry case, and in two secondary boxes sits the cables and tip range. Below the foam insert there is also a 3.5mm to 6.3mm adaptor.
 
 
Full list of accessories:
 

1. The MEE Pinnacle P1 earphones
2. Magnetically sealed leather carry case
3. 2 pairs of dual flange and 1 pair triple flange silicone ear tips
4. 3 pairs of single flange silicone ear tips (S,M,L)
5. 3 pairs of genuine comply foam tips (S,M,L)
6. 3.5 to 6.3mm adaptor
7. shirt clip
8. One four conductor braided cable with in-line mic and remote
9. One four conductor silver plater copper braided cable
10. Comprehensive product manual

Considering the value price of the MEE Pinnacle P1 – the accessory package is more than simply good value IMO. The including of two quality cables and also the quality of the carry case represents superb overall value.
 
 
The carry case is a rectangular 80 x 80 x 30 mm leather case with a lift up flap and magnetic closing tab. The serial number is printed on a stainless badge on the front. The inside is lined with a soft velvet like inner material. While the case isn't 100% rigid, it offers more than enough general protection, and is amply sized to house the MEE P1 and cable (which can be a little bulky).
 
TECHNICAL SPECIFICATIONS
(From MEE Audio)
 
 
FREQUENCY GRAPH
The graphs below are generated using the Vibro Veritas coupler and ARTA software. I must stress that they aren’t calibrated to IEC measurement standards, but the raw data I’m getting has been very consistent, and is actually not too far away from the raw data measured by other systems except for above 4-5 kHz where it shows significantly lower than measurements performed on a properly calibrated rig. So when reading the graphs, don’t take them as gospel – or at least remember that the area above 4-5 kHz will likely be significantly higher. It is my aim to get this system calibrated at some stage in the future.
 
I measured both channels, and driver matching is extremely good – well done MEE.
 

 
What I’m hearing:

1. Natural bass response – slight mid-bass hump, and normal dynamic slow roll-off at sub-bass
2. Some distance on the lower mids – indicating a slight recession in the 1-2 kHz area
3. Elevation in the upper mid-range providing a little sweetness to female vocals (harmonics)
4. Smooth lower treble (maybe a little hint of recession / roll-off) which remains quite detailed but also very easy to listen to and non fatiguing
5. Overall it is a slightly V shaped signature with some slight warmth in the mid-bass, clean and clear vocals, and just the tiniest hint of brightness in the upper mid-range.
    

BUILD QUALITY / DESIGN
The Shell
The MEE Pinnacle P1 are a great example of how a stellar build does not need to be expensive. The shells are a 3 piece affair – 2 halves are polished zinc alloy, and then there is a stainless nozzle. And for an ergonomically designed shell, these are pretty small. Just 18mm in length, and about the same in height with a total depth of about 15mm (the nozzle extends a further 7mm). The shell itself is jelly bean shaped, and because it is so small, can be worn up or down, simply by swapping the cable sides.
 
 
The internal surface is beautifully polished and the edges are wonderfully rounded – which makes the fit very comfortable. There is a single port on each internal side – for venting the driver. The nozzle is approximately 5mm in diameter, with a generous lip, and although the nozzle length is relatively short (promoting a more shallow fit), the way the body is shaped allows you to push the nozzle end into the ear a little more, thereby promoting a better seal and deeper insertion depth. The nozzle is also slightly angled forward which also helps with overall fit. Its a clever design.
 
The outer body is the same polished zinc, but this time with a few subtle angles and the MEE logo printed on both earpieces. The reason MEE used the zinc alloy is because it is more rigid and has better impact resistance than aluminium, but is a lot lighter than stainless steel.
 
 
Each earpiece uses a standard MMCX connector, and I've had no problems swapping in cables from ALO or FiiO as alternatives. The connection points do rotate but (so far) seem to be reasonably stable (I'm always just a little wary about the longevity of MMCX connectors).
 
Internals
MEE used their own proprietary 10mm moving coil dynamic driver – which has a reasonably high 50 ohm impedance. The reason for the higher impedance was to allow more controlled driver movement - especially at the extremes of the frequency range. In combination with the driver choice, MEE also utilises what they term an “acoustic diffuser” - which uses a series of micro chambers and baffles to control the high frequency sound waves. This is supposed to allow the higher frequencies to resonate before they reach the ear, which leads to detail and clarity, but without the cost of brittleness or harshness. This tech is patented by MEE, and the overall signature (to me anyway) is detailed but smooth – so it does seem to be working.
 
Cables
The cable tech for both included cables (OFC with controls and SPC without) is 4 separate conductors. Twisted pairs to each ear pieces, and combined to a twisted quad below the Y split. The connectors have a rigid rubberised plastic sheathing with L/R embossed appropriately. There is approximately 47 cm from the ear-piece to the Y-split, which is reasonably long (for me hangs just below my sternum). There is not a lot of strain relief at the connectors, and the rest of the cable has a measure of relief (semi rigid rubber at both ends of the Y-split and also the jack). The braid is nice and tight, and when worn over ear the weight of the cable is enough to hold it in place. There is a cinch which is very effective on the premium cable – a little less so on the the remote cable (does not cinch tight).
 
 
The remote cable with mic has a single push button control which works pretty well with my iPhone 5S, allowing play/pause (one push), next track (two pushes), and previous track (three pushes). A single long push also activates Siri which is really handy. I also tried them with my Wife's Galaxy, and everything worked perfectly except for the previous track (3 pushes) – it simply advanced the track and either paused or played (depending what was active). I also tested the MEE Pinnacle P1 with taking a call (with my wife), and it was reasonably clear at both ends. There was the usual hollow sound on my end due to the isolation and slight bone conduction.
 
The Jack is a right angled gold plated 3.5mm which is very smart-phone case friendly and has good strain relief. Both cables are superbly well built, and exhibit pretty low microphonics when worn over ear.
 
