INTRODUCTION
 
I’d read a little about the Fidue A83 on these forums, but really knew nothing about the company or their IEMs.  And whilst I’d looked at a couple of the reviews, and was genuinely interested, at USD 320-399, and considering I already have a set of Dunu DN-1000 and Altone200 (both also triple hybrids), I was a little reluctant to take the plunge.
 
Then Vic (djvkool) contacted me and generously offered to send me his pair to trial and review them.  Naturally I jumped at the chance.  I’d like to thank djvcool, Loquah and !joker! for their superbly written reviews and impressions – as these are what captured my interest in the first place.
 
Fidue Acoustics is a Chinese earphone company founded by Benny Tan (who has more than 20 years design experience – developing earphones for other global branded companies).  The name Fidue is simply an acronym of the principle design points that the company strives to implement in their product range

1. Fidelity
2. Inspiration
3. Durability
4. Uniqueness
5. Enjoyment.

 
Fidue’s product catalogue to date has included mainly dynamic driver models ranging from the sub $50 bracket, all the way to their current flagship (the A83 which I’m reviewing today) at $320-399.  The A83 is the first triple hybrid IEM released by Fidue.
 
In the last 4 weeks I have spent countless hours assessing the Fidue A83.  In that time I have also listened to my Altone200 and DN-1000 so that I can reference differences, but the A83 has taken most of my listening time – and it has been a very pleasurable experience.  With this earphone, I was “wowed” from day one – and that sense of enjoyment with the A83 has not diminished at all the longer I have had them.
 
I started with Vic’s loaner unit, but very quickly I arranged to purchase my own unit – and once it arrived I returned Vic’s A83 with grateful thanks.  I’d estimate that so far I’ve logged around 100+ hours with the Fidue A83, split roughly evenly between Vic’s model and my own brand new one.  I noticed no change between the well broken in model from Vic (it was used on an Australian tour), and my brand new A83.
 
DISCLAIMER
 
I was initially provided the Fidue A83 as a loaner from dkvcool, and I have returned it after purchasing my own unit from Fidue.  I am in no way affiliated with Fidue - and this review is my honest opinion of the A83.
 
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, and iPhone4) 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 > 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 (I do also have the Beyer T51p, but IEMs command most of my portable time) - and up till now it has mainly been with the 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 tend toward cans that are relatively neutral/balanced.  I am neither a bass nor treble head (you could argue that I do like clarity though).  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.
 
For the purposes of this review - I used the Fidue A83 straight from the headphone-out socket of my Fiio X5, and iPhone 4, and also from the Beyer A200p when at work.  I did not further amp them, as IMO they do not benefit from additional amplification.  In the time I have spent with the Fidue A83, I have noticed no change to the overall sonic presentation (I do not believe in 'night and day' burn-in).  I will respect others choice if they believe in physical burn-in, but I am yet to experience it.
 
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 Fidue A83 arrived in a very attractive green and black retail box which was probably a little larger than I would normally expect for an IEM.  The outer retail carton has very good colouring though and is quite attractive – with my only criticism being that the gray on black text for the specifications (on the rear of the retail box) is a little hard to read.
 
               
Sliding open the retail box reveals a white foam inner covering – which houses the accessories (more on them shortly).  Removing those reveals that the foam is in fact two pieces and fits snugly over a clear pelican case containing the Fidue A83s.  Once you see this, you realize the need for a little more size with the outer packaging, but also appreciate the extra care taken to make sure these IEMs are well looked after.  You could drop a bowling ball on the outer case, and although the retail box may not fare too well – I guarantee the A83 would survive quite nicely.
 
 
The pelican case opens to reveal a molded inner foam enclosure which snugly holds the A83 with the cable wound around a groove in the sides.  If you’re storing the Fidue A83 in its inner case, they will be very well protected.  For my personal day to day use though – I’ve been using one of the Brainwavz cases (slightly more pocket friendly).
 
 
The accessory pack is generous and includes an airline adaptor, 3.5-6.3mm adaptor, 1 set of medium foam tips, 3 sets of single flange silicone tips, and two sets of dual flange silicone tips.  There is also a QA card which has the warranty information written in Mandarin.
 
 
TECHNICAL SPECIFICATIONS
 
(From Fidue)
 
 
FREQUENCY GRAPH
 

 
The above frequency graph was supplied by Fidue – and my thanks to user jopok901 for initially posting it.
 
EDIT : Added graph from Veritas.  Please note this is raw data with no compensation - but it is very similar to the same raw data shown on Innerfidelity. For those wondering, the dip at 4kHz doesn't translate as a cavernous hole in the frequency - and even now two years after first reviewing the A83, I still think it is a great sounding IEM.
 

 
 
BUILD QUALITY
 
The Fidue A83 has a molded shell designed to be worn with the cable over the ear, and the body of the A83 sitting inside the outer ear – similar to a Shure or Westone type design. When I’m wearing mine, the shell sits relatively flat against my concha with the nozzle protruding on an angle into the ear.  As stated in the specifications, the shell is a molded plastic (right is red, left is blue) which is very smooth and seamless, with a very attractive metallic alloy faceplate.  The A83 is approx. 21mm long and 15mm deep at its widest point.  It is approx. 10mm from the faceplate to the base of the nozzle, and the nozzle itself extends approx. 7mm from base to tip.  The nozzle has a generous lip, and tips are held very securely.  There is a single port or vent adjacent to the base of each nozzle.
 
 
The cable is connected to the A83 housing using MMXC type connectors.  Fidue’s cable actually has an additional slot for added stability (it also stops it excessively rotating) – however this slot is not necessary to make a connection – so any compatible MMXC connecting cable should also fit.
 
 
The cable is (in my humble opinion) one of the best built cables I have ever seen, and a real thing of beauty!  From the MMXC connectors, there is a 7 cm length of memory wire which is both soft and extremely pliable, yet still holds its shape.  Above the Y split, the cable is a twisted pair encased in a soft yet durable clear sheath.
 
Update 19 Sept - I should have listed this a while ago - my original pair developed a connector fault about a month after posting the review (one ear piece had audio cutting out).  I contacted Michael and arranged a replacement pair. Fidue's service was impeccable as always. Unfortunately the replacement pair developed virtually the same fault.  It is the MMCX connector, and it seems to be a relatively common fault.  I know Fidue has tried a few times to fix this over the last 12 months. I still use the A83 - but now with a Shure cable, and have had no issues since.  I've modified the review score accordingly.  Something to be aware of.
 

Below the Y split – the cable is encased in a grey sheath and beautifully braided until it reaches the 3.5mm plug.  The Y split is minimal, stylish and has extremely good strain relief.  The plug itself is straight, slim, and again is both stylish and has very good strain relief.  The entire cable is extremely sturdy, quite flexible, and is not prone to tangling.  Microphonics are minimal (worn correctly over ear) unless it comes into contact with textured (ribbed) clothing, or a zip – and then the contour of the cable can create quite a bit of noise against the contours of clothing.  However – I had no issues with walking – having the A83 cable tucked inside my shirt – and I really doubt many people would be using these for strenuous exercise.  They just aren’t ‘that sort of IEM”.
 
The one missing thing is either a shirt clip, or neck cinch – however the need for this is minimized due to the build of the cable tending to hang naturally anyway.
 
 
Overall the build quality is very good - apart from potential cable connector issues.
 
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 silicone tips, and whilst they fit OK, I was unable to maintain a seal.  The dual flange tips were similar but for my ears, again could not maintain a seal, and weren’t as comfortable as I’d prefer.  I tried their included foam tips, and they fit me well and were comfortable.  I’ve also used the blue foam tips from my Altone200s – but lately have settled for Comply T400s which seal reasonably well for me and, are very comfortable.
 
The fit can be a little tricky at first until you find the right tips for your own ears – but with the T400s it takes no time at all for me to get a perfect seal every time.
 
 
Isolation with the T400s fitted is average (nowhere near Shure’s almost perfect isolation – but quite effective), and they're not bad for long distance air travel (you still get engine noise, but it's drowned out by the music ).  Because of their flat profile (when worn they do not extend past the ear), I have had no issues at all relaxing or sleeping with the Fidue A83.  They would rank up there as one of the more comfortable IEMs I’ve worn – especially with the T400s.
 
There can be slight driver flex on initial insertion – but this is minimal.  I experienced this with both Vic’s pair, and also my own.
 
So what does the Fidue A83 sound like, and why did I arrange to purchase my own pair within 48 hours of trying them for the first time ?
 
SOUND QUALITY
 
The following is what I hear from the Fidue A83.  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.
 
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 one word – I’d chose the word “natural”.
 
I’m finding the Fidue A83 to be very balanced across the audio spectrum with nicely extended bass, a very slight mid-bass rise, full  and rich lower and upper mids, and a slightly brighter than strictly neutral lower treble (but not excessive for my taste) - with good extension into the upper treble.  This combination gives an extremely clear and articulate sound with very good bass slam that shows up when it’s needed, but remains firmly in the background when not required.  I'm also finding a very natural true to life signature with good timbre, and in a lot of ways it reminds me of across between my HD600 and the DT880 I used to have (probably closer to the HD600 overall).
 
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 Fidue A83’s detail retrieval is excellent, and to me it sounds extremely similar to my HD600.  With Gaucho, the sax intro is natural sounding and smooth. For me there is no hint of peakiness or glare.  Cymbals in this track usually sit delicately behind the vocals and other instruments, and the A83 delivers perfectly.  Everything sits exactly where it should be.  What I love about listening to this track with the A83 (in contrast to my other more V shaped hybrids) is the balance and cohesion between both vocals and main instruments.
 
Switching to Sultans of Swing, and once more the overall balance of the A83 is just stunning.  The bass is tight and fast – but not over-emphasized.  Vocals are clear – but more importantly sound natural – and far better than the Altone200 delivers with male vocals.  Knopfler’s guitar is allowed to contrast nicely with his vocals, and the overall coherency of the track is wonderful.  Detail is all there – the subtle hits of snare and cymbal – and while it may not be as vivid as the Altone200’s more V shaped sound – the combination of raw detail and perfect tone (for my tastes) just resonates. Separation of every instrument is excellent, and there is no evidence of smearing on any track I’ve listened to so far.
 
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 Fidue A83 does give more of a sense of space than most typical IEMs, showing very good width with this track. Depth and height are just average though – but that’s OK as it is extremely difficult to achieve good depth with any IEM In my experience. It does sit on par with the overall staging of Dunu’s DN-1000 though. Directional cues are very good – so I have no problem overall with imaging.
 
I also used Loreena McKennitt’s “Dante’s Prayer” and the Fidue A83 gave an extremely captivating performance.  Once again the tonality of this IEM is just incredibly natural – and whilst the sense of space is more intimate than spacious, it still delivers very good imaging within the intimate stage it sets.  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 Fidue A83, the applause does not quite take me into the audience – but this does not detract from the thorough enjoyment I got from the track overall.
 
Bass Quality
With most triple hybrids I’ve heard, you generally expect a V shaped tuning with the dynamic delivering copious amounts of bass, and often a contrast with very clear upper mid-range emphasis for vocals and stringed instruments.  The Fidue A83 shatters this mold by displaying a really balanced overall frequency response.  The bass is definitely there, and can hit hard when called for – but it’s balanced with the rest of the track, generally well defined, and more importantly conveys a natural mix of speed, definition, power and timbre.  The best part of it, is that there is no bleed, and the slightly less emphasis (to its other triple hybrid cousins) has allowed Fidue to tune a balance into the lower mids which conveys realism (especially with male vocals).
 
Listening to Zoe Keating’s “Escape Artist” (Zoe plays Cello – and has a Bandcamp site – definitely worth looking her up!), and the cello’s depth and timbre is rendered incredibly beautifully with life-like decay.  It’s very easy to get lost in the music with this sort of realism.
 
Switching to something with bigger sub-bass impact like Lorde’s “Royals” or Amy Winehouse’s “You Know I’m No Good” and the impact goes up markedly – but this is precisely what it should be doing as it’s the way both tracks were recorded.
 
Change to Seether’s version of “Immortality” and the impact of both drums and bass guitar slides back a notch – still there but leaving vocals, guitars and other instruments to shine.  The key here is balance – and the Fidue A83 just keeps delivering – exactly what the track contains – no more, no less.
 
Female Vocals – A Special Note
I had to add 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 the most captivating thing about the Altone200 I reviewed previously was how it rendered female vocals. 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 are quite forward).  The Altone200 just nailed everything though – often bringing an almost euphoric quality to the overall presentation.
 
With its superior balance I was concerned that the A83 might lose a little of that euphoria with female vocals – and to be fair, it did a little.  But what it brought to the table instead was a greater sense of realism. Artists like Agnes Obel had no signs of the shoutiness which can sometimes appear with other IEMs and the contrast between vocals and instruments (the cello contrasting with Agnes voice for example) brought its own magic.  I then proceeded to play a medley of different tracks from artists including Christina Perri, Gabriella Cilmi, Norah Jones, and even Dolores O’Riordan – and each time I was stunned by what I was hearing.  The presentation is definitely different than the Altones – and there will be times when I’ll prefer their special colour.  But if I had a choice of only one IEM to listen to all of my female artists from this point on, I’d be going with the Fidue A83.  For my preferences – the natural presentation trumps the coloured one.
 
Genre Specific Notes
Again for tracks, albums, artists – please refer to this list:  http://www.head-fi.org/a/brookos-test-tracks
 
Rock – The Fidue A83 nail this genre for me – and although on some tracks the bass is not as strong as either the DN-1000 or Altone200, it’s there when called for, and it’s the overall cohesion of many of the tracks I tried which has won me over. 3 Doors Down “Away From the Sun”, and Alter Bridge’s “Broken Wings” are both captivating – more so because the Fidue  accurately portrays the timbre of the vocals – especially Miles Kennedy’s special timbre.  If anything they may be slightly brighter than strictly natural – but it’s only slight – and for my preferences it still sounds perfect.  I’m not getting any signs of fatigue.  Switching to the much faster paced “Diary of Jayne”, and the drivers are keeping up quite nicely without the confused “wall of sound” presentation you sometimes get with less capable drivers.
 
Alt Rock – First up (in my usual test rotation) was Pink Floyd’s “Money”, and The A83 once gain delivers nicely.  Everything in the track appears to be presented – although I’m noticing some of the more accentuated detail of cymbals and bells portrayed by the Altone200 or DN1000 sit a little further back with the A83. Everything is still very clear though, and the Fidue A83 is easily handling the complex changes of contrast.  Switching to Porcupine Tree’s “Trains”, and once again – perfection for my tastes. Before I’d noticed it, I’d listened to half the album, and had to try and remember that I was supposed to be writing a review.  The bass line for Trains is rendered extremely well – definition and contrast of the dynamic bass with the smooth and flowing vocals is just so enjoyable.
 
Jazz / Blues / Bluegrass – Portico Quartet’s “Ruins” is always a first stop for me when testing a new IEM with Jazz, and the A83 impresses once again.  The sax is smooth and soulful, cymbals crisp and engaging, percussion tight and snappy, and the double bass deep and textured.  Once again everything gels – and once again I’m on off on a sidetrack to load another song from the album (the song “sleepless”) because I just have to find out how the A83 handles Cornelia’s vocals (the track is sublime by the way).  I need to tear myself away though and get back to the review – so time to queue up Mr Davis.  The track is “So What” from the album Kind of Blue, and once again I’m stuck by how much the A83 sounds like the HD600 – and it really does just have a stunningly good tonality with everything I’m listening to.  Again the A83 is crystal clear, and has the ability to showcase the overall contrast (double bass, brass, cymbals and percussion), whilst remaining coherent, smooth and utterly entrancing.
 
Next up was Blues – so I alternated between Joe Bonamassa’s India-Mountain Time, and Mark Lanegan’s “Bleeding Muddy Water”.  Two contrasting tracks – both fantastic with the A83.  Joe’s guitar work and vocals are portrayed brilliantly with plenty of crunch and liveliness.  And when switching to Mark’s brooding bassy blues-rock, the texture of his voice with the thump of the bass line – magic.  Reminder to self – I need to go back to both albums and listen to them in their entirety!
 
Rap / EDM / Pop – Eminem’s “Lose Yourself” is stunning with  Fidue A83s – and one of the biggest differences with the Altone200 is that although the Altone has more sub bass, the A83’s do better with Marshall’s vocals.  Time for a little Florence and the Machine, so onto “Howl” – and although here both the Altone2100 and DN1000 might portray this track more vividly – the A83 still handles the track very well, and I think I prefer Florence’s vocals with the A83 as they are simply more realistic. On to some EDM – and Lindsay Stirling’s “Electric Daisy Violin” definitely thumps – but what impresses me more is the projection of the violin – perfectly clear, smooth, and haunting.  Little Dragon’s “Little Man” was equally as impressive, but it was with The Flashbulb that I was once again lost – and dangerously close to losing another few hours just listening to my music again (review forgotten).  The tonality, the contrast, the depth of sound – all truly sublime.
 
Classical / Opera – By now I’m already accepting that the Fidue A83 are genre masters, so I was expecting more of the same with my classical and operatic albums.  Kempff’s Moonlight Sonata was as captivating as always, but it was with the multi instrumental pieces (Netrebko and Garanca portrayal of Lakme’s Flower Duet, and Julia Fischer’s rendition of Tchaikovsky’s Violoin Concerto in D) where once again the magic, the pure captivation of the Fidue A83 shone yet again.  In particular the performance of Netrebko and Garanca was enchanting – and this particular piece still gives me goose-bumps when I listen to it.
 
AMPLIFICATION REQUIREMENTS
 
The Fidue A83 is easily powered straight out of the portable devices I have, and I haven’t experience any issues with the 2 DAPs I’ve tested (iPhone 4, or Fiio X5), nor from my A200p (at work).  With typical pop/rock songs on the X5 I’m usually at a volume level of  25-30 (so less than 25%) and that’s on low gain.  So far I’ve had no issues with hiss on the X5 or iPhone4.
 
RESPONSE TO EQ?
 
So far I haven’t used EQ – at all – with the A83.  For me, they don’t need it – they are already beautifully natural in tone.  But for the sake of the exercise I loaded Accudio Pro on my iPhone, set the preset for HD600, listened, then applied an AKG701 filter over the top, and repeated the process switching instead to an LCD-2 filter.  In both cases, the A83 responded well to the EQ (no noticeable clipping or distortion), but for my personal taste it was a case of applying a colouration to an IEM that simply needs no additional colouration.
 
QUICK COMPARISON OTHER HYBRID IEMs – Fidue A83 vs T-Peos Altone200 and DN-1000
               
For this exercise I’ll try and give you a rough general comparison with two other Hybrid IEMs which I have on hand, and which range in value from around USD 150 – 200 (the Fidue A83 is considerably more expensive).  Rather than referencing particular tracks – I’m trying to make this general.  I’ve volume matched as closely as possible when performing the comparisons (using test tones and an SPL meter) – but it is relatively difficult to do this without a perfect set-up, and I fear that the results may not be entirely accurate.  So as always – take the following with a large grain of salt.  Remember these are my preferences only.
 
Vs Altone200
The Fidue A83 has a more balanced frequency response overall.  The Altone200 is more V shaped with deeper sub-bass and more emphasis on upper mid-range and lower treble, so appears slightly hotter/brighter, and maybe has slightly more perceived clarity.  The Altone can shine particularly with female vocals, giving them an almost euphoric colouration at time – but this is at a cost to slightly less lower mid-range emphasis which can detract from male vocals. The Fidue A83 handles all vocals beautifully, being both more neutral and more natural sounding – with a fuller and more cohesive mid-range overall. 
 
Vs Dunu DN-1000
This one is really interesting as both are a little more balanced through the mid-range, but again where the DN-1000 has a pronounced V shape, the Fidue A83 is more balanced, and overall more cohesive.  The DN-1000 has a slightly hotter lower treble and a little more stridency – where the Fidue A83 is definitely smoother.
 
FIDUE A83 - SUMMARY
 
This review has taken me longer to write than any other review I’ve written (almost 4 weeks) – and the reason for this is testament to how well I regard the Fidue A83. I’ve often sat down to start writing something and simply become lost in the music along the way – review forgotten.
 
Before getting the chance to listen to the A83, I had been perfectly happy switching between my DN-1000 and Altone200.  They are both fantastic IEMs, representing wonderful value and great sonics – and were the reason I’d become a “hybrid IEM junkie”.  But I fell in love with the Fidue A83’s presentation from virtually day one – and despite the steeper price, I ordered my own pair within 48 hours of trying them.  If I was forced to only have one pair of IEMs – the Fidue A833 would now be “my keepers”.
 
The Fidue A83 is an exquisitely built and stylish IEM with a beautifully balanced and naturally coherent sound signature. It has excellent bass speed, texture, definition and impact. The mid-range is full – both upper and lower-mids – and once again shows marvelous tonality and timbre.  The treble has very good extension and clarity.  I personally find it quite smooth – but acknowledge that it is brighter than many would consider being completely flat.  The A83 has less treble than either the DN-1000 or Altone200.
 
IMO the Fidue A83 sounds tonally very similar to my HD600 – and that alone for me makes it an incredible sounding earphone. Due to its size, and shape, the fit for me is extremely comfortable.
 
My litmus question is always “would I buy these for myself”, and “would I recommend them to my family”.  The answer to this question is glaringly obvious – because I have bought a pair and have no regrets.  I’ve even gone as far on the forums as suggesting that the A83 may be end game for me as far as IEM’s go. Over the last 4 weeks they have frequently immersed me in the music so much that I have literally forgotten what I originally set out to achieve.  And they do this with no listening fatigue (YMMV).
 
I’ve given these IEMs a rating of 4 stars, and sonically they deserve this (I’d rate them higher if I could - but the cable issue isn't one to be overlooked).  I’ve listed purchase price at USD 300.00 (I paid a little less than this – but I cannot disclose the amount – it was a bargain, but not significantly less).  The lowest I’ve seen them so far has been around the $270 mark (promotions).  Even at $350-399 to me they would still be worth it, and I would have purchased at the higher price. 
 
 
RECOMMENDATIONS TO FIDUE
 
Fix the cable, and maybe add a chin slider.  But don’t change the sonics.  These are perfect.
 
And thank you for the privilege of being able to own these excellent earphones.

PREAMBLE

Tekfusion (http://www.tekfusiontechnologies.com/) is an audio company founded in 2011 in Bangalore, India. They are pretty ‘new on the block’, and it was only recently that they appeared on Head-Fi looking for reviewers of their Twinwoofer IEMs. I expressed an interest, and along with four others was chosen to be on the panel of initial reviewers. As the name suggests, Tekfusion’s Twinwoofers were designed with serious bass impact and resolution as a focus. Their website notes this about the Twinwoofers:
“Every beat is important”. This is the principal that lead to genesis of the Twinwoofers®. Their built-in HD dynamic speaker systems yield dynamic bass and a high level of audio precision that gives you a topnotch music-listening experience.

The Twinwoofers arrived a little under a week ago, and since their arrival, I’ve concentrated on getting as much “ear-time” as possible with them – averaging around 5-6 hours a day. For the burn-in believers (I’m not one), when I haven’t been listening to the Twinwoofers, I’ve given them 3 x 8 hour overnight burn-in sessions – playing a random variety of tracks at slightly louder than my normal listening period. So between the actual listening and additional “burning” – they’ve had at least 50 hours use. In that time, I’ve noticed no appreciable change – apart from me becoming acclimatised to their signature.

I’ve listed price at USD $49.99. I understand that this will be the list price for international sales. However this is not what I paid for them (they are a review sample). After completion of this review, I do intend to contact some fellow Australian Head-Fiers so that they also can try these and leave their own impressions.

DISCLAIMER

I was provided the Tekfusion Twinwoofers as a review sample. I am in no way affiliated with Tekfusion - and this review is my subjective opinion of the Twinwoofers I have been sent. I would like to thank Harry from Tekfusion for making this opportunity available.

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, and iPhone4) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP). My work set-up is the Beyerdynamix A200p (DAC/amp) + whatever fullsized headphones or IEMs take my fancy for the day. My main full sized headphone at the time of writing is the Beyerdynamic T1 (after recently selling my other full sized cans – HD700, HD600 and DT880). Most of my portable listening is done with IEMs - and up till now it has mainly been with the Dunu DN-1000, Altone200, Brainwavz S5 and RockJaw Alfa Genus. 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 tend toward cans that are relatively neutral/balanced. I am neither a bass nor treble head (you could argue that I do like clarity though). I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the DT880.

For the purposes of this review - I used the Twinwoofers straight from the headphone-out socket of my Fiio X5, and iPhone 4. I did not amp them, as IMO they do not benefit from additional amplification. In the time I have spent with the Twinwoofers, I have noticed no change to the overall sonic presentation (I do not believe in 'night and day' burn-in). I will respect others choice if they believe in physical burn-in, but I am yet to experience it.

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 Tekfusion Twinwoofers arrived in a black retail outer box (13.5cm x 22 cm x 2.5cm) with clear window. Inside the box is a moulded clear plastic hinged container housing the Twinwoofers and accessories.


For a budget IEM the packaging is quite smart – black, orange and chrome. I do apologise for the condition of the retail box shown in the photographs. Unfortunately it arrived in this condition (slightly ‘bruised/creased’). Luckily there was no damage at all to the contents – which were securely housed.

The retail box has a very simple front – the name, “Black Chrome Edition” (they are also sold in white), and the phrase “Powerful Bass , Audio Accuracy”. The rear of the box has generic descriptions of the main features of the Twinwoofers along with a description of the accessories.


The accessory package includes a manual and warranty (foldout booklet) – which also includes the published technical data (see table below). Also included is a shirt clip, soft carry case, and 5 pairs of silicone tips – 3 single flange (S,M,L) and two pairs of triple flange (one narrow and one larger).


The carry case is a velour type fabric expandable opening snap case which will offer minimal protection, but is handy for storage and carrying the IEMs when not in use. I personally don’t like these cases because over time the cables tend to get stuck/wedged in the opening. I had the same thing happen with a case for Monster Turbine. A far more practical soft case would be something like the zipped case used on the Altone200s I bought recently.

TECHNICAL SPECIFICATIONS
(From Tekfusion)


FREQUENCY GRAPH

I have requested this information from Tekfusion – but have been advised by their engineers that it is not available for publication at this time. If it becomes available, I will re-edit the review and add the information later. For the record – I’m expecting a V shape with bass emphasis (both sub-bass and mid-bass), relatively flat lower mid-range, slightly forward upper mids and lower treble, and relatively quick roll-off in the upper treble.

BUILD QUALITY


The Tekfusion Twinwoofer has a cylindrical hourglass shaped body made from an aluminium alloy. The body has no obvious seams and appears extremely well machined and quite smooth. The body measures approx. 20mm in length from the bass to the filter at the tip, and has a diameter of approx. 11mm. Tekfusion says that the housings only weigh 7.5g each, so they are very light in weight. The printing on the body of the IEM is very clean and clear (white against black), and it’s pleasing to see L and R marked so that it is easy to read. The rear plate with the logo is actually a brushed aluminium plate - which has a plastic coating for protection. This can be removed if it's starts lifting (mine was) - thanks Harry for pointing this out to me


The nozzle stem is approx. 6mm in length, and the lip is well designed - I’ve had no issues with the included silicone tips, or my preferred foam tips.

The strain relief from the IEM housing actually looks reasonable sturdy, and has some “give” in it. The Y-split is rubber, but does include a sliding cinch. There is no real strain relief at the Y split – but I can’t see this being a problem as they Y split itself is hard but flexible rubber.


The cable is a 1.2m copper cable in an outer TPC sheath. It feels relatively fragile, and is still displaying kinks from the original folding. It is also very tangle prone, and is microphonic. For me it is the weakest part of the overall build of the Twinwoofer, and I hope Tekfusion do review the cable for any future IEMs they develop. The microphonics from the cable can be negated by wearing over ear (my preferred method), using the cinch, and tucking the cable under clothing.