FIT / COMFORT / ISOLATION
I have one ear canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that usually single silicon flanges don't fit overly well. I initially tried the large silicone tips included, and they were surprisingly good. I did have some vacuum issues though (too much of a seal). I had more success with Ostry tuning tips, and the nozzle lip easily also allowed use of Spin-fits, Sony Hybrids, Sony Isolation tips (or Trinity Kombis), and both Crystal foams or Comply foams. In the end I used Crystal foams as they gave me the best combo of consistent fit, consistent seal, and no vacuum issues.
 
 
Isolation is better than average for a dynamic driver (YMMV depending on tips you use), and I've used these in public transport with pretty good success. Comfort for me is absolutely excellent. The MEE Pinnacle P1 are nicely rounded internally, and there are no sharp protruding edges, so after a while they quite literally disappear for me. They sit inside my outer ear, so it is easy to lie on my side with them, and I have no issues sleeping with them intact.
 
ERRATA (BURN IN / CABLE IMPROVEMENTS)
I noticed that when these were first released, there were some comments regarding improvement with burn in, and also with changing the cable. Being the stubborn objectivist, this gave me an ideal opportunity to measure both claims.
 
Burn-in
This was a simple one. Record the frequency response OOTB with my usual measuring equipment, and then take the same measurements 3 months later (after 100 + hours use). The graph is shown below (right channel). There will be some minor variations due to seating on the coupler – but as you can see, any changes are extremely tiny and will be more to do with seating on the measuring equipment. And likewise, you'll get more change from differing insertion depths in your own ears, or use of different tips, than any perceived effects from burn in. So when someone suggests the MEE P1 need burn in – simply smile politely and ignore them
 

 
Cable Changes
I suspected that MEEs custom dynamic driver would be pretty stable – especially as far as impedance goes. While I couldn't measure this, I could measure the effect of different cables to see what if any changes there would be. So for this exercise I measured the included OFC and SPC cables, the FiiO RC-SE1B cable (with a balanced to SE adaptor), the ALO Tinsel, and also an OFC Trinity cable. As you can see from the graph below, there were very slight changes in actual volume (which indicates slight changes in impedance of the cables). But when volume matched, the cables all show the same frequency response. So again – if anyone indicates a more expensive cable as giving better sound-stage, vibrancy, bass/mids/treble etc – simply smile, ignore them, and adjust the volume. It should net the same results.
 
 
 
SOUND QUALITY
The following is what I hear from the MEE Pinnacle P1. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my X3ii and E17K.

Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.
 
Thoughts on General Signature
As I outlined above in my comments in the frequency section, the MEE Pinnacle P1 has a mild V or U shaped signature with the main frequency boosts in the mid-bass, and also in the upper mid-range. As such it tends to sound (for me anyway) a little distant through the mid-range, but with a warmish bottom end, and also some sweetness particularly with female vocalists. The comparative dip in the vocal range gives a sense of space or distance, and the relative dip in lower treble ensures there is no excessive sibilance. Overall the MEE P1 is quite natural sounding to me – with a hint of warmth and smoothness.
 
Overall Detail / Clarity
Tracks used: Gaucho, Sultans of Swing, Elderly Woman Behind the Counter in a Small Town
 

1. Good sense of overall tonal balance. Bass is not obtrusive
2. Good detail retrieval, high level details are there but not overly highlighted
3. Cymbals have reasonable presence (perhaps slightly muted) but good sense of decay
4. Guitar is very good with just the right amount of fundamentals and nice edge to notes
5. Resolution is good but overall the upper end is smooth

 
Sound-stage & Imaging (+ Sibilance)
Tracks used: Tundra, Dante’s Prayer, Let it Rain
 

1. Spacious sound which gives impression of being slightly projected out of head
2. Good sense of width and depth. This could be the added sense of note decay at work.
3. Imaging is very precise and overall separation of instruments is clean
4. Immersion is excellent (applause section of Dante's Prayer) with impression that crowd is right around you – width is slightly stronger than depth
5. Some sibilance is revealed in “Let It Rain” - but not overly magnified. It is present in the track anyway, and the MEE P1 does a reasonable job of softening or masking it. The overall holographic nature of the track “Let it Rain” is very well portrayed though – really enjoyable.

 
Bass Quality and Quantity
Tracks used: Bleeding Muddy Water, Royals
 

1. Mid-bass has good impact without going into excess
2. Sub-bass slam is just a little flat and not really boomy at all. No signs of bleed into the mid-range of either sub or mid-bass.
3. Good projection of bass timbre and texture (Mark's vocals in “Muddy Waters”). Mark's vocals have great overall presentation, and I this present well (the dark and broody nature of this blues track) on the MEE P1.
4. Enough sub-bass for rumble to be audible, but slightly subdued (“Royals”)
5. Again good separation between mid-bass thump and vocals (“Royals”). Ella's vocals are very clear and slightly euphonic.

 
Female Vocals
Tracks used : Aventine, Strong, For You, Human, The Bad In Each Other, Howl, Safer, Light as a Feather, Don’t Wake me Up, Ship To Wreck.
 

1. Very good transition from lower-mids to upper-mids (although I would prefer the rise into the upper mids to occur slightly earlier). Aventine was good with sweet vocal presentation and this is often a hard track to get right.
2. Really nice contrast between vocals and lower pitch of instruments like cello (Aventine).
3. No signs of stridency, and presented all of my female vocalists extremely well. MEE P1 strikes a good balance between a natural overall sound, with just a touch of upper mid-range colouration.
4. Very good contrast with rock tracks (Feist, FaTM) with a bit of bass slam.
5. Particularly good with slower, more soulful vocals (Cilmi - “Safer”)

 
Male Vocals
Track used: Away From the Sun, Art for Art’s Sake, Broken Wings, Hotel California, Keith Don’t Go, Elderly Woman Behind the Counter in a Small Town.
 

1. Good dynamic slam from the bass
2. Male vocals have plenty of body and good timbre/texture – and just the perception of a little distance
3. Seems to be very good with all forms of Rock – and extremely good with acoustic guitar
4. Portrayed Vedder (Pearl Jam) well. Excellent texture and tonality. Good clarity on cymbals – although again not quite as bright as I am used to.