The 3.5mm plug is a standard 3 pole, straight, gold plated for conductivity, and has strain relief. The plug itself is very skinny, and you should have no issues plugging this into a full cased smartphone or DAP.

Overall the build quality of the IEM is very good for the price point, but I personally think the cable could be a lot better.

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. However, I initially tried the included large silicone tips, and they fit very well. They were also reasonably comfortable. However I switched to a pair of foam tips (very similar in shape to Comply’s Ts-Series tips). These actually came initially with my Altone200s (but did not work well for me with those IEMs). With the Twinwoofers they provide a good seal and comfort. All of the tips I tried gave me reasonably good sonic results with only small changes to the overall sound. I also tried the Twinwoofers with genuine Comply T400 tips, and the fit and isolation was also very good.

Isolation with the A200 foams or T400 fitted is very good, and I think they’d be good enough for long distance air travel. Comfort overall is very good – and I have actually slept with these in. They are relatively flush with my outer ear when worn though, so sleeping can put some slight pressure on the outer ear (YMMV).

There is noticeable driver flex when first inserting the Twinwoofers – but it isn’t an issue after insertion. This is something that I have noticed from other sealed dynamic drivers in the past – primarily those without a vent or port.

So what does the Tekfusion Twinwoofer sound like, and did they deliver powerful bass with audio accuracy ……… ?

SOUND QUALITY

The following is what I hear from the Tekfusion Twinwoofers. 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.


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 sentence – I’d say “very big bass impact, but surprisingly clear (but warm) vocal presence”

I’m finding the Twinwoofers to have a big emphasis on both sub-bass and mid-bass, but the surprising thing so far has been the ‘relative’ clarity of the vocals (especially upper mids). They are a very warm IEM, and although there is enough detail to allow cymbals to be heard, the emphasis (when bass is present in a track) is firmly at the lower end of the frequency spectrum.

There is a definite V shape here, and I guess Tekfusion are aiming at a distinct segment of the market here (for modern music with bass emphasis), so I can see the reasoning behind the voicing.

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.

First playing Dire Straits, and the Twinwoofer’s detail retrieval is what I would term as ‘polite’. Cymbals are there, but muted. Mid-range generally is pretty good but tends to get a little smeared by the bass guitar constantly being in focus. Knopfler’s guitar is nicely represented and actually sounds pretty good. But I am noticing micro detail that is present on my other IEMs is being hidden by the bass line.

Moving to Gaucho, and the sax intro is pretty good, but again overshadowed by drum and bass guitar. It’s just not the usual presentation I know from my other IEMs. Cymbals are once again in the background. Midrange is again very good – smooth and clear.

Separation of instruments overall is average, mainly due to some smearing from the bass.

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 Twinwoofers are a typical IEM in this regard, showing some width and sense of space with this track, but overall imaging and staging is relatively narrow. Directional cues for everything except the opening notes on violin are good. Some of the early picking of the violin strings is once again over ridden by the bass.

I also used Loreena McKennitt’s “Dante’s Prayer” and this time the Twinwoofers gave a much improved performance. There is not a lot of bass line in this track, so all of a sudden clarity overall lifted a notch. The cello in the background was beautiful, and Loreena’s vocals were up front and clear. There was no real sense of the space that I know other headphones can exhibit with this track – but I did enjoy the overall balance. In this track, the applause at the end is so well presented that with some headphones (HD600/T1) I can actually close my eyes and imagine myself in the crowd. With the Twinwoofers, the clapping does take me into the audience – and there is a sense of space. But the presentation is very lateral, and not circumaural as I know it can be presented.

Bass Quantity / Quality

Because Tekfusion are marketing these as powerful bass, I need to make sure I focus on this particular section of the review. The Twinwoofers deliver their promise of powerful bass, and it extends very low as well. What they’ve delivered is indeed two subwoofers (at times) which are really surprising with the bass impact they can deliver. When I first listened to the Twinwoofers, I had to play a frequency sweep to see how low these could go, and they had no issues at all in producing copious amounts of sub-bass at just above 20Hz (the limit of my personal hearing starts around 22-23Hz). If anything (and I know by ear is not accurate), I would estimate that the Twinwoofers actually have more sub-bass than mid-bass – and they have no issues producing mid-bass either!

Listening to Zoe Keating’s “Escape Artist” (Zoe plays Cello – and has a Bandcamp site – definitely worth looking her up!), and the cello is presented really well with great impact and timbre. I really enjoyed this track on the Twinwoofers.

Then switch it up to something with huge sub-bass impact like Lorde’s “Royals” or Amy Winehouse’s “You Know I’m No Good” and the impact hits the stratosphere. Especially with Lorde, the bass guitar actually feels like it’s moving air (there is vibration!). The funny thing here is that Lorde’s voice is still perfectly clear.

One of the tracks I noticed a real sense of impact with was Mark Lanegan’s “Bleeding Muddy Water”. Every hit of the drum was like a thud – these deliver serious low bass.

The only criticism I have of the bass is that it sometimes gets so overwhelming that I find I have to lower the volume. Unfortunately doing this immediately drops the midrange and finer details from the treble. Bassheads will love the impact – I’m just finding it too much.

Genre Specific Notes

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

Rock – For me, the Twinwoofers perform relatively well with this genre, but for my tastes it is track dependent. Classic rock without a lot of bass emphasis sounds very good – smooth, good bassline, good vocals – fun and punchy. Hotel California was a great example of this. Slower rock ballads were also very good with Alter Bridge’s “Broken Wings” and Seether’s “Immortality” both being very enjoyable experiences. Where the Twinwoofers tended to struggle a little was on faster music like “Diary of Jayne”, where the more complex passage just became a ‘wall of sound’.

Alt Rock – First up was Pink Floyd’s “Money”, and this was very enjoyable on the Twinwoofers providing a really good mix of contrast between the bass guitar and the finer detail of the cymbals, sax and guitar. Porcupine Tree’s “Trains” is another track that really presents well with the Twinwoofers. The bass is very impactful – but Wilson’s higher voice still comes through clearly.

Jazz / Blues / Bluegrass – Moving to Portico Quartet’s “Ruins” and this track is still very captivating, and smooth – but does not have the crispness of the cymbals that I’m used to. The double bass is pretty good – just a little loose and boomy, but the sax is very good. Switching to Miles Davis “So What”, and the feeling is similar to what I encountered with Portico Quartet. It’s a pleasant presentation – but a little muted – not quite as captivating as I’m used to. Miles trumpet is very smooth, and contrasts nicely with the double bass, but the cymbal work (which is often a highlight of good jazz) is once again muted and distant.

Next up was Blues – so I fired up Joe Bonamassa’s India-Mountain Time, a track that I like immensely. The Twinwoofers perform really well with this – there is a constant rumble of the bass, but it doesn’t detract from Joe’s vocals or his guitar work. Bass does get slightly boomy at times, and there is not the same clarity I am used to from IEMs like the DN1000 or Altone200 – but that’s hardly a fair comment given the price differential. I still very much enjoyed that different presentation.

Rap / EDM / Pop – Eminem’s “Lose Yourself” is up next, and now the Twinwoofers show their strength. Marshall’s vocal are still really clear, and the guitar is also very good – and the bass – I’m not usually a fan of this much emphasis but this is perfect for this track. Switching to EDM – and Lindsay Stirling’s “Electric Daisy Violin”once again just slams! Lindsay’s violin is clear, smooth, perhaps not as forward as I am used to – but the contrast is the bass - thumping, but with good definition – the perfect compliment. I also tried some Little Dragon (Little Man) and some Flashbulb – and it is clear to me, my electronic music does well with the Twinwoofers. I think it’s the quite V shaped presentation. The only negative for my preference is the mount of bass with Little Dragon – for me it gets a little fatiguing after a while. The Flashbulb’s “God is Speaking” is brilliant though – nice contrast, nice bass impact – very enjoyable.

Switching to Norah Jones “Light as a Feather” (a fusion of pop with jazz undertones), and another strength of the Twinwoofers is revealed. The midrange is ideal for female vocals, and these are smooth, and quite alluring.

Classical / Opera – I didn’t know what to expect with my time so far with the Twinwoofers being a mix of the good and not so good. Netrebko and Garanca's portrayal of Lakme’s Flower Duet was pretty good, just lacking some upper register nuance that I’m used to from my other IEMs. It is very smooth though, and because these tracks tend to be more bass light, the mid range is allowed to shine (and it does). Kempff’s Moonlight Sonata was really captivating, and delivered a beautiful tonal balance that only slightly darker/warmer IEMs can do with this piece. Switching to Anne Sophie Mutter and Vivaldi’s Four Seasons – and the magic is still there. The mid range on the Twinwoofers is really quite nice tonally and with orchestral pieces it does deliver.

AMPLIFICATION REQUIREMENTS

The Tekfusuin Twinwoofers are very easily powered straight out of virtually any portable device, and I didn’t experience any issues with the 2 DAPs I tested (iPhone 4, or Fiio X5). Amplification via the A200p did not seem to yield any noticeable benefits. So these really are smartphone friendly.

RESPONSE TO EQ?

I wanted to see if I could lift some of the tracks that I felt suffered with the excess bass, so the track I chose was “The Bad In Each other” off Feist’s album Metals. Most of the track is pretty good – but when the bass is going strong, it tends to ride roughshod over the lower mids. So I gave the bass from 30 Hz to 125Hz a 4-5 dB cut (on the X5), and then gradually shelved the mid-bass in steps back to zero. If definitely helped make the track more enjoyable for me and lessened the fatigue. I also used the “bass reducer” preset on the iPhone4 and this gave some relief without killing the overall presentation. So the Twinwoofers do respond well to EQ and you can allow a more detailed overall presentation simply by dialling down some of the prodigious bass that is present.

COMPARISON OTHER IEMs

I struggled to think of any IEMs that I could compare the Twinwoofers to, as nothing I have at the moment is really as bassy as the Twinwoofers can be. Then it twigged, and I remembered how bassy the RockJaw Alpha Genus could be with the silver filters. I used two tracks – Florence + The Machine’s Howl and Pearl Jam’s “Elderly Woman Behind The Counter In A Small Town”. FOTM’s track has quite an emphasis on bass

Vs Alfa Genus (silver filter) ($85) – “Howl”

Both have very similar sub and mid-bass impact – the Twinwoofers may be going slightky lower in the sub-bass. But the Twinwoofers are actually a little brighter and more detailed (surprised me). Alfa Genus sounds a little thicker overall. With this track and the Alfa using the silver filter, I actually think I prefer the cheaper Twinwoofer.

Vs Alfa Genus (silver filter) ($85) – “Elderly Woman Behind The Counter In A Small Town”

This is not a bassy track, and I chose it more for a contrast, and because I know it extremely well. The highlights for this track should be Vedder’s vocals, and the contrast between drum, guitars (bass and standard electric), with the cymbals punctuating the overall mix. Again in this instance, the Alfas have a thicker and slightly darker midrange, and the Twinwoofers are slightly brighter with a bigger contrast between the cymbals and bass presence. Overall I prefer the Alfa’s portrayal of Vedder’s vocals but the Twinwoofer’s overall contrast. Both are enjoyable with this track.

TEKFUSION TWINWOOFER - SUMMARY

The Tekfusion Twinwoofer appears to be a (mostly) well built budget IEM with a V shaped frequency response. The main emphasis is on both sub and mid-bass, but they have a surprisingly clear upper mid range and enough lower treble to retain clarity despite the bass sometimes being overpowering. They have great extension at the lower end of the frequency, but do suffer some roll-off and lack of air at higher frequencies. Mid range is very good – and I suspect that there is a dip in the lower mids in order for the upper mids to shine.

The fit of the Twinwoofers is pretty comfortable, and they offer above average isolation if you get a good seal (tip dependent).

IMO the Twinwoofers are not genre dependent, but rather track dependent – and this comes down to personal preference (for bass quantity) and also speed and complexity of the tracks being played. They can tend to be boomy with bass heavy music, and can suffer smearing of the lower mid range with very fast paced tracks.

My principle critique of the Twinwoofers would be the quality of the cable which I find sub-par with the overall quality of the product (appears fragile, kinks and tangles).

My litmus question is “would I buy these for myself”, and “would I recommend them to my family”. For my personal preference (I am not a basshead), my answer would be no – they are simply too V shaped for my personal preferences. I can see bass lovers enjoying these very much though – especially as the vocals (mid-range) are surprisingly good, and relatively clear.

RECOMMENDATIONS TO TEKFUSION

1. Rethink and redesign the cable for future IEMS
2. Perhaps think about offering a new model with similar midrange, slightly more treble extension, and a little less bass.
3. Consider swapping the current carry case for something a little more practical (cheap fabric zip case would be fine)
4. Keep doing what you’re doing – the voicing on the Twinwoofers may not suit my personal tastes, but I am sure many will find it quite acceptable – especially with more main stream listeners.

Thanks again for the opportunity, and I’ll now see if I can move these onto others in Australasia to sample and review them.

 
 
PREAMBLE
 
SWP Shinwoo (http://swpshinwoo.com/) is a Korean electronics company founded in 1986 who started developing earphones in 2012, changed their company name to T-Peos in 2013, and at the same time launched their first 3 way hybrid IEMs.  Their focus is on quality (reading their website is impressive), and it shows in their latest product release – the T-Peos Altone200.
 
Until recently I did not know a lot about T-Peos or their product range – just a little information following the release of their H200 and H300 hybrid designs.  I followed the reviews of my Australian “cousins” (H20 Fidelity, djvkool, D marc0, Loquah and others), envious of their proximity and ability to organise product tours – and wishing I wasn’t quite so isolated at my location - in the deep south of New Zealand. 
 
The first I really heard about the Altone200 was a PM from Mr Sunggoo Kwon of T-Peos, saying that he had contact from Luke (H20 Fidelity), and was wondering if I would like to sample and review their latest offering.  I accepted gratefully – and the Altone200 duly arrived from Korea a little over a week ago.  I just want to take this opportunity to thank both Luke (for suggesting me) and Sunggoo (for the opportunity).
 
In the last week I have split my time between assessing and reviewing the Brainwavz S5, and also getting to know the Altone200.  For the last 3 days I have listened to the Altone200 almost exclusively – and it has been a very pleasurable experience.  To say that I am highly impressed would be one of the major understatements of the year!  I’d estimate that so far I’ve logged around 30-40 hours with the Altone200.
 
I’ve listed price at USD $125.00 (normal list price exclusive of freight) – however this is not what I paid for them (they are a review sample).  I will definitely be contacting T-Peos to offer payment for the Altone200 – simply because it’s one of the best sounding IEMs I’ve personally heard in the last 3 years.
 
EDIT : I paid T-Peos USD 125.00 for the Altone200s today.  Although I could have simply kept them as a review unit with payment, I wanted to make sure i did pay for them - simply because the Altone200 has become my go-to pair of IEMs.  Have since been told by Sunggoo that they are in fact sending me a 2nd pair - the first were a gift - and I am grateful, but also pleased that I have paid for these.
 
DISCLAIMER
 
I was provided the T-Peos Altone200 initially as a review sample.  I am in no way affiliated with T-Peos - and this review is my honest opinion of the Altone200.  I would like to thank (again) Sunggoo for making this opportunity available.
 
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, and iPhone4) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP).  My main full sized headphones at the time of writing are the Sennheiser HD600, Beyer T1 and DT880.  Most of my portable listening is done with IEMs - and up till now it has mainly been with the Dunu DN-1000 (and more recently also the Brainwavz S5 and RockJaw Alfa Genus). 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 tend toward cans that are relatively neutral/balanced.  I am neither a bass nor treble head (you could argue that I do like clarity though).  I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the DT880.
 
For the purposes of this review - I used the Altone200 straight from the headphone-out socket of my Fiio X5, and iPhone 4.  Sadly I did not log enough hours with the Studio V3, as I sold it very recently (miss it already).  I did not amp them, as IMO they do not benefit from additional amplification.  In the time I have spent with the Altone200, I have noticed no change to the overall sonic presentation (I do not believe in 'night and day' burn-in).  Unlike a lot of other IEMs, I fell in love with the Altone200’s signature from day 1 – and that has not diminished over the last week. I will respect others choice if they believe in physical burn-in, but I am yet to experience it.
 
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 Altone200 arrived in a quite small (by today’s standards) spartan black and white retail box  – with an inner plastic moulded container housing the IEMs and a small inner box covering the  accessories.
 
 
The packaging is utilitarian and very much no frills – and you would be forgiven thinking that this is simply a budget line of earphones.  The retail box doesn’t really have any catch phrases or marketing ‘hooks’ – simply stating the Altone200 to be a 3 way hybrid.  In very small letters toward the bottom of the box is the mysterious phrase “comfortable wearing, hit on the sound”.  T-Peos could not be more understated.  On the rear of the box is a list of the specifications and accessories.  The only thing that I found slightly confusing was the reference to an in-line mic and controller – so I guess the box may have been used for an alternate line previously – or is a work-in-progress.
 
The accessory package (like the packaging) is also ‘limited’ – consisting of a card (warranty?) written in Korean, a set of 3 silicone tips (S,M,L) a set of blue foam tips, a shirt clip, and a soft carry case.
 
Whilst the carry case is a soft mesh (single pocket and zip), what I love about it is the ability to slip it into any pocket.  It doesn’t offer the greatest protection – but T-Peos built the Altone200 so well, that IMO (as long as you wind the cord carefully), they only need minimal protection anyway.  So what you get is the perfect slim-line portable solution.  I love it.
 
 
TECHNICAL SPECIFICATIONS
 
(From T-Peos)
 
FREQUENCY GRAPH
 
I have requested this information – but not sure if it is available.  If it becomes available, I will re-edit the review and add the information later.  For the record – I’m expecting a mild V shape with relatively neutral, or very marginally north of neutral bass (well extended though), relatively flat (maybe slightly recessed lower mid-range, slightly forward upper mids and lower treble, and clear and extended upper treble.
 
Edit : Frequency graph attached - raw data but (thankfully) mirrors my original expectations.

 
 
BUILD QUALITY
 
The Altone200 has a cylindrical but quite petite bullet style body made from a combination of stainless steel and aluminium.  My sample is extremely well machined and very smooth.  The body measures approx. 19mm in length from the bass to the filter at the tip, and has a diameter of approx. 10mm (it is really petite).  I’d love to see the internals, as I’m quite intrigued as to how they got dual BAs and a dynamic into such a tiny frame.
 
 
The nozzle stem is only approx. 5mm in length, but the lip is well designed, and I’ve had no issues with the included silicone tips or my preferred comply T400s.  Unfortunately this does not extend to the blue foam tips included – which came off repeatedly in my ear.  Trying my Monster Super Tips had similar issues with not staying on the nozzle.
 
 
The strain relief from the IEM housing is short but relatively rigid rubber moulded onto the housing.  It could perhaps be a little longer but should do the job well enough.  I would advise not adjusting the fit via the cable though (just in case) – always use the body of the IEM.  The right ear piece body is marked with a small “R” (nothing on the left body) – but IMO this is not an issue, as T-Peos cleverly coloured the right strain relief red, so it is very easy to distinguish the two (the left strain relief is black).  There is a small port/vent on the back of each body.
 
 
The cable is a 1.2m in length copper cable in an outer PVC sheath. It seems pretty solid, and doesn’t have a lot of microphonics – just some “bounce’ when jogging if I don’t have the cable tucked away properly.  The cable has a cinch (neck slider) above the Y split – and it is very well implemented.  It is quite small but holds its position well.  The Y split is small and has relief at both ends.
 
The 3.5mm plug is 3 pole, right angled (this is my preference), gold plated for conductivity, and has very good strain relief.
 
Overall the build quality is stellar – especially at this price point.
 
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 silicone tips, and they actually fit pretty well.  They were also quite comfortable.  I also tried my trusty pair of Monster Super Tips (dense foam that almost always give me a complete seal).  They also fit very well – but simply aren’t quite as comfortable as my preferred Comply T400s (plus they had an issue coming off the nozzle when removing the IEMs).  The T400s fit perfectly, and I’ve had no issues with tips coming off.  All of the tips I tried gave me reasonably good sonic results with only small changes to the overall sound.
 
 
Isolation with the T400s fitted is slightly better than average (nowhere near Shure’s almost perfect isolation – but reasonably effective), and I think they’d be good enough for long distance air travel (yet to try it).  Because of their small profile (when worn they do not extend past the ear) so I have no issues at all sleeping with the Altone200.  They would rank up there as one of the more comfortable IEMs I’ve worn – especially with the T400s
 
So what does the Altone200 sound like, and did they “wow” me ……… ?
 
SOUND QUALITY
 
The following is what I hear from the Altone200.  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.
 
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 one word – I’d chose the word “vivid” – maybe “captivating” would also cover it.
 
I’m finding the Altone200 to be relatively balanced across the audio spectrum with beautifully extended bass, a slight dip in the lower mids, and boost in the upper mids and lower treble (but not excessive for my taste).  This combination gives an extremely clear and articulate sound with fantastic bass slam that shows up when it’s needed, but remains firmly in the background when not required. The forward upper mids and treble definitely lend to a brighter sound signature – but I’m finding it pretty smooth.  So far the only sibilance I’ve encountered has been on tracks where I know it is present.
 
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 Altone200’s detail retrieval is simply incredible, and to me it sounds similar to my Beyer T1 – but the Altone200 is not quite as bright, and has far richer bass with both tracks.  With Gaucho, the sax intro is simply heavenly – and although the overall presentation is definitely on the brighter side of neutral, there is no hint of peakiness.  Cymbals in this track usually sit delicately behind the vocals and other instruments, and the Altone200 performs beautifully here.  Everything sits exactly where it should be.  What I love about listening to this track with the Altone200 is the contrast between the deadly accurate beat on the snare, the deeper punctuation on the bass, and then over the top there is the clarity of vocals, sax, and guitar.
 
Switching to Sultans of Swing, and once more the speed and clarity of the bass is stunning.  Contrast that with the crunch of Knopfler’s guitar, and the coherency of the track just really sings.  Detail is just incredible – but it’s not isolated to the upper-mids and treble.  Everything about the track is exceptionally clear – and for a want of a better word – vivid.  The contrast throughout the frequency range is intoxicating, and the music just seems incredibly alive.
Separation of every instrument is excellent, and there is no evidence of smearing on any track I’ve listened to so far.
 
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 Altone200 does give more of a sense of space than most typical IEMs, showing good width with this track.  It doesn’t quite have the overall staging of Dunu’s DN-1000 but it’s better than most IEMs I’ve tried recently.  Directional cues are once again excellent – so for a value priced triple hybrid its imaging is very good.
 
I also used Loreena McKennitt’s “Dante’s Prayer” and the Altone200 once again gave a captivating performance.  The sense of space is nowhere near what can be exhibited on full sized headphones, but it’s not overbearingly intimate, and there are some directional cues present.  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 Altone200, the clapping does take me into the audience – and there is a sense of space.  Bravo T-Peos.
 
Bass Quality
This review could not be complete without mentioning both the quality and quantity of the bass on the Altone200.  This (to me) is how bass should be presented - particularly on an IEM.  Listening to Zoe Keating’s “Escape Artist” (Zoe plays Cello – and has a Bandcamp site – definitely worth looking her up!), and the cello’s depth and timbre is just rendered beautifully with incredibly life-like decay.
 
Then switch it up to something with huge sub-bass impact like Lorde’s “Royals” or Amy Winehouse’s “You Know I’m No Good” and the impact goes up a notch – yet still with that overall sense of vividness and clarity.
 
Change to the Eagle’s “Hotel California”, and you get the impact of the bass drum – but it’s where it should be, and it’s not overpowering – just providing a stunning backdrop to frame the rest of the track.
 
The Altone200’s bass is powerful when it needs to be, always articulate, never overpowering.  I don’t think I’ve heard better bass quality from an IEM in this price bracket before.
 
Note 29 July - It has been pointed out by a few that they were expecting far more bass, and that the Altone200s may even be a little bass shy.  I certainly am not finding this (with either pair I now have).  I do acknowledge that the quantity of bass is going to come down to preference.  What may be perfect for my "neutral-head" tastes could be very different to other's preferences.  Please bear this in mind.  The Altones are in no way bass monsters.
 
Female Vocals – A Special Note
I had to add 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 the most captivating thing about the Altone200 is how it renders female vocals in virtually all genres I’ve listened to it with.  Other IEMs I’ve owned in the past have 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 are quite forward).  The Altone200 just nails everything though – often bringing an almost euphoric quality to the overall presentation.  Artists like Agnes Obel can sometimes appear shouty with other IEMs – but two days ago I meant to just sit down and gather some notes, and ended up sitting back mesmerised by the whole album “Aventine”.  Gabriella Cilmi’s jazzy track “Safer” is another example which reaches new heights for me with the Altone200 – and Norah Jones ……. let’s just say stunning, and leave the rest for you to explore!
 
Genre Specific Notes
Again for tracks, albums, artists – please refer to this list:  http://www.head-fi.org/a/brookos-test-tracks
 
Rock – For me, the Altone200’s perform well with this genre, with the most noticeable feature being the incredible clarity (especially guitar), and also the very punchy bass.  3 Doors Down “Away From the Sun”, and Alter Bridge’s “Broken Wings” are both captivating – and the only slight criticism I’d have is that the vocals of Miles Kennedy don’t have quite their normal timbre – which might be the slightly less relative presence with the lower mids.  But it’s a small price to pay for the overall presentation. The other thing that I’m surprised by is that despite the brighter presentation, I’m not getting any signs of fatigue (YMMV here – remember that I am not treble sensitive).  Even on the much faster “Diary of Jayne”, although there is definitely a tinge of enhanced brightness with this track, I’m enjoying the presentation, and the drivers are having no problems keeping up.
 
Alt Rock – First up was Pink Floyd’s “Money”, and finally here is an IEM which able to do this classic track justice.  Nothing is missing, everything is very clear, and the Altone200 is handling the complex changes of contrast with aplomb.  The sax is pretty darn good too!  Switching to Porcupine Tree’s “Trains”, and here is a track that again suits the Altone200 extremely well. The bass is fantastic – and Wilson’s higher voice seems to suit the Altone200s slightly better than some artists with deeper vocal registers.  If you’re a PT fan, you should love the Altone200’s presentation.
 
Jazz / Blues / Bluegrass – Moving to Portico Quartet’s “Ruins” and this track is just toe tapping brilliance.  The crispness of the cymbals is really matching well with the undertone of the double bass, and the sax is simply sublime.  Switching to Miles Davis “So What”, and I’m struck once again by how well the Altone200 handles jazz.  I think it’s the overall contrast (double bass, brass, cymbals and percussion).  A highly detailed, yet at the same time, smooth journey.  Very occasionally I hit a slight peak with Mile’s trumpet – which you don’t get with headphones like Brainwavz S5 – but the S5 struggles at times to produce the Altone200’s detail.  So it’s a bit of a trade-off.
 
Next up was Blues – so I fired up Joe Bonamassa’s India-Mountain Time, a track that I like immensely.  The guitar work is mesmerising with copious sparkle and crunch.  Joe’s vocals are perfectly matched, and the bass is once again simply punctuating the overall experience.
 
Rap / EDM / Pop – Eminem’s “Lose Yourself” is pretty good with the Altone200 but I can’t help feeling that some of Marshall’s vocal impact is not entirely perfect (needs to be slightly deeper – less bright) and with the Altone200 it’s just slightly missing the mark.  The bass is really good though – but this is one track that definitely sounded better to me on the Brainwavz S5 I recently reviewed. Switching to Norah Jones “Light as a Feather” (a fusion of pop with jazz undertones), and as I alluded to earlier, it is pure vocal heaven (euphoric). I could lose hours, even days, just laying back and letting this wash over me.  Switching to EDM – and Lindsay Stirling’s “Electric Daisy Violin”, just slams! Lindsay’s violin is perfectly clear, smooth, and utterly enjoyable – and the contrast is the bass - thumping, but clearly defined – the perfect compliment.  I also tried some Little Dragon and some Flashbulb – and it is clear to me, my electronic music shines with the Altone200.
 