 
Other Genres

1. The MEE P1 was good with Alt Rock (Floyd and Porcupine Tree) with good overall balance. The one thing I personally would prefer is just a little more brightness – but this is personal preference only.
2. Great with both Blues and Jazz and again I'm struck by the overall tonal balance. Again I find the bass practically perfect (very natural sounding), but would prefer just a little more presence up top – but there is still great detail overall. Sax is really smooth (Portico Quartet), and I'm loving the contrast with double bass and cymbals.
3. Really good with both Hip-hop and Electronic, and very enjoyable with trance (bass is not visceral but it doesn't need to be IMO). Some may prefer more bass impact (particularly sub-bass) with these genres, but to me it doesn't sound the slightest thin or anaemic. Lighter electronic (the Flashbulb) was incredibly good.
4. Pop was well presented – Adele live at the Albert Hall was very enjoyable and the smoothness even helped a little. Likewise the MEE P1 seems to present Indie brilliantly. The smooth top end seems to really suit some of the hotter recorded Indie artists I like – just toning down some of the recordings while still retaining the overall essence of the recording.
5. Classical was brilliant with the MEE P1 and I really would recommend them for this genre. The sense of space and both width and depth really captivates larger orchestral pieces. Solo cello (Zoe Keating) was fantastic, and again the overall tonality and sense of balance make listening really easy. My one minor critique is that once again I would personally prefer a little more lower treble (air/presence with violins).

 
AMPLIFICATION REQUIREMENTS
The MEE Pinnacle P1 is not an easy load to drive with 50 ohm impedance and 96 dB sensitivity (1 mW at 1 kHz). With normal pop or rock, it is very listenable straight out of my iPhone 5S, but does require about 50% volume to reach my normal listening level (about 65-70 dB). With more dynamic and quietly recorded tracks, it needs a lot more volume, and you could find yourself running out of headroom.

The MEE P1 is one IEM I would definitely recommend considering the use of additional amplification, or at least a DAP with reasonable output power. All of my dedicated DAPs have no problems driving the P1 though – and it sounded especially good with both the FiiOs and L&P range.
 
COMPARISONS
Please note that these are all very subjective, so please take my personal bias into account (see the “about me” section). When testing, I volume matched first at 1 kHz using an SPL meter and test tones. The MEE Pinnacle P1 was unequalised.
 
MEE Pinnacle P1 $180 vs DUNU Titan 5 $139
 
Both are built very well – but the P1 has better overall build quality, fit and isolation. They have similar balance in terms of bass quantity relative to mid-range, and both have an upper mid-range emphasis. The main difference is in terms of lower treble and overall tonality where the Titan5 is a little brighter and cleaner sounding, vs the P1 being warmer and smoother. The Titan5 is obviously quite a bit cheaper, and this will come down to preference.
 
MEE Pinnacle P1 $180 vs Trinity Delta V2 $130
 
Again both are built extremely well – but again the P1 has better overall build quality, fit and isolation. For this test I used the gun-metal filters on the Delta, and the two IEMs actually sound incredibly similar. The difference would be that the Delta V2 has a very slightly brighter upper treble (sounds slightly cleaner), but does not sound quite as spacious overall. The main debate here would be the ergonomic fit of the P1 vs the cheaper price and configurable tunability of the Delta V2. For those with larger / wider ears, I do think the Delta V2 is probably the better value – but for those with smaller ears or canals – the P1 is probably the safer option.
 
MEE Pinnacle P1 $180 vs Trinity Sabre $165
 
This one was really interesting because again the MEE P1 sounds very similar to the Sabre in terms of overall tonality – but with the Sabre sounding brighter overall and more vivid. Both have very good build quality, fit and comfort. You get tunability with the Sabre filters vs the slightly better build quality of the P1. Preference for this one comes down to how you prefer your mid-range.
 
MEE Pinnacle P1 $180 vs Alclair Curve2 $249
 
Moving up the value chain and this time the P1 is up against Alclair's Curve (dual BA). Build quality and overall accessory package goes to the P1 once again – but this time the fit goes to the extremely ergonomic Curve. Sonically both have a smooth and well balanced signature. The difference is mainly in the upper mid-range where the P1 has more emphasis and brings a little more upper end detail. I often EQ my Curve to boost this area, so the added emphasis of the P1 is appreciated.
 
MEE Pinnacle P1 $180 vs DUNU DN2000J $280
 
 
So how does the P1 fare against DUNU's 2000J – a triple hybrid (and one of my favourite IEMs sonically). Overall build materials are evenly matched, as is the accessory range provided. The P1 does have the replaceable cables which are of better quality. As far as fit goes, I would take the P1 in a heart-beat. Much more comfortable than the 2000J's cartridge type shells. Sonically the two IEMs are quite different. The P1 appears reasonably balanced but smooth, whereas the 2000J is reasonably balanced but bright. For my tastes, I find the 2000J's bass is faster and cleaner, and I like the transition from lower to upper mids better. The P1 has the better perception of space (sound-stage). Ultimately I prefer the 2000J's overall sonics and brighter signature, but the P1 does sit comfortably at least at the level of its higher priced counterparts – and this is quite an achievement.

MEE PINNACLE P1 – VALUE & SUMMARY

The MEE Pinnacle P1 was a revelation to me, and the thing I find hardest to reconcile is the overall package you get (accessories, build quality, sound signature etc) for such a relatively small outlay.
 
The MEE Pinnacle P1 is extremely well built with an ergonomic over-ear design. The P1 comes with a very good accessory package including a quality case and two cable choices.
 
Sonically the P1 is slightly V shaped but still relatively balanced and quite natural sounding – but on the smooth side of things. It has very good sense of both width and depth and for my tastes was suitable for most genres of music.
 
If I had not known the price, and was judging purely on sonics and overall package, I would have guessed the Pinnacle P1 to be in the $300-$350 bracket. For it to retail at $180-$200 makes it an easy IEM to recommend, and I would have no issues suggesting it as an option to friends or family. For me, the P1 is easily one of the best IEMs (for sonic performance and overall value) I have tried this year.
 
My thanks once again to Mike at MEE and also Alex (Twister6) for recommending that Mike send me a sample.
 