Classical / Opera – I was expecting some fairly good things with the Altone200 and for the most part it delivered. Netrebko and Garanca portrayal of Lakme’s Flower Duet was heavenly – and I found even Netrebko’s upper registers perfectly smooth (if you’re more treble sensitive you may struggle).  Kempff’s Moonlight Sonata was once again very captivating, but I don’t think it delivered quite the same tonal balance that a slightly darker IEM (Brainwavz S5) can do with this piece.  Still very enjoyable – but not perfect.  Switching to Julia Fischer’s rendition of Tchaikovsky’s Violoin Concerto in D – and the magic is back again.  I think the Altone200 sometimes needs contrast to show its strengths – and full orchestral passages are able to allow it to shine.
 
AMPLIFICATION REQUIREMENTS
 
The Altone200 is very easily powered straight out of virtually any portable device, and I didn’t experience any issues with the 2 DAPs I tested (iPhone 4, or Fiio X5).
 
RESPONSE TO EQ?
 
This was a really tough one for me – because I pretty much love the way these are now.  But for the review I thought I’d try and use Accudio Pro on my iPhone to EQ the Altone200 to give Pearl Jam’s “Elderly Woman Behind The Counter In A Small Town” a little deeper vocal presence that better suited my personal preference.  The Altone200 reminds me a little of the AKG K701/2 in it’s overall presentation of its midrange and treble – so I used this EQ preset, and left it as reference.  Eddie’s vocals immediately gained more impact and without killing the rest of the Altone200’s overall coherency.  It’s actually really enjoyable in this setting for anything requiring more depth in the lower mid-range – so I can confidently say that the Altone200 can EQ really well.
 
QUICK COMPARISON OTHER IEMs – T-Peos Altone200 vs DN-1000, BA100, Alfa Genus, and Brainwavz S5  
 

For this exercise I’ll try and give you a rough general comparison with some IEMs which I have on hand, and which range in value from around USD 75 – 200 (the Altone200 sits squarely in the middle of this range).  Rather than referencing particular tracks – I’m trying to make this general, as each IEM has its own strengths with different genres/tracks.  I’ve volume matched as closely as possible when performing the comparisons (using test tones and an SPL meter) – but it is relatively difficult to do this without a perfect set-up, and I fear that the results may not be entirely accurate.  So as always – take the following with a large grain of salt.  Remember these are my preferences only.
 
Vs HiSound Audio's BA-100 ($70-100)
The BA-100 are thinner through the mid-range, and have a lot less bass.  The Altone200 have a lot more bass impact – and also bring a little more lower and upper treble presence.  Overall perception of clarity is similar.  The BA-100 sounds a little hollow in direct comparison.
My preference Altone200
 
Vs Dunu DN-1000 ($200)
This one is really interesting.  Both have a similar overall signature – but the DN-1000 bass is IMO actually slightly overshadowed by the quality of the Altone200, and the Dunu’s upper midrange is a little more strident.  The DN-1000 has a marginally better lower midrange to me – but the Altone200 is slightly more coherent over all.  I’ve had the Altone200 in my ears a lot during the last week – so this may not be fair on the Dunus.
Edit : After receiving a few more comments regarding the bass on the Altone's vs the bass on the DN-1000, I retested again.  I've found that it very much depends on which frequency you volume match - as different frequencies will give differing overall presentation.  An example - volume matching lower mids causes me to increase the overall volume on the Altones - making it's bass bigger than the Dunu.  Overall -both hybrids have excellent bass - and this is augmented by the separation through the rest of the frequencies. 
My preference Altone200
 
Vs Alfa Genus (ebony filter) ($85)
Alfa Genus has less bass presence and impact.  Both have excellent clarity.  Alfa Genus is slightly thinner through the mid-range, but has more balance between lower and upper mids  The Altone200 has more cohesion over the entire frequency range though.  I am looking forward to the third filter being developed for the Alfa which should bring some of the balance it’s currently missing.
My preference Altone200
 
Vs Brainwavz S5
S5 has more overall bass quantity and darker tone.  Altone200 has more bass impact and better bass definition.  Both are very clear – but Altone 200 has more vivid presentation.  S5 actually has better cohesion between upper and lower mids, but again Altone200 has better overall cohesion across entire frequency range.  I do prefer the S5 for deeper male vocals, but the Altone 200 for everything else.
My preference Altone200
 
ALTONE200 - SUMMARY
 
Sorry in advance – this review has been longer than most – but it’s a testament to how much I really have enjoyed the Altone200.
 
The Altone200 is an extremely well built IEM with a nicely balanced and coherent sound signature. It has excellent bass texture, definition and impact, with great extension into the sub-bass. The mid-range is slightly forward in the upper mids (but not excessively so), and perhaps very slightly recessed in the lower mids (again this is slight). The treble is full and extended and overall it has a bright tilt to the upper end.
 
IMO the Altone200 performs exceptionally well with female vocals, and overall delivers vivid clarity, with a dynamic presentation.  Due to its size, and shape, the fit for me is extremely comfortable.
 
My litmus question is “would I buy these for myself”, and “would I recommend them to my family”.  The answer to this question is YES (emphatically YES!), and I will indicate to Sunggoo without reservation that I want to purchase this sample pair.  EDIT : and this morning (a day after posting the review) I did indeed pay for them.
 
I’m still trying to come to grips with the idea that a triple driver hybrid that sounds this good can be purchased for sub $150.  T-Peos has set a new standard with the Altone200’s and I have no issues with recommending them. For my personal preferences I would take these over any of the IEM’s I’ve previously owned – and that includes Shure’s SE535 LE.
 
RECOMMENDATIONS TO T-PEOS
 
Don’t change a thing.  Maybe reissue this model with a replaceable cable – that would be perfect  

PREAMBLE

Brainwavz is a now well established manufacturer of headphones in the value for money category – offering many different options (especially for IEMs) that suit almost anyone’s sonic preferences. I’ve previously had both good and bad experiences with their headphones / IEMs – I previously reviewed and owned their B2 IEMs and HM5 headphones, and both were stellar performers. I also sampled their R1 and R3 IEMs – but unfortunately these didn’t quite tick my boxes as much.

So when D2K alerted the community here that there was a new offering (the S3), and that his trial was really positive, I immediately subscribed to the growing thread. I was then contacted by Audrey and Raz about sampling the S5, and I readily agreed – especially after Luke (H20Fidelity) also suggested that they were well worth looking into.

I received the courier pack earlier in the week – and have already spent most days in that time getting to know the ins and out of these IEMs. I’d estimate that so far I’ve logged around 30-40 hours with the Brainwavz S5. A lot of this involved tip rolling and using different sources and genres to really get a feel for what the S5 offers to different music tastes.

I’ve listed price at USD $99.50 (current Amazon and MP3Nation price at time of writing) – however this is not what I paid for them (they are a review sample). I did contact Audrey offering payment for these IEMs (after I'd written and posted the review) – already I felt they were keepers. Audrey contacted me back, and insisted I keep them as a free review sample, and I am thankful to Brainwavz for this.

DISCLAIMER

I was provided the Brainwavz S5 as a review sample. I am in no way affiliated with Brainwavz or MP4Nation - and this review is my subjective opinion of the Brainwavz S5. I would like to thank Raz and Audrey for making this opportunity available.

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 (HSA Studio V3, Fiio X5, and iPhone4) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP). My main full sized headphones at the time of writing are the Sennheiser HD600, Beyer T1 and DT880. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Dunu DN-1000 or the HSA BA100 IEMs. 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 tend toward cans that are relatively neutral/balanced. I am neither a bass nor treble head (you could argue that I do like clarity though). I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the DT880.

For the purposes of this review - I used the Brainwavz S5 straight from the headphone-out socket of my Fiio X5, iPhone 4 and Studio V3. I did not bother with amping them, as IMO they do not benefit from additional amplification. In the time I have spent with the S5, I have noticed no change to the overall sonic presentation (I do not believe in 'night and day' burn-in). I will allow that the more time I've have spent with these IEM's, the better they continue to sound to me. Personally I think this is a combination of brain burn in and tip-rolling - but I will respect others choice if they interpret this as physical 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

PACKAGING AND ACCESSORIES

The Brainwavz S5 arrived in a very smart retail box (book type) – with an inner container housing the IEMs and accessories.


The packaging is very attractive and I think Brainwavz have put a lot of effort into this. It is functional, but also has a quality (or sophisticated) look to it. The colours simply convey something special. The retail box contains the catch phrase “rich details, smooth bass, over the ear design” on the front cover. A straight forward and simple message – and one it delivers on IMO. On the rear of the box is a list of accessories included plus the earphone specifications. On the inside of the front page is a really nice touch – and shows that Brainwavz are proud of what they are delivering – an expanded internal diagram of what makes up the S5. The inner audio-nut in me loves this sort of thing!


The accessory package is typical Brainwavz – very comprehensive, and quite exceptional for this price range.

First up you get the Brainwavz carry case – which is a hard fabric covered pouch – and easily carries all your tips and the S5. The case is really good because it does offer a lot of protection to the IEMs – but it is definitely more suited to transport in a jacket pocket or bag rather than a trouser pocket – simply due to its height. This is definitely a quality carry case though.


Along with the case you also get a very high quality 3.5-6.3 mm adaptor (which does fit and work perfectly with the S5), a small combined instruction plus warranty information sheet (reverse side), a huge selection of silicone tips, and a genuine set of comply T400 medium tips.


The silicone tips include 6 sets of standard tips, 1 set of double flanges, and one set of triple flanges.


TECHNICAL SPECIFICATIONS

(From Brainwavz)

FREQUENCY GRAPHS

I have requested this information – but not sure if it is available. If not, I will re-edit the review and add the information when someone eventually measures the S5. For the record – I’m expecting a relatively flat mid-range, elevated mid bass, upper mid-range and lower treble, and some roll off in the upper treble.

BUILD QUALITY


When I first saw photos – before I’d done the research – I automatically assumed that the body was hard moulded plastic. It definitely looks a lot like the body of Shure’s SE range. Up close – it even looks like black shiny plastic – but when you actually handle them, you realise that it is actually an aluminium alloy - Brainwavz confirms it as aluminium 6061 (info here). The build quality on the S5 shell is extremely good – one of the best I’ve seen at any price. It’s ergonomically designed for the shell to fit relatively flat against the concha – with the nozzle protruding on an angle into the ear canal. The design is such that the body of the S5 sitting against the concha is well rounded, very smooth, and (for me) extremely comfortable. With so many dynamic driver earphones opting for a bullet type shell, it is very refreshing seeing this sort of design option, as I find it aids both isolation and comfort.

The S5 is also relatively light weight and comfortable to wear – weighing in at only 21g, and I think a lot of the 21g is actually in the cable (more on this below). Comparatively, other IEMs I’ve tried recently vary between the very light weight Alfa Genus and BA100 at around 14g, and the DN1000 coming in around 26g.


The strain relief from the IEM housing is relatively rigid rubber moulded onto the housing, and looks of sufficient quality to last for considerable time, and protect the cable very well. L/R markings are printed in very small print on the strain reliefs – but IMO this is not an issue, as the design can only really be worn one way. And that’s another of the great things about this design – it’s easy in no light/low light situations to always get the right ear piece simply by feel.

The cable is a 1.3m flat copper cable in an outer rubbery flat sheath (Brainwavz advises that this material is TPE - more info here) . It seems very solid, but leads to my only real complaint about the S5. The cable is quite microphonic compared to a lot of the IEMs I’ve had the pleasure of trying recently. It’s not the flat design either – it’s simply the rubbery sheath. I tried running in them earlier in the week, and even with them properly cinched, I got a fair amount of microphonics. Wind on the cable yielded similar issues. They weren’t as bad, when walking, and definitely better with the cable properly cinched. Another way to alleviate this might be with a shirt clip, or to tuck the cable well inside clothing. Whilst there are ways of fixing this, it is unfortunate IMO that the design was not altered. I’ve included a photo of the Alfa Genus cable I reviewed recently (similar price bracket) which shows what can be achieved – twisted pair with a low microphonic outer sheath – strong, malleable, quiet. Something for Brainwavz to think about for the future perhaps? The flat cable is comfortable over ear.


The splitter is a little larger than most offerings, but is flat and does have a cinch (neck slider) which works well. Strain reliefs are very good.

The plug is a straight plug which is relatively petite – and I had no issues fitting it to my iPhone with cover intact. Once again, strain relief at the plug is excellent.

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 grey large silicone tips included, and they actually fit pretty well. I was finding that the seal would get interrupted a little, so I tried my trusty pair of Monster Super Tips (dense foam that almost always give me a complete seal). They did fit exceptionally well – but tended to attenuate the upper-mids and highs just a little, whilst making the bass almost too prominent. So I them switched to the Comply T400s – and ….. perfection (for me). Really good comfort, good isolation, but more importantly the sonic signature returned to a nicely balance mix.

All tips stayed intact with the S5 during insertion and removal, so the design of the nozzle definitely gets thumbs up from me. Isolation with the T400s is good enough for long distance air travel, and the comfort is brilliant. I’d have no issues at all sleeping with the Brainwavz S5 – especially with their flat profile.

So what does the Brainwavz S5 sound like ……… ?

SOUND QUALITY


The following is what I hear from the Brainwavz S5. 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.

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

I’m finding the Brainwavz S5 to have a V shaped frequency response with a boost to the bass presence (and when I say boost, these are in not overly dark or muddy), quite flat and balanced mid-range (nice cohesion between lower mids and upper mids), and a bump in the lower treble. One thing I am noticing is that because there is some boost in the 3-4kHz region, I’m actually listening to the S5 at a slightly louder volume level than I would with other IEMs (I’ve noticed a lot of other IEMs boost this region to bring vocals forward). I tested this last night with the T-Peos Altone200s, and to approximately match the vocal SPL on the A200s required another 7dB on the S5. I tested this with an SPL meter and 3kHz constant tone. – then afterwards compared Christina Perri’s track “Human”.