INTRODUCTION

The search for the holy grail, for our personal end-game earphones. For many it will be a “pipe dream” – there is always something better. For others it can be simply a matter of gaining enough experience to really understand what our own personal triggers are, and then getting as close as possible within an affordable budget. For the lucky ones, what awaits is the chance to forget about the excitement of new gear, and enjoy the much more fulfilling (for me anyway) experience of reconnecting with music you know, and discovering new music you’ve not had the pleasure of hearing. For me, ultimately its always been about the music. The HD800S has been the full sized headphone which delivered my affordable end-game for at home listening. Combined with my iDSD and whatever source I choose to use, it never ceases to envelope me in the music, and forget about the medium I’m listening through. Finding the perfect IEM has been somewhat harder.

One of the issues with finding our “affordable end-game” is that often we are in the mood for subtle change in presentation. It could be that you want more bass to really “jam out”, or you’d like to have the mid-range heightened so you are closer to the vocalist, or the treble softened if the recording is a little hot. The problem is that to satisfy this we either have to be adept at using EQ (its not hard once you learn), have reasonably deep pockets (for multiple earphones), or be prepared to use hardware EQ like bass boost or tone controls. Strangely I don’t have the same wants with my full sized set-up, but I can understand those who like variety with their portables.

There have been many tunable earphones released over the last few years. RHA, RockJaw and then Trinity were all early adopters. Some products were pretty well presented with some very good tuning options. Others unfortunately left me scratching my head a little. Then FLC arrived with their ground breaking FLC8S triple hybrid. Suddenly you could have more control of your IEM – albeit with limitations. RHA and Trinity designs were good but somewhat limited in their application. The FLC8S was really versatile, but changing the filters could be an exercise. And then recently a small Chinese company LZ (Lao Zhong) HiFi Audio appeared with a new tunable hybrid coming in at under $200. I reviewed it recently, and found it to have some extremely good tuning options – but still wasn’t quite there in terms of the overall package (including fit and comfort). This year they released a new model – their “Big Dipper”, and at a price point of US 620 (no tuning options) to $860 (3 switches giving 6 options), this 7 BA IEM certainly was taking things to a different price point, but also a different level. But was it any good? Read on to see my thoughts on this new earphone from LZ.

ABOUT LZ

LZ Hi-Fi Audio is a difficult company to get to know. Check their website – virtually nothing to give insight to the company. Facebook – and its similar. I was extremely lucky, in that I had Head-Fi's own duyu (Frank) who was able to get me a little inside knowledge.

LZ (Lao Zhong) was originally a technician repairing home appliances. But he's always had a love for, and a fascination with, audio – stretching back for more than 20 years. This led to him actually making his own speakers, and then eventually to playing around with IEMs. He bought an expensive pair of big name brand IEMs (and no I won't mention them), but was not impressed with them. So he borrowed some money, started DIYing his own IEMs and listing them on Taobao. Little did he know how popular the LZ-02 would become, and he wasn't expecting the interest outside China that it garnered.

In 2015, LZ products appeared on Head-Fi for the first time, and their customer base has grown as they got more exposure. They're located in Shenzhen China, with the factory located in Dongguan. The company is surprising small – with just 7 staff in their main office. They now have a product range of more than a half dozen items – mainly IEMs, but also including a very reasonably priced after-market cable.

LZ's message is a simple one – he just wants to make affordable IEMs for the public. And I really love the way he states it. He simply says that “we want to deliver our music to the world”. Not our products. Not our sound. Our music. I kind of like that philosophy.

I also thought that this might be interesting for those who are both already fans of LZ HiFi and also potential fans – a series of photos of their operation. I always find it pretty cool to think of the care that goes into truly hand-made products. Special thanks to both LZ for allowing me to display them, and also duyu for sourcing them for me. Click the photos for larger images.

DISCLAIMER

The LZ Big Dipper that I’m reviewing today is the $860 3 switch option, and was provided to me freely as a review sample. LZ HiFi have asked me to keep it for my personal use, or for follow up comparisons, and I thank them for this. I'd also like to thank duyu (Frank) for acting as the go between and facilitating the review sample. I do not make any financial gain from this review – it is has been written simply as my way of providing feedback both to the Head-Fi community and also LZ HiFi.

I have now had the LZ Big Dipper for 3 weeks. The retail price at time of review for the 3 switch option is USD 860 (Penon Audio).

Update - these were so good I ended up buying a pair direct from LZ. They are now one of my most used IEMs. They are outstanding.

PREAMBLE - 'ABOUT ME'. (or a base-line for interpreting my thoughts and bias)


For the purposes of this review - I used the LZ Big Dipper from various sources at my disposal – both straight from the headphone-out socket, and also with further amplification. In the time I have spent with the LZ-BD, I have personally noticed no change to the overall sonic presentation (break-in), although I note that LZ recommends it (I'm not sure why).

This is a purely subjective review - my gear, my ears, and my experience. Please take it all with a grain of salt - especially if it does not match your own experience.

THE REVIEW

PACKAGING AND ACCESSORIES

To cut down on postage, and because I live out in the wop-wops (New Zealand is after all just a group of 3 islands in the South Pacific), LZ simply sent me the small carry case (including some tips) and the IEMs. So I haven't actually had a chance to review the full package – but I have included a couple of photos shamelessly taken from other sources so you know what you can expect. The first four photos aren't mine, and credit instead goes to Penon Audio and our own greg7575.

What you appear to get is an aluminum case which is sort of a miniature version of the one the Beyer T1 headphones used to come in. The case actually looks pretty nice from what I've seen, and befits a flagship. Inside it you get the accessories shown (and listed below). In the courier parcel I received was just the round carry case, selection of tips, and of course the Big Dipper and cable.

The round storage case is moderately large, and realistically won't be used as a carry case – unless in a larger jacket pocket or carry bag. It is 80mm in diameter, 35mm in height, with a lift-off lid, and internally lined with a soft felt like padded material. The case works well and is ideal for safe storage on a desk top, or protection when on the go.