Overall Detail / Clarity

For this I used 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 Brainwavz S5 displayed reasonable detail retrieval with a mellow and laid back sound, and just a hint of sizzle from the lower treble. With Gaucho, the cymbals are there, but in the background (behind the vocals). It is a smooth presentation, with no real peakiness – just allowing me to enjoy the track. Switching to Sultans of Swing, and once more the focus is more mid-range than treble. This track shows a little more crispness – but again, no major peaks, and Knopfler’s guitar just really sings. The more I listened to these tracks, I realised that any brightness is probably more on the upper mid-range than the actual treble itself. Cymbals and high-hats are there, but subdued (or polite) rather than brashly represented as some IEMs do.

There is no smearing of detail in either track – so separation is pretty good.

Sound-stage & Imaging

For this I used Amber Rubarth’s binaural recording “Tundra”. I used 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 Brainwavs S5 for me is a typical IEM in this regard. The sound – while relatively clear (the drums are probably the most focused), is still very much ‘in your head’ – but still enjoyable. Directional cues are good – so for a value priced IEM its imaging is OK – perhaps not quite as stellar as some of the more detail oriented IEMs I’ve tried recently.

I also used Loreena McKennitt’s “Dante’s Prayer” and the S5 again delivered a very smooth and easy to listen to performance. The sense of space normally exhibited by my full sized headphones (HD600 / DT880) was missing – but the overall presentation was enjoyable and there were some directional cues present. 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 S5, the clapping did seem a little distant – but there was a sense of space, and the more realistic tone actually does emulate some of what the HD600 can achieve. At this point I retried the ending again, this time giving the S5 a volume boost, and all of a sudden the crowd sprang into life – and the some of the realism I hear with the HD600 was apparent. Quite an achievement at this price point.

Genre Specific Notes

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

Rock – For me, the S9’s perform well with this genre, with the most noticeable feature being the smoothness of the overall presentation, and also the very punchy bass. 3 Doors Down “Away From the Sun”, and Alter Bridge’s “Broken Wings” are both nicely presented – but their isn’t the same crunch and excitement with guitar that I’ve had with IEMs with a slightly brighter top-end. Overall though it is very easy to listen to the S5 for extended periods of time, and there is simply no fatigue with any of the tracks I’ve listened to. Even on the much faster “Diary of Jayne”, although the presentation is slightly warmer than I am used to – nothing sounds smeared – the driver is keeping up nicely. Vocals are well presented – but rather than being too far forward, they are really nicely matched with a very present and impactful bass.

Alt Rock – First up was Pink Floyd’s “Money”, and unfortunately the S5 just didn’t quite do this classic track justice. The cymbals this time were almost lost. Bass (especially bass guitar) was exceptional, vocals were nicely presented, even the sax was well represented, but the top end detail was unfortunately missing. Switching to Porcupine Tree’s “Trains”, and here is a track that suits the S5 really well. The bass is just gorgeous – and this time even the upper end is present. Best of all Wilson’s voice just really suits the S5’s relaxed vocal presentation.

Jazz / Blues / Bluegrass – I started with Portico Quartet’s “Ruins” and enjoyed the presentation – but missed some of the crispness that I normally get with the sax in this excellent track. Moving to Miles Davis “So What”, and whilst it’s a pleasant and non-fatiguing listen, some of the finer details (particularly in the cymbals and high-hats) are simply not where they should be. There just isn’t the contrast. Miles trumpet is intoxicating though – and the S5 does the master justice with a presentation as smooth as his playing style. Switching to Blues – I fired up Joe Bonamassa’s India-Mountain Time, a track that I like immensely. The guitar work is very different to what I am used to – slightly darker with less sparkle and crunch. But it’s still Joe doing what he does best – and once he starts singing, I actually like the S5’s presentation of his vocals very much. Switching to “Dust Bowl Children” (Alison Kraus and Union Station), and the S5 also does this pretty well. A little less excitement in the banjo than I’m used to – but the cohesion between vocals and stringed instruments makes it a very easy listening experience.

Rap / EDM / Pop – Eminem’s “Lose Yourself” shines with the S5 – everything works together very cohesively (vocals, bass, guitar), and it’s surprising how much bass these drivers can deliver with the right song. What surprises me though is how clear the song is despite the copious bass it’s putting out. I think even bassheads would enjoy the S5! Switching to Norah Jones “Light as a Feather” (a fusion of pop with jazz undertones), and it is pure vocal heaven. I could listen to this sort of presentation for hours. In fact most Pop in my library just sounds right with the S5 – vocals shine, bass is impactful, again the word cohesion comes to mind. Switching to EDM – I tried Lindsay Stirling’s “Electric Daisy Violin”, and I was blown away by how good these are for this type of music. There is enough upper mid-range to make Lindsay’s violin clear, smooth, and utterly enjoyable. And then there is the bass, thumping, but clearly defined – just the perfect compliment. I also tried some Little Dragon and some Flashbulb – and it is clear to me, most electronic music shines with the S5 IMHO.

Classical / Opera – This was a surprise wasn’t really expecting. I thought the S5 might be a little too smooth for these genres, but I really enjoyed them – especially with Netrebko and Garanca. Even Kempff’s Moonlight Sonata was very captivating, and I think this might be one of the S5’s hidden strengths. Because it has such a balanced mid-range it can convey a sense of realism with individual instruments (eg piano) which is sometimes lost when the mid-range is too forward.

AMPLIFICATION REQUIREMENTS

The S5 is very easily powered straight out of virtually any portable device, and I didn’t experience any issues with the 3 DAPs I tested (iPhone 4, Studio V3, or Fiio X5). Of the three – my personal preference would go to the Studio V3’s slightly brighter presentation.

RESPONSE TO EQ?

I was keen to see what the S5 could do by applying a little EQ. So feeling somewhat lazy, I simply switched to my iPhone, fired up the Accudio Pro app, and loaded an HD600 base signature with a K701 mask over the top. I went back to Portico Quartet’s “Ruins” again, and this time the detail I was missing earlier was more present. So the S5 responded really well to EQ for me. This is something I need to look into further as I use these more.

COMPARISON OTHER IEMs – DN-1000, BA100, T-Peos Altone200

Track – a personal favourite of mine – Pearl Jam’s “Elderly Woman Behind The Counter In A Small Town”

Vs HiSound Audio's BA-100
Hands down my preference is the S5. It’s amazing after having these in my ears for a few days how thin the BA100 is in comparison. I know that’s just my brain not used to the very contrasting sound signatures – but I didn’t think the difference would be this large. The S5 has beautiful tone and excellent timbre with this track. The BA100 is clearer, but it simply seems to lack body.

Vs Dunu DN-1000
This time it’s a lot closer – but where the BA100 was thin, the DN-1000 is fuller, and delivers both tonality, but also a clearer presentation more suited to my individual tastes. The S5 definitely competes well though, and is definitely not embarrassed by its much more expensive competition. Where the DN-1000 has a little more sparkle and contrast, the S5 still delivers better bass impact, and is smoother. I actually may also prefer Vedder’s voice with the S5 …….

Vs T-Peos Altone200
This is a tough one because the presentations are quite different – but they are quite close in price at the moment. The Altone200 will sit eventually around the $150 mark, so I suppose it is a little unfair on the S5. The S5 continues to be very full bodied, with excellent timbre and tone – and is very smooth. The Altone200 is not quite as full bodied, but has excellent bass presence, and superior upper mids and treble. For this track I may have a slight preference toward the T-Peos. But that is no doubt my personal preference for a little more sparkle and energy.


BRAINWAVZ S5 - SUMMARY

Those who’ve seen my reviews before will know that I tend to write reasonably long rambling ones. So once again, if you’re still with me to the end, my thanks.

The Brainwavz S5 is an extremely well built IEM with a mildly V shaped sound signature, very good tone and timbre, and excellent comfort and fit. Once again it is an IEM that belies its $100 price range – delivering superior sonics at an incredible value. It has an emphasis on bass impact, but does not come at the cost of clarity or smearing into the mid-range. The mid-range itself is quite linear, the lower treble has some "sizzle", but the upper treble is what I would call polite (definitely not a focus). The S5 has a very smooth overall signature which suits many genres. Treble-heads, or people preferring brightness and etched detail should definitely look elsewhere – unless they are willing to rely on some EQ (which the S5 responds to quite nicely).

The one fault I do find with the S5 is that the cable is perhaps a little too bulky, and is definitely microphonic – but this can be managed to minimise the effects.

The litmus question again for me would be “would I buy these for myself”, and “would I recommend them to my family”. The answer to this question is YES – and I did indicate to Raz and Audrey that I wanted to purchase them. They have insisted I keep them as a free review sample, which I do appreciate. I will reiterate though that I did offer to buy them - which shows how I do regard the S5.

These are easily the best Brainwavz offering I’ve tried since the B2 (a few years ago).

Edit 8 Oct 2016 - revised these down by 1/2 star - value today is not as good as it was when first released. Still sound pretty good for a V shaped IEM, but might struggle today at USD100 mark

RECOMMENDATIONS TO BRAINWAVZ

Consider changing the cable to something lighter and less microphonic

PREAMBLE

INTRODUCING ROCK JAW’S ALFA GENUS SINGLE DYNAMIC DRIVER IEM (Updated 8th Sept)

Special Note - I've updated the review 8th Sept 2014 - amendments are marked in red for easy identification.


RockJaw UK is a relatively new headphone/earphone manufacturer to the Head-Fi scene, so it was with particular interest that I noticed their early posts on the forums, and when they asked for potential reviewers to test their audio product range, but more importantly wanted active feedback to shape their tuning toward the final product configuration – I immediately jumped at the chance.

I received the courier pack just under two weeks ago – and after quickly trying the other products sent (most of which needed quite a few changes in various forms), I’ve mainly used the Alfa Genus IEMs – which is what I’m reviewing today. I’d estimate that so far I’ve logged around 50-60 hours with the Alfa Genus. I intend to log many more. Read on – and find out why!

I’ve listed price at USD $84 (current Amazon UK price is 49 GBP at time of writing) – however this is not what I paid for them (they are a review sample).

DISCLAIMER

I was provided the Alfa Genus as a review sample. I am in no way affiliated with RockJaw - and this review is my subjective opinion of the Alfa Genus. I would like to thank Bob at RockJaw for making this opportunity available.

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 (HSA Studio V3, Fiio X5, and iPhone4) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP). My main full sized headphones at the original time of writing were the Senn HD700 and HD600, Beyer T1 and DT880. Most of my portable listening is done with IEMs - and up till now it has mainly been with the Dunu DN-1000 or the HSA BA100 IEMs (since then I've also acquired a pair of Sony XBA4, Altone200 and Fidue A83). 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 tend toward cans that are relatively neutral/balanced. I am neither a bass nor treble head (you could argue that I do like clarity though). I am not treble sensitive (at all), and in the past have really enjoyed headphones like the K701, SR325i, and of course the DT880.

For the purposes of this review - I used the Alfa Genus straight from the headphone-out socket of my Fiio X5, iPhone 4 and Studio V3 (Studio V3 has since been sold - so not tested with new filter). I did not bother with amping them, as IMO they do not benefit from additional amplification. In the time I have spent with the Alfa Genus, I have noticed no change to the overall sonic presentation (I do not believe in 'night and day' burn-in). I will allow that the more time I've have spent with these IEM's, the better they continue to sound to me. Personally I think this is brain burn in - but I will respect others choice if they interpret this as physical 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

PACKAGING AND ACCESSORIES

The Alfa Genus arrived in a smart but simple (no frills) retail box – with an inner container housing the IEMs and accessories. Rock Jaw have already stated that they are reviewing current packaging – and this is likely to change in the future.


The packaging I have is ideal for a retail presentation - an easy to display rectangular retail box - with an 'average' footprint. The retail box is easy to read, and contains the normal marketing type hook/message on the front “interchangeable sound tuning filters – your sound, your way”. On the rear of the box is a lot of information including easy to read specifications.


The inner container is interesting – it’s plastic, but slides open to reveal the IEMs, tips and filters. While I can’t really see people using this case for transportation –I think it would be ideal for longer term storage. There is no smaller carrying case for day to day storage or transport – but we understand from contact with Bob that they are looking to add this to their IEM range in the near future.

EDIT 8th Sept - Rockjaw has announced new packaging for the Alfa Genus, and I have shown below Bob's photos. Final-final packaging will be black instead of grey.



The accessory package is relatively small – 3 silicone tips (S, M, L), a shirt clip, and two sets of tuning filters.


In addition there is a comprehensive double A4 sized printed sheet with full instructions on use, maintenance, fit, and warning on excessive volume (a nice touch IMO). The one thing I would change here is to maybe consider reducing the size of the guide to booklet size – and really think about whether to include the section on “running in process”. Science tells us that there are little to no audible changes “burning-in” headphones – and the suggested 100 hours is IMO a little ridiculous. I would personally like to see this left up to the user – and not suggested by the manufacturer – unless they have measurements that clearly show an audible change over time.


The two included filters are silver (enhanced bass), and ebony (‘audiophile’). The difference with the filters is that the ebony ones have a very small vent between the two rings in the centre. More on this later when I discuss the sound signature each conveys.

The Alfa Genus now comes with three sets of filters - bassy (silver), bright/detailed (ebony), balanced (champagne). More info on these later in the review.


The shirt clip is a nice touch for those who need it – but personally I found it difficult to remove from the cable (very tight fit) – and would prefer it come as an included accessory rather than an attached one.

TECHNICAL SPECIFICATIONS

(From RockJaw)

FREQUENCY GRAPHS


Just a quick note here – I asked for these from Bob, and duly received them – and Rock Jaw were quite happy for me to include these in my review. It is refreshing to see a company willing to disclose (within reason) information that helps their potential customers in their decision making. The graphs are raw data – but should convey a general idea of the tuning of the drivers with the two filters. At time of editing I don't have info for the third filter's frequency response - but common sense would indicate it sits somewhere between the two original graphs.

BUILD QUALITY

In communicating with Bob, it is clear that Rock Jaw’s underlying philosophy is to maximise (as much as possible) build quality, practicality, versatility and sonic ability – and to minimise anything which adds cost without benefit. This shows clearly in the overall package.