The total accessory package appears to include:

• 3 pairs of black silicone single flange tips
• 3 pairs of black silicone “Sony Hybrid” type
• 1 3.5 to 6.3mm adapter
• 1 round metallic carry case
• LZ instruction manual
• 1 pair of LZ-Big Dipper IEMs
• 1 x 3.5 mm single ended to 2 pin earphone cable
• 1 x large aluminum storage case

I think the only thing I'd personally like to see is maybe an airline adapter (because the isolation on these is excellent), and the inclusion of some foam tips (preferably Comply, but even Crystal would be good). Otherwise, a good start.

TECHNICAL SPECIFICATIONS
(From LZ's packaging / website)

FREQUENCY GRAPH

The graph below is generated using the Vibro Veritas coupler and ARTA software. Ken Ball (ALO/Campfire) graciously provided me with measurement data which I have used to recalibrate my Veritas so that it mimics an IEC 711 measurement standard (Ken uses two separate BK ear simulators, we measured the same set of IEMs, and I built my calibration curve from shared data). I do not claim that this data is 100% accurate, but it is very consistent, and is as close as I can get to the IEC 711 standard on my budget.

I do not claim that the measurements are in any way more accurate than anyone else's, but they have been proven to be consistent and I think they should be enough to give a reasonable idea of response - especially if you've followed any of my other reviews. When measuring I always use crystal foam tips (so medium bore opening) - and the reason I use them is for very consistent seal and placement depth in the coupler. I use the same amp (E11K) for all my measurements - and output is under 1 ohm.

Any graphs are provided merely as a point of discussion, and later in the review I've included comparisons to other IEMs for similar reference.


I’ll go through the full range of tuning options later in the review, but as you can see from the frequency response chart, the driver matching is very good. The Dipper appears to have an extremely well balanced frequency response with good extension from sub-bass through to lower treble. It has a classical / traditional mid-bass hump, a little recession in the lower mids, and rise through to upper mid-range which is necessary (IMO anyway) for cohesion. The treble is very well extended and there is a peak at around 9 kHz.

The other thing which is easy to see (once you make the connection) is the frequency plot’s relation to its name. The Big Dipper (or Ursa Major constellation – also commonly known as the “Big Bear”) is a constellation of 7 major stars (refers to the 7BA set-up) which when viewed on the correct angle somewhat reflects the frequency response plot you can see in the graphs.

BUILD AND DESIGN

The LZ Big Dipper has what I would call a half circular shape – and one which is very akin to fully customised moulds. The body is made (by hand) using UC Curable Resin. It is 26mm across at its widest point, approx 20mm high and the main body is approximately 12mm deep. There are no sharp surfaces anywhere on the IEM, everything is well rounded, and beautifully form fitting. The shell on my pair has a carbon fibre look to the outer face plate, and is slightly translucent, allowing viewing of some of the BAs and their crossovers.

The internal side is well rounded with gentle ridges and valleys designed to perfectly fit with the main contours of your ear. The nozzle is set toward the front, and has a slight angle up and forward (which aids the fit even more perfectly). It starts with a gentle flare of around 5mm in height away from the body, and this further extends by another 5mm being the nozzle itself. The nozzle is 6mm in diameter, is mesh covered, and has an excellent lip which greatly aids possible tip choices.

On the rear side of the Dipper is a serial number, and also (if you've taken the tunable option) a series of switches. Mine has 3 small micro switches marker 1,2,3 and the top marked “On”. The switches are pretty small and to successfully engage them, you may need to use a pen or paper clip.

At the top of the Dipper shell is a recessed 2 pin (0.78mm) socket. The socket is firm and fits well with the cable. The cable is a braided 4 wire on each side (ear-piece to y-split) then braided 8 wire to the jack. The wire is silver plated 6N copper wire, and the sheath is a very flexible plastic compound. Whilst the cable is somewhat on the bulky side, it is also very pliable, and the added weight actually helps it hang properly without the need for over-ear loops. There is a short relief at the ear-phones, none at the y-split (which looks to be just a plastic or resin tube), but good relief at the 3.5mm gold plated jack. I'm not to worried abut the relief at the y-split, as it is essentially just a split of the cable and unlikely to see any wear (and also the cable just looks and feels really strong). At the y-split is a very good and well designed rubber cinch. And at the jack end is a simply Velcro cable tie (affixed to the cable). It works pretty well, but long term I may remove it. I do get some minor cable noise (microphonics), however once the cinch is in place, and cable secured under clothes, this is eliminated completely.

Internally the LZ Bid Dipper uses a 7 BA set-up, configured 1 low/sub, 2mid-low, 2 mid and 2 high. I'm pretty sure they are Knowles. LZ does use crossovers, and I think that for the models including the switches, they are also configuring where the crossovers occur for the overall tuning.

All in all, I would say that the design and build quality is excellent (absolutely no issues), and looks very durable.

FIT / COMFORT / ISOLATION
Isolation is extremely good with the Dipper but ultimately will depend on the tips you use and how good the seal is. I've already used these on a couple of flights, and can definitely say that with a pair of Comply Comfort (Ts series), they were brilliant – eliminating most cabin noise and easily achieving the same sort of isolation as well fitting Shure IEMs.

Turning to fit and comfort, and these thoughts are more subjective, and will vary from person to person, my experience has been one of complete satisfaction. As I mentioned earlier, the Dipper has been designed very similar to a custom IEM, and it shows with the overall fit. Saying these are ergonomic is a bit of an understatement. For me they are a perfect fit, fit flush with my outer ear, and basically disappear within a few minutes of wearing (I could forget they are in). I have slept with them intact, and woken hours later with them still there and no discomfort. The lack of hard edges, the super-smooth finish, and the gentle moulding around the contours of the ear all contribute to an extremely positive experience. The LZ Big Dipper is designed to only be used cable over ear.

The LZ-BD has an excellent lip on the nozzle, and because of this you can have a reasonable variety of tip choices. I tried Spiral Dots, Spin-fits, Ostry tuning tips (which gave me quite a good seal), and Sony Isolation tips, and all fit pretty well. I did find foam tips tended to give me a little more overall comfort and better seal – but that is principally because I have one wider ear canal (left) than the other – so often getting perfect fit for me can be problematic. Because the BD isn't a vented design, I did find that if I got a full seal with a silicone tip (eg Sony Isolation) it could cause some pressure issues – so I stuck with Comply Ts series foams.