The Alfa Genus appears solidly built using quality materials, and is very light weight (my digital scales show just 14-15g with fitted filter and large tips). Comparatively, the BA100 is a similar weight, with the DN1000 coming in at almost double the weight at 26g.

The body of the Alfa Genus is made up of an ebony tone-wood shell, with an aluminium front face (which actually holds the driver). The front face has a recessed thread to allow the filters to be attached.


The strain relief from the IEM housing is aluminium (rigid) with an added flexible rubber sheath. This is really well thought out as it assists in both adjustment while wearing, and removal, without putting undue stress on the wires. One criticism here is that the L/R indicators are printed white on a silver surface, and are extremely difficult to see – especially in low light. I would prefer these to be much more visible.


The wire is a twisted pair (OFC) coated in a shiny PVC type sheath. Although the wires are relatively thin, the twist and sheath add strength, and far for me (I wear over-ear), have very low microphonics. I’ve been walking/jogging with these – and although I get the usual annoying foot-impact sound (bone induction) – actual cable microphonics are minimal. The splitter is generic, rubber, small but functional. There is no adjustable chin slider / cinch – which is a shame, as for some this will be even more important than a shirt clip. This can be easily rectified with a little bit of DIY heatshrink – (the plug is small enough to slip this over).

The plug is a 90deg plug that is very petite – but does aid some DAPs which may not have a lot of room with their 3.5mm sockets – especially with covers attached. The cable stress relief at plug and splitter is again generic – but adequate for normal wear and tear. I genuinely like the cable – and only additional comment would be that I’d like to see some sort of attached cable tie – similar to the DN-1000.

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. The silicone tips included look similar to the Sony hybrid tips (no foam filling though) and fit the Alfa Genus extremely well. I did have issues getting a full seal with them, but found over time that by utilising reasonably shallow insertion, the seal was actually better than a deeper insertion. The tips are very comfortable for me, and because the Alfa Genus is so light, after a while I hardly know I’m wearing it.

With the stocks tips, isolation was OK – but not stellar. With no music playing, I could hear people around me – but with music at a moderate level – they isolate reasonably well.


I tried some foam complies and also some Monster Super Tips to see if I could get a better seal. I definitely achieved a better seal – but – the tips would not stay on the Alfa Genus when removing them from my ear. There is not enough nozzle length, or maybe the nozzle itself is not wide enough, to successfully keep foam type tips intact on the IEM when a deep insertion is achieved. The only way to achieve this in the current configuration is to push the tips all the way to the base of the nozzle. Unfortunately (for the ebony filter), this blocks the filter port, and turns them into bass cannons. A fix would be either using dampers rather than ports for tuning the filters, or positioning the port at the base of the filter. Bob is already working on future fixes.

With a little more experimentation I have been able to get foam filters that successfully fit the Alfa-genus without blocking the ports. The foam tips that came with my Altone200 worked quite nicely. I understand the sizing might be similar to Comply T500 tips - but might need someone else to corroborate this. In any case, I actually now prefer the stock silicone tips with the Alfa Genus - although YMMV.

Even with a relatively shallow insertion, the Alfa Genus do not extend past my outer ear, and are so comfortable that I could sleep with these intact.

So what do these sound like ……… ?

SOUND QUALITY

The following is what I hear from the Alfa Genus. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline).

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

Silver Filter – General

The silver filters – as long as you get a reasonable seal – are very warm and bass focused. For people that prefer a very bassy sound they may be ideal – but I found the bass overpowering.

With straight rock songs (3 Doors Down “Away From the Sun” / Alter Bridge “Broken Wings”) I just found that there was a lot of bass bleed into the lower mids, and the whole presentation became a little congested.

Even on the Studio V (bright DAP) with Beth Hart’s “Lift’s You Up” (bright recording), the resulting presentation was quite warm and bass emphasised. I have to admit though – this particular track wasn’t too bad – and there was a phenomenal bass slam with it.

Switching to Eminem’s “Lose Yourself” was an eye opener with the silver filters. There was enough sparkle and the vocals were actually quite clear – but the bass! – visceral is the only way to describe it. I’d actually imagine that some rap, hip-hop, EDM, lovers who are true bassheads will really enjoy these.

In order to cover all genres, I also tried the silvers with some indie acoustic (Angus & Julia Stone and Yesper), some classical, opera, and some jazz (Portico Quartet and Miles Davis). Again – a very warm presentation each time, with the mid-range (especially lower mids) politely subdued, and unfortunately a lot of the detail which I love these recordings for, somewhat pushed to the background. There is enough sparkle to retain some interest – but these filters are just a little too much for me personally. I have no doubt though that some people will love this sound.

For the rest of this review, I gratefully returned to using the ebony filters. And what a transition!

Champagne Filter (NEW) - General


The new 3rd filter to be included now with the Alfa Genus is champagne coloured, and represents a mid-point between the bassy (silver) and detailed/audiophile (ebony) filters. The other noticeable difference (physically) with this filter is the addition of acoustic dampening material inside the filter. So how does this new filter sound, and does it bridge the gap?

[size=11.1999998092651px]Again with straight Rock songs (3 Doors Down / Alter Bridge) first - and I can see already that a lot of people will enjoy this presentation. Bass is full and well presented without the bloat, and vocals retain their clarity. The most impressive thing is the amount of detail hasn't suffered - but the treble comes across very smooth. It really is quite a lush and full listening experience. Very non-fatiguing.[/size]

[size=11.1999998092651px]Trying a couple of brighter recorded albums I have in my library (Beth Hart's "Live at Paradiso" and Genesis' greatest hits album "Turn It On Again"), and for my personal tastes, these are getting close to perfect. With these albums when using some of my brighter IEMs things can get a little peaky - but the Alfa Genus gives a beautifully balanced and vivid presentation - but none of the glare.[/size]

[size=11.1999998092651px]Testing on bassier mainstream music - Eminem's "Lose Yourself" and Lorde's "Royals" and once again great mix of bass impact, and vocal clarity. The Eminem track in particular is very good (and I'm not really a hip-hop fan). The only issue I have (and this is my own personal preference coming to the fore) is with tracks like "Royals" where the vocals are recorded on the warmish side anyway - I personally would prefer a little more brightness int he upper mids and lower treble. But that''s the beauty of this filter system. I simply need to change them - and I essentially have a different IEM![/size]

[size=11.1999998092651px]Moving to Indie - Yesper's "Cannibal King" - and the champagne filter again just gives a lush and smooth (but clear) presentation, and this feeling is repeated as I've tried other genres. Portico Quartet's "Ruins" is brilliant (although again I prefer just a little more brightness) - but it's a very good filter for jazz - really smooth. Norah Jones really does shine, and even more so Gabriella Cilmi. Classical is good - but I've been conditioned to my T1's and brighter IEMs for a while now - and I can't help wanting just that little more treble extension.[/size]

[size=11.1999998092651px]Finally onto my litmus test - Pearl Jam (male vocals). Ahhhhh. Yep - this is the one. Does Vedder's voice justice - more so than any of the other filters.

Although for my own personal preferences, I think I'll still probably use the ebony filters for most of my listening with the Alfas, if it involves extended listening of my Pearl Jam collection (I own almost all of their albums) - it will definitely be with the new champagne filter. [/size]


Ebony Filter - General

I’ll make this a short summary before I go into more detail and specific genres. The ebony filters give the Alfa Genus a more balanced frequency response but with a brighter than strictly neutral tonality. Bass is definitely there, but now it is fast, and detailed, and clean – reminds me very much of the bass on a well amped K701 (quality rather than quantity). The mid-range is very clean, and very clear, with slightly more emphasis on the upper mids, and a very clear and reasonably extended treble.

Note : At this point all further testing was done with the ebony filters fitted

Overall Detail / Clarity

For this I used 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 Alfa Genus displayed reasonable detail retrieval with a crisp and bright sound, and I was actually very much reminded of Grado or AKG type mids – which just have the ability to captivate and hold my attention. The more I listened to these tracks, I realised that the emphasis is probably more on the upper mid-range than the actual treble itself. Cymbals and high-hats are definitely presented, but not where most of the focus lies.

Sound-stage & Imaging

For this I used Amber Rubarth’s binaural recording “Tundra”. I used 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 Alfa Genus for me is a typical IEM in this regard. The sound – while crystal clear (the drums are fantastic in this piece BTW), is still very much ‘in your head’ – but still very enjoyable. Directional cues are good – so for a value priced IEM its imaging is actually pretty good, and with the ebony filters it’s an enjoyable journey.

I also played Loreena McKennitt’s “Dante’s Prayer” and the Alfas were once again extremely clear – but where full sized open headphones (HD600 / DT880) give this track a wonderful sense of space, the Alfas were far more intimate. I also like this track for its ability to portray a sense of realism. The applause at the end of the track is so well presented that with some headphones (HD600) I can actually close my eyes and imagine myself in the crowd. While the Alfa didn’t get me quite there – it definitely gave an inkling of space with this section – so that is an achievement in itself.

Genre Specific Notes

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

Rock – IMO the Alfa Genus loves this genre with the ebony filters. Guitars are crisp, clear, captivating. Bass is present – but doesn’t overpower other frequencies, and the driver itself is fast and keeps up with more complex passages quite well. Both male and female vocals are presented incredibly clearly – and always seem to be brought to the foreground.

Alt Rock – Again a winner with the ebony filters. Pink Floyd’s “Money” is a complex track that can trip a headphone up with its many contrasts – the Alfa Genus just took it in its stride – with perhaps my only complaint being that the very forward mid-range did portray just a touch of stridency during the sax and guitar solos. With Porcupine Tree’s “Trains” however, there was no issues at all – the tonality was almost perfect for me – with the only thing I would have really liked being just a touch more mid-bass for impact. This again is one area where the new champagne filter really shone - and the ability to switch between the two (champagne or ebony) depending on mood was very much appreciated.

Jazz / Blues / Bluegrass – clean, clear, crisp – great transparency and cohesion. Focus definitely on the full mid-range with Miles Davis’ “So What” being rendered with a great deal of focus.

Rap / EDM / Pop – Probably lacking a little impact with Eminem’s “Lose Yourself”, and it does detract a little from presentation of this genre. Lorde’s “Royals” on the other hand has copious amounts of bass – so this driver (in this configuration) has no issues with sub-bass. Again with EDM tracks like Lindsay Stirling’s “Electric Daisy Violin” I was left just wishing for a little more impact – it doesn’t need a lot, but just a touch more bass would help impact and immersion. With most of these genres I’m finding really clear (still forward though) vocal presentation which you just don’t expect at this price point. With these genres in particular, I do think a lot of people will love the new champagne filter, as it does solve the issues I had with wanting a little more lower mid and mid-bass.

Classical / Opera – The Alfas handle this genre very well. Ideally I’d like a greater sense of space, but it’s very easy with the right music to get lost and lose track of time, and that is a pretty good indicator in my book. I started listening to Zoe Keating’s “Escape Artist” (modern classical cello) and before I knew it, I’d gone through 3 tracks and almost 20 minutes had elapsed. Wilhelm Kempff’s rendition of Moonlight Sonata was equally compelling. But again – I did get the feeling that with Moonlight Sonata that the mids just might be a touch more forward and energetic than ideal.

AMPLIFICATION REQUIREMENTS

The Alfa Genus is easily powered straight out of virtually any portable device, and I didn’t experience any issues with thin-ness or hiss from the 3 DAPs I tested (iPhone 4, Studio V3, or Fiio X5). Of the three – my personal preference with the ebony filters would go to the X5 – as it seems to add just a smidge of bottom end which is missing.


RESPONSE TO EQ?

IMO - the Alfa Genus don't need a lot of tweaking. But it's always nice to see what they are capable of if you do decide to apply EQ. So I switched back to the iPhone with the Equaliser app, and gave them a little increase in the mid-bass – and they responded extremely well. The addition of a little more mid-bass impact worked well for me.

COMPARISON OTHER IEMs – DN-1000 & BA100


Track – a favourite – Pearl Jam’s “Elderly Woman Behind The Counter In A Small Town”

Vs HiSound Audio's BA-100
Both are very, very clear – with a lovely balanced presentation. The major difference I think is in timbre and body – with the Alfa’s having a slightly fuller overall presentation, and the BA100s having a little more treble emphasis, and a little less mid-range. I like both – and could easily live with either.

Vs Dunu DN-1000
Again, both very clear headphones, but the balance with the Dunus, the additional bass impact, and the added sense of space is simply superior. But let’s remember the DN1000 is a triple driver hybrid at almost 2.5 times the price of the Alfa Genus. The Alfa Genus does have a feeling of extra clarity over the Dunus – and if there was a little additional bass impact, my personal preferences might place these two IEMs a lot closer. And that really says volumes about the $84 Alfa Genus – it really is tuned well IMO.

QUICK NOTES ON MY EXPERIENCE WITH ROCK JAW

Although I’ve only been conversing with Bob from Rock Jaw for a couple of months, I can already see that this is a company to watch for the future. They aren’t simply rebranding/repackaging a generic driver with a few tweaks. They are instead developing and tuning their own drivers, and they are genuinely interested in working with the community to improve their products. They’ve listened to all of our suggestions, and actively introducing changes for their current models. One of these changes will be the addition of another filter for the Alfa Genus – which should sit sonically between the silver and ebony filter- giving a little more bass impact, but retaining the clarity and overall balance which is very much the trademark signature of the Alfa Genus. Other changes will include carry pouches, and possibly more variety in tips.

Rock Jaw have also been very open regarding information they’ve provided to date – and have dealt with all of the early testers in a very open and encouraging manner.

Because of my location, I have offered to pay for freight, and have also offered to return all of the samples following the reviews. Rockjaw has politely but firmly declined these offers – telling me instead that the feedback we are giving will be invaluable for their future development.

One of the things I've really enjoyed in dealing with Rockjaw is their patience (they didn't rush the latest changes until they felt they were right), and also their willingness to engage and listen to their customer base. I feel really privileged to have been involved with the development of the Alf Genus, and to watch as it has developed into its mature form.