So the general build is extremely good, and the shape is (for me anyway) perfect. What about the filter options if you go for the tunable model?

FILTER / TUNING SYSTEM

This always a tough one – as there are so many options, and without measurements, it is very easy for our brains to throw a filter over everything we hear. Because of this, we can grow quickly accustomed to its tonality and lose sight of its performance against the other options. Hopefully this summary will allow people to dial into their preferred curve early – and then experiment from there.


The filter system is controlled by a series of switches on the rear of the Dipper shell. Depending on the model you bought, it will come with no, 1, 2 or all 3 switches. The switches are simply on-off, and if looking into the three option model, control:

• lower mid-range, mid bass and sub-bass
• lower mid-range and upper mids
• lower and upper treble

As I understand it, the switches control the crossovers – which in turn gives you fundamental shifts in the overall tuning. They are very tiny, and I found best way to move them was with either a fine-tipped pen, paper clip – or for me, A FiiO tray popper (for their DAPs).

Looking at the bass switch first, it raises everything from sub-bass to approximately 1.5 kHz, but in different increments. Sub and mid-bass are raised by approximately 5-6 dB fairly evenly from 20 Hz to around 300 Hz, and from that point it diminishes down to about 2-3 dB at 1 kHz and tapers off after that. It definitely gives a nice bass boost – but it is quite evenly applied. I like – but would imagine that some bass lovers will possibly get more satisfaction from a hardware or software targeted EQ boost.

The mid-range switch is quit subtle and is the switch with more changes to shape than quantity. With the switch off, there is quite a sharp rise from 1.5-2.5 kHz. Turning the mid-range switch on slightly rises the lower mid-range by 2-3 dB at 1 kHz, goes slightly higher (not much more than 1 dB) at just over 2 kHz, and softens the peak. It really doesn't touch the lower treble or sub/mid-bass at all. The effects are definitely audible, but very subtle.

The treble switch really doesn't have any effect except above 5 kHz, where it raises everything by around 3-5 dB including the already existing 9 kHz peak. Treble heads will possibly really like this switch (depending on their other choices), but I found that I didn't want any more treble than what was there originally, and kept this one turned off.

Because the biggest change over all comes from the bass switch, I'd imagine this may be the best switch to target for those who cannot afford the 3 switch option. I have shown below all possible options. I found the switches really quite good, although my personal preference would have been to have more control (split) with sub and mid-bass, and possible an option of lowering both treble and mid-range below their current “off” designations though. This is probably nit-picking because I find the bass on, mid off and treble off combo extremely good, and as a default tuning (if there was only one), I find it a very well balanced signature overall.

I've shown below all 8 possible combinations / filter choices – click for larger images



SOUND QUALITY

The following is what I hear from the LZ Big Dipper. YMMV – and probably will (also because we are talking about an earphone with many tuning options) – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline). Most of the testing at this point (unless otherwise stated) was done with my FiiO X5iii (single ended) no EQ, bass filter on, and both mid and treble filter off, and Comply Ts Comfort tips. I used the FiiO X5iii simply because it gives me a transparent window to the music with low impedance, and more than enough power. There was no DSP engaged.

My trusty FiiO X5iii	New FiiO X7ii was equally impressive

For the record – on most tracks, the volume on X5iii was around the 40/120 level which was giving me an average SPL around 65-75 dB. I did lift this to 45/120 at times especially with male based vocal tracks. Tracks used were across a variety of genres – and can be viewed in this list http://www.head-fi.org/a/brookos-test-tracks.17556

Relativities

• Sub-bass – has good extension and even at my lower listening levels the rumble is clearly audible, but is not really visceral (I often find BA bass does not have the same impact as dynamic). Does not dominate at all with tracks like Lorde's Royals, but does give enough thump to give a sense of impact without overshadowing vocals, and there is no bleed (or masking) into the lower mid-range. Balanced and quick rather than slamming.
  
• Mid-bass – has a natural mid-bass hump – providing good impact, and sitting nicely balanced with the actual sub-bass. Mid-bass is elevated over lower mids, but roughly equal with upper mids with this filter combination.
  
• Lower mid-range – there is a recession compared to sub and mid-bass, and also the upper mid-range, but does not sound overly recessed or distant (there is a sense of distance there though). Male vocals do not quite have the same presence as female vocals (and I sometimes have an urge to turn the volume up slightly), but they do have enough body to be enjoyable.
  
• Upper mid-range – elevated compared to lower mid-range, and there is a rise from 1 kHz to a first peak at just over 2 kHz. The result is a clean and clear vocal range, with very good cohesion and some euphony for female vocals to sound sweet and elevated. There is also good sense of bite with guitars.
  
• Lower treble has very good extension, and really is quite sustained 2 kHz through to 10kHz with just some minor dips in the 6, 8 and 10 kHz areas. But it isn't over-emphasised with this filter combination, remaining at about the same amplitude as the upper mid-range and bass. This presents a lot of clarity and detail, but without any sign of harshness.
  
• Upper treble – rolls off with this filter combination, but I don't feel as though I am missing anything. It could be simply my measuring equipment – it tends to struggle with accuracy over 10 kHz

Resolution / Detail / Clarity

• Clarity is excellent – its something BA's tend to do extremely well, and the Dipper is fantastic in this area. Cymbals are crystal clear and show good decay without over-doing things with too much upper harmonics in the 7 kHz area. Tracks like Pink Floyd's “Money” display a tremendous amount of detail without any sign of smearing.
  
• Breaking Benjamin's “Diary of Jayne” is a really good track because there is plenty of high-hat action, but over the top are the vocals and a lot of guitar. The Dipper handles it all with ease, and there is never any sign of confusion or missing / masked micro detail.
  
• Seether's live version of “Immortality” from their “One Cold Night” live album was a good track for checking the ability of cymbal decay to come through clearly despite the amount of acoustic guitar presence, and the ensuing mix in this track alone was simply addictive.
  
• Overall I feel as though I'm hearing everything in the recordings – and this is even at my lower listening levels. Older rock recordings are pleasantly easy to get every nuance. The balance is really good.

Sound-stage and Imaging

• Directional queues are excellent – very clean and clear, and presentation of stage is just outside the periphery of my head space with binaural tracks. The LZ Dipper is nicely expansive and does present a bigger stage than their LZ-A4.
  
• Separation of instruments and imaging is fantastic, and I would say it is one of the strengths of this earphone.
  
• One of the more spherically presented sound-stages I've had with an IEM – with virtually no L/R dominance, and good sense of depth.
  
• The applause section of “Dante's Prayer” was extremely well presented with a realistic of flow around me. Does not quite come to the level of the RE2000, but at half the price it is in the same league. Impressive.
  
• “Let it Rain” had a wonderfully three-dimensional sense of spatial presentation – it is the way the track was miked. There was a slight hint of sibilance with Amanda's vocal – and I know its present in the recording – so not unexpected. What was great is that the sibilance was not overly highlighted, and the overall detail was still in abundance.

Sonic Strengths

• Overall tonal balance and clarity – while retaining a smoothness in the lower treble
  
• Imaging, separation and sense of space in the staging.
  
• Both sub and mid-bass have good impact with the filter turned on (enough for me anyway) but do not dominate otherwise
  
• Very good portrayal of both male and female vocals, although male vocals are not as full or rich as their female counterparts.
  
• Very detailed at low listening levels
  
• Extremely good transition between lower and upper mid-range

Sonic Weaknesses

• A little sense of distance with male vocals particularly, leading me to tend to push volume up a little.
• Inability of filter combos to flatten out amplitude frequency response – basically to bring the 1 kHz area a little closer to bass and treble peaks.

AMPLIFICATION REQUIREMENTS

The LZ Big Dipper is not a hard IEM to drive with its 25ohm impedance and 115 dB sensitivity. It was easily driven with all the sources I tried, and this included my iPhone SE and players like FiiO's X1ii (neither are power houses). My iPhone SE only needed about one third of its volume for a comfortable 65-75dB and going to 50% volume was simply to loud for me on most tracks (pushing into the 80-85dB range).

iPhone SE and IMS Hybrid	X5iii and FiiO A5

But I went back and forth (volume matching with test tones and fixed volumes using a few different combos – iPhone SE & IMS portable valve amp, X3ii & E17K, and X5iii & A5, and did not notice any appreciable difference between amped and straight out of a DAP. My advice would be to further amp if you prefer it – but its definitely not needed. One of the interesting things was using the A5, and you could really push the sub-bass with its targeted bass boost. Not my “cup of tea”, but I could see some enjoying it. I did really enjoy the IMS Hybrid (digital out from iPhone to the IMS DAC and amp), and I'm looking forward to trying the new Q1ii when it is eventually released.

EQ / BALANCED PERFORMANCE

I'm still waiting for my balanced 2 pin cable, so might add to this section once it arrives. My interest here is more in trying to see how differing impedance would affect frequency response.

As far as EQ goes, that is ultimately what the tuning filters are there for, but I did use hardware EQ in the form of the E17K and A5 bass boost and both times the LZ Big Dipper responded well with no clipping issues. There seems to be no real issues with EQ if applied properly, but for me personally its not something I need with the tuning options I've settled with.

COMPARISON WITH OTHER IEMS

A hard one to try and compare – mainly because of the filters (there are not a lot in this price range). So for this one I looked simply to show the overall performance compared to some IEMs in a similar price bracket.

For the source, I wanted something very neutral, but with a good digital control, to make sure I could volume match. So I chose to use my old work-horse combo – the FiiO X3ii and E17K. No DSP or EQ was used. Gain was low (I didn't need any more). I volume matched using a calibrated SPL meter and fixed 1kHz test tone first. My listening level was set to an average of 75dB.

I chose to compare Dunu's DK-3001 (~$500), HiFiMan's RE800 (~$700), 64 Audio's U6 and U10 ($900 and $1300 respectively), and finally HiFiMan's USD 2000 RE2000 – simply because I could.

LZ Big Dipper (~USD 860) vs Dunu DK-3001 (~USD 500)
Dunu's DK-3001 sonically would be one of the best IEMs I've heard this year, and especially when price is taken into account. Putting it up against the Big Dipper was an interesting exercise, as there were many similarities, but also many differences. Physically, both are incredibly well built, with the Dunu having a slight edge on permanent materials, but the Dipper having a landslide win on ergonomics and comfort. The DK-3001 has a pretty good accessory package and that includes the SE and balanced cable options. But the Dipper has the tuning options, and the cable which is included is definitely quality. Overall on build, fit and overall design, the Dipper is definitely worth the extra outlay IMO.

Moving to sonics, we're comparing the Dippers 7BA set-up vs Dunu's quad hybrid design. And the two are incredibly close with the mid-range and lower treble sounding practically the same. The big (or not so big) difference is in the bass, where despite the graph telling me the Dipper's bass should be more pronounced, the dynamic driver of the DK-3001 does seem to give a similar overall amount of bass (to my ears anyway). The DK-3001 sounds a little fuller and more robust, where the Dipper is quicker and more refined. Staging and imaging is definitely superior on the Dipper, and the upper mid-range and lower treble does actually seem a little more refined too – despite being so similar on the graph.

Ultimately this one is a really hard one to call, because both sound fantastic. My preference would be for the Dipper though, simply because they both sound fantastic, but the Dipper is night and day more comfortable.

LZ Big Dipper (~USD 860) vs HiFiMan RE-800 (~USD 699)
The RE800 is one of those IEMs where HiFiMan got just about everything right and stumbled at the last hurdle. And its really apparent when you compare the RE800 with the Dipper. In build quality, the two will end up being very close, especially with the change to a replaceable cable in the final RE800 iteration. The Dipper does feel more sturdy to me though, but I'd say they are pretty evenly matched with fit and comfort.

Sonically the RE800 is actually closer to what I would call true reference (as long as you ignore the 7 kHz spike). Its flatter (leaner) overall, and the transition from lower mid-range to upper-mids is delightful. The Dipper comparatively (in the configuration I have) has more pronounced bass, but a lot smoother and more articulate upper mid-range and lower treble. If the 7 kHz peak in the RE800 is taken away, then these two are pretty close in overall performance. But the fact that I can mimic the RE800s bass response with the Dipper (if I so chose), and that I don't have to EQ an obvious fault (RE800 treble peak), leave me with the obvious choice. For me the Dipper is simply the better overall option.