ALFA GENUS - SUMMARY

Firstly my apologies. Those who’ve seen my reviews before will know that I tend to write reasonably long rambling ones. So if you’re still with me to the end – thanks.

The Alfa Genus is a light weight, well built, tuneable IEM (via filters) which has no real business being priced at its current price point – to me it represents incredible value. The sound signature (ebony filters) is very much mid-range focused, but with a bright clear presentation. It is an energetic IEM with an intimate presentation that in some ways reminds me of my HD700 (without the similar bass impact).

The litmus question for me would be “would I buy these for myself”, and “would I recommend them to my family”. The answer to this question is a resounding YES – and in fact I have already asked Bob if he would accept payment for this pair. I really do like them that much. Of course Rockjaw has declined – but that’s a debate I will have with him again at another time.

The only caution I would suggest with these is that if you are treble sensitive, it may pay to consider something a little darker in nature. Grado, Beyer or AKG lovers may find them ideal though.

The addition of the new champagne filters has really made these into an IEM for everyone, and I simply cannot think of another IEM at this point that offers even close to a similar amount of tunability and versatility. I would definitely recommend these to anyone - they are quite simply a steal at this price point, and should make any reviewers 'wall of fame'.

Congrats Bob and Rock Jaw - these are a winner in my book.

RECOMMENDATIONS TO ROCK JAW

Here is a very short list of what I’d change if I could. Some of this has been discussed with Rock Jaw already, and is already down for future alteration.

1. Change paperwork to remove “burn-in” information
2. Add carry pouch if it fits price profile (done with the latest offering)
3. Add 3^rd filter to bridge gap between “extreme bass” and “audiophile” (achieved with new filter - and very successfully)
4. Change filters to use dampers – or port filter tuning ports at base – so foam tips can be used (correctly sized foam tips do work - just needs some playing around)
5. Add chin slider to cable
6. Make L/R marking on Alfa Genus easier to read

 
INTRODUCTION
 
I’m pretty happy with my current audio chain at the moment (see my sig for set-up).  I have pretty much all bases covered for both portable and desktop listening – but like most Head-fiers, I’m always interested in trying something new.  You never know if it could be the next “must have” device.
 
So I was immediately interested when Esra from Beyerdynamic asked for volunteers on the forums to test their new A 200 p.  Unfortunately I’ve only had the device for around a week (loaner programme).  These are only short term impressions – so please bear this in mind when reading the review.
 
DISCLAIMER
 
I was provided the A 200 p as a loaner for the purpose of trial and reviewing.   There is no financial incentive from Beyerdynamic in writing this review.  I am in no way affiliated with Beyerdynamic - and this review is my honest opinion of the A 200 p.  I would like to thank Esra and Margarete for making this opportunity available.  Beyerdynamic have been excellent with their communication and service so far.
EDIT - I later purchased the review unit from Beyerdynamic for a reduced price
 
PREAMBLE - 'ABOUT ME'.
(This is to give any readers a baseline for interpreting the review) - click to read.
 
 
SO WHAT IS THE A 200 p?
 
 
The A 200 p is a very small (about 1.5 times the size of a small box of matches) 24/96 resolution DAC/amp which can successfully take the digital stream from selected Android and Apple devices, and decode and amplify this via its own onboard DAC and amplifier.  It can also be used as a USB DAC/amp in a computer set-up.  Physically it’s about the same size as my uDac-3.
 
PACKAGING AND ACCESSORIES
 
 
The unit arrived in a compact but well protected outer retail package.  It’s a nice clean retail box with plenty of information including specifications on the rear.
 
 
Removing the outer carton exposes the inner box (all in black) showing the diminutive A 200 p.  I really like this display style as it puts the focus solely on the A 200 p.  Under the tray which securely houses the A 200 p is another box containing the accessories – a longer 1m USB cable (charging + for PC use), a 15cm Android connector cable, a 15cm i-device lightning cable, a leather form fitting case, spare adhesive dots (to help turn the volume wheel), and an instruction manual.
 
 
The cables all feel very solid and really well made with solid plugs and strain relief.  The leather case fits snugly, and has a nice loop on the rear for attaching to a belt.  It exposes the necessary controls whilst still protecting the unit.  My only critique so far would be that due to the placement of the blue LED, the case can sometimes obscure this.  A slightly larger opening would help.
The documentation is pretty simple and straightforward – but could use a little more information – such as how long to charge the battery.
 
 
 
All in all though – generally high quality accessories and well thought out.  The glaring omission for me is the lack of a 30 pin plug for older i-devices.  This is being worked on though and should be available later from Beyerdynamic.
 
TECHNICAL SPECIFICATIONS
 
The table below lists most of the relevant specifications.  I am very pleased to see that Beyerdynamic list the output impedance of the device and also some information on the rated power output.  Much appreciated!
 
The 1.1 ohm output impedance makes the device compatible with a wide range of headphones.
 
BUILD / DESIGN
 
The build quality is generally very good.
 
The outer body appears to be a hard plastic and it is pretty solid – yet still very light weight.  Despite the square form factor, the edges are not sharp, and all surfaces are seamlessly joined.  The rotation of the volume wheel is very smooth – and feels very solid.  Beyerdynamic advertise the wheel as having 135 steps.  I calculate a full revolution of the wheel contains 24 noticeable “steps” – so this would mean roughly 5.6 full revolutions from minimum to maximum volume.  I found the wheel easy to turn and manipulate.  The only issue is the lack of volume meter/display (read further on).  I tested the volume with and SPL meter and 1 kHz tone.  With my Beyer DT880s (250 ohm), the volume maxed out at around 102 dB (A 200 p plugged into PC).  Each volume step (with the DT880 appeared to be around 0.5 dB).
 
 
On the bottom of the unit is the slot for the connection plug (to PC or device) and next to this is a green charging light – solid green when fully charged (not explained in documentation).  At the top is the headphone-out (solid with no unwanted looseness or “play”), and also the on-off/hold switch.
 
The on'off switch is actually one of my biggest criticisms of the device.  The hold switch is brilliant – click across, and the device is essentially locked, so you won’t mistakenly jog the wheel. Unfortunately the opposite on/off switch is a slide/release switch, rather than an on or off setting (ie fixed in place for hold, but 'slider' for on/off').  Basically you slide and hold for 2 seconds (until the blue LED goes out) – and it then resumes its middle setting.  So sometimes it’s not that easy to see if you have turned the device off – especially with the cover in place and the LED light obscured by the case.   What I would rather see is the on-off to actually be part of the wheel mechanism – rotate enough left, and you get to a click off, like many volume knobs.  At the moment, the wheel just continues to freely spin (no left or right limits).  This can be pretty daunting if you’ve mistakenly jogged/rotated the wheel, and then you push play – especially suddenly pumping 80+ dB into your ears.  I only did this once – but it was enough for me to realise that what was missing was a volume indicator somewhere on the device.  You soon learn to be careful.
 
On the side are play/pause, previous, and next buttons – they are small – but easy to operate even through the case.  Love these!  They even work when plugged into the PC.
 
Overall – work needed on some sort of volume meter, but otherwise solid build
 
PERFORMANCE – ANDROID
 
I tested the device with my wife’s older Android phone – no joy – not recognised (didn’t really expect it to).  I then tried my daughter’s Asus tablet running Android 4.2.2.  Unfortunately it wasn’t recognised – but I got some great advice from the forum and tried an app called USB Audioplayerpro.  It discovered the A 200 p – and worked well in patches.  But periodically it would emit up to 10 seconds of static interference making it totally unusable.  Pity – as the rest of the time the sound was crystal clear, and appeared to be a step up from the onboard sound.  Clearly you need a compatible device, and sadly mine weren’t.
 
PERFORMANCE iPHONE/iPAD
 
I only have an iPad 2 and an iPhone 4 (both 30 pin) – so neither are on the current compatibility list.  I did get success with the iPhone and a CCK adaptor – but using the volume wheel for control via this method actually raised and lowered the volume control on the iPhone, and there wasn’t a huge amount of additional volume headroom (around 80-85% showing on the iPhone volume control) to achieve a reasonable listening level with the DT880s.  So I’m not sure if I was actually listening to the amp and DAC on the iPhone or the A 200 p.  Sound was crystal clear though – and I certainly didn’t feel anything was missing.  It did drain the iPhone’s battery fast though – so pretty sure something wasn’t right with using the CCK.
The iPad2 simply wouldn’t connect – guess I need to wait for the 30 pin plug, and hope it is supported.

I did very briefly try it with a friend’s iPhone 5, and it worked perfectly.  Unfortunately I’m not familiar with the iPhone5 so it wasn’t wise to try and make any comparisons.
 
PERFORMANCE – USB DEVICE (COMPUTER/LAPTOP)
 
 
Ah – success.  Immediately recognised, no issues with drivers – just simply plug and play.  At last I can make some comparisons, and get onto what really matters – the sound!
To compare properly – I used a combination of aac256, redbook, and 24/96 files (depending on the device).  I tested with an HD700, HD600, Dunu’s DN-1000 (IEM). But mostly with the DT880 (for it’s neutrality).  When testing – I volume matched the devices being compared with an SPL meter and a 1kHz test tone.  None of the testing was blind – so it is very subjective to my own deficiencies.  Comparisons were to my iPhone, Asus EEE netbook, Audio-gd NFB-12, and Studio V3.
 
SONIC COMPARISONS / IMPRESSIONS
 
In the limited time I’ve had with the A 200 p – the best description I could give at the moment would be detailed but smooth, very clear, and quite neutral.  I was surprised at this because I expected a little more “typical” warmth from the WM8740 – but Beyerdynamic have implemented it really well.
 
The amp section is interesting because it’s definitely more powerful than my iPhone4, able to drive the DT880s to a much higher volume – but falls slightly short of the power of the Studio V3.  For all that – from both laptop and desktop, the A 200 p drives the 250 ohm Beyers very well.  With classical it was necessary to run it at close to maximum volume on some quieter pieces – but it still had a little headroom to spare.  It had no problems at all with either the HD600 or HD700, and IEMs were a breeze comparatively.
 
A 200 p vs iPhone4 – sonically both have a very similar signature / tonality – with the A 200 p appearing slightly smoother to my imperfect ears.  In a blind test I think I’d find it difficult to tell the two apart though.  I’ve always regarded the DAC implementation on the iPhone4 as being very good, and in similar vein the A 200 p performs extremely well with a high level of detail.  What surprised me with the DT880 especially is that there is no sense of flat dynamic presentation with either device.  The difference of course with the A 200 p is the added volume headroom – not needed for IEM’s but very handy for full sized cans.
 
A200 p vs Studio V3 – easy to tell apart, despite volume matching with the SPL meter.  The Studio V3 is simply brighter and appears to have more sense of space.  Both very enjoyable though, with just the tonality and sense of space being different.
 
A200p vs NFB-12 – again surprisingly similar when volume matched – but the NFB-12 has a more dynamic and full signature (as it should have).  Saying this though, it did not stop me enjoying the A 200 p.  If it came down to a shootout for a desktop application though – my preference would be for the NFB-12.
 
A200p vs Asus EEE – this was where the A 200 p shone the most.  The EEE, whilst being a very good workhorse, is no match for the A 200 p.  I think aside from its use with more modern i-device or Android tablets/phones, this is where the diminutive A 200 p absolutely shines – as a portable DAC/amp for travel with laptops / netbooks etc.  Dynamics were noticeably different – especially with the DT880 – mainly in the area of bass impact, but also in overall conveyance of detail.  A marked improvement – as it should be.
 
CONCLUSION
 
So how do I feel overall regarding the A 200 p?  I think it shines as a very portable DAC/amp – especially for travel if you have a laptop or netbook for source.  If you have a compatible android or i-device, its form factor is ideal for wearing externally to give easy access to volume, and play controls (attached to a belt).  Unfortunately I wasn’t able to test the device sonically against the iPhone5 or compatible android devices to see if there are sonic gains – but against my iPhone4, the advantage is more in volume headroom than anything else.
 
The A 200 p is a very good sounding device in a manageable and diminutive package.  After volume matching carefully, I see it as a match in SQ with my other portable devices (except the laptop – where it is an obvious improvement).  YMMV.  It’s overall advantage for me is in its versatility.  Solid performer.  I'm going to miss it when I return it in a couple of days.  Ideal companion for work or travel.
 

 
INTRODUCTION
My audio chain has been very stable of late, my last addition being my HD700s, and before that my Studio V3 Anniversary (DAP) and Dunu DN-1000s.  With the addition of the Studio V3, I had pretty much solved all of my remaining audio requirements – good desktop system, good DAP for portable, good headphones – what more could I need?
 
Then out of the blue, Wolfgang from NuForce contacted me to inquire if I’d be interested in having a  listen to their uDac-3.  Having never heard any NuForce gear before, I was immediately keen.  Even more so when I realised the size and portability of the unit.  So, as I was traveling to the US last month, we arranged a suitable address for me to pick up the uDac-3, and for the last month I’ve been putting it through its paces.
 
DISCLAIMER
I was provided the uDac-3 as a review sample.   There is no financial incentive from NuForce in writing this review.  I am in no way affiliated with NuForce - and this review is my honest opinion of the uDac-3.  I would like to thank Wolfgang for making this opportunity available.  When approached, I did offer to return the unit if they so desired.  The unit they sent me was “B-Stock” but cosmetically or sonically I’ve noticed no flaws.
 
PREAMBLE - 'ABOUT ME'.
(This is to give any readers a baseline for interpreting the review).
I'm a 47 year old music lover.  I don't say audiophile - just love my music.  Over the last few years, I have slowly changed from cheaper listening set-ups to my current mid-fi set-up.  I vary my listening from portable (iDevices and Studio V3) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP).  My main headphones at the time of writing are the Senn HD700 and HD600, Beyer DT880, Dunu DN1000 & HAS BA-100 IEMs.  A full list of headphones I’ve owned (past and present) can be found in my profile.
 
I have very eclectic music tastes listening to a variety from classical/opera and jazz to grunge and hard-rock.   I listen to a lot of blues, jazz, indie, classic rock, and alternative rock