LZ Big Dipper (~USD 860) vs 64 Audio U6 with ADEL G1 (~USD 899)[/SIZE]
This is a good comparison – 6 BA vs 7 BA. Both tunable using different methods (the U6 via different ADEL modules. In terms of build, fit and comfort – both are pretty good, but I'd give the nod slightly to the Dipper in terms of overall build quality and also ergonomic fit. The tunable options are pretty good on both – and you can change both bass and mid-range with different ADEL modules. The downside of course is cost of the modules themselves being add-ons. ADEL does give the benefit of reduced pneumatic pressure and does actively help with my permanent tinnitus.

Sonically (in the configurations I've chosen), the Dipper does have more bass presence, but on both, it is nicely balanced with the rest of the frequency, so I think the matching is pretty good. The main change is in the mid-range, where the U6 is a lot flatter and closer to a reference tuning, where the Dipper is a little more vivid and fun. Both have excellent detail. Imaging is also very closely matched, but with the ADEL modules, the U6 has a natural advantage in openness and stage size. The U6 does have a 7 kHz peak but its nicely balanced with the rest of the signature, so not an issue like the RE800. This one is very tough to call, as I both really like both. If I was forced to make a call, I may slightly lean toward the Dipper due to the tuning versatility (no need to carry modules with me), and the slightly better ergonomics – but its hard to compare it with the benefits that ADEL brings to me personally. I'm calling this one a tie. Both are excellent IEMs and although slightly differently tuned, both are very easy to get used to. Both could easily be end-game at around the $900 budget.

LZ Big Dipper (~USD 860) vs 64 Audio U10 with ADEL G1 (~USD 899)[/SIZE]
This is going to be largely a repeat of the U6 comparison – as the U6 and U10 are very close in overall design. The U10 is of course much more expensive and has 10 drivers to the Dipper's 7. I won't go over things like ergonomics again as it would simply be a repeat of the U6 observations.

Sonically the U10 and Dipper are again similar, great treble extension, very well balanced between bass, mids and treble – and again the main change is that the U10 is more reference (flatter) while the Dipper tends to be a little more v shaped, and a little more vivid. It is also more euphonic for female vocals (which make up a large part of my library). I can't deny that the U10 has steadily grown on me over time though, and nowadays I find myself listening more to it than my U6. The Dipper isn't embarrassed at all in this company, and I know some will find it superior to the U10 (those liking a little more colour). Again – both could be considered end-game, and at the Dipper's price point, it would win on pure value. This would be another toss up if someone asked me to choose, and I could see myself possible going with the U10 purely for the ADEL module. But if my budget was being stretched, I'd take the Dipper (in fact I'd probably take it over the Andromeda as well).

LZ Big Dipper (~USD 860) vs HiFiMan RE2000 (~USD 2000)[/SIZE]
Whilst the RE2000 has the better specification regarding permanent materials, the actual build quality on both IEMs is extremely good. Aesthetically the RE2000 probably has the edge in terms of looks – but for actual fit and ergonomics, the Dipper wins on both fit and comfort. The RE2000's power requirements is higher due to its lower sensitivity and higher impedance.

Sonically these two are somewhat similar. Both have a similar transition from sub and mid bass to lower mids and even somewhat similar in upper mid-range. The Dipper has a little more bump at 2 kHz, but it is minor. Both have very similar treble disposition and extension. In direct comparison, the difference is not so much in terms of tonality – but in terms of presentation. The Dipper is a little more clinical, reference, and cleanly defined – where the RE2000 is smoother, bass has a little more richness, and that term musicality comes to mind. The RE2000 has a more romantic, less clinical overall presentation – the sort that allows you to easily get lost in the music. The Dipper can do the same but its only in direct comparison that you listen to the Dipper and go “wow the RE2000 does this with a richness that I actually like a little better”. The Dipper is an IEM I could easily live with as end-game, as long as I'm not directly comparing. Sonically I like the RE2000 more – but the question is whether the difference is worth more than double the price.

VALUE

So how do I see the overall value of the Big Dipper? Quite simply, it reaches that performance which has me definitely recommending it at its current price point. Although many will find this on the expensive side of things, its versatility and base tuning are extremely well thought out. Add to that the practically perfect ergonomics and you have an overall package which (for me anyway) is absolutely worth the asking price. In fact I'm already wondering what I can sell amongst the products I actually own – as I'm tempted to buy it – despite the fact that I can hang onto this sample. The reason is easy. I want to own this one. The more I listen, the more I realise that if I had to call any single IEM as my end-game, and forsake all others, the Big Dipper would easily sit in the top three.

LZ BIG DIPPER – SUMMARY

Before I start, I really want to thank LZ and duyu again for allowing me to review this wonderful little IEM. I fear I will be contacting you again soon to see about buying this pair. I'm going to be using it a lot I think, and right now I'd be uncomfortable with the thought of parting with it. If thats not recommendation enough – I don't know what is.

The Big Dipper is an incredibly well designed and well built 7 driver BA IEM, and I know a lot of thought has gone into the overall build quality and ergonomics. It fits like a custom IEM, and is easily one of the most comfortable IEMs I've ever worn.

Sonically the Big Dipper could be described as a well balanced, but slightly V or U shaped signature, with an excellent sense of stage, imaging, and resolution. The tuning switches are quite well implemented and my only wish (maybe a future model LZ?) would be to see if they could bring up the lower mid-range just a little (ie flatten the overall signature) without ruining the balance and overall extension.

In terms of value, I personally think the Big Dipper hits a sweet spot for those who may be considering an end-game IEM but not having the funds to chase some of the TOTL offerings out there. I know on my budget, the Dipper represents the same sort of “bargain” (and I use that term loosely) that my purchase of the HD800S represented. There may be better out there – but the Dipper would be able to satisfy my requirements enough so that I wouldn't be asking “what else”.

I just want to close with thanking Lao Zhong and duyu (Frank) once again for arranging the review sample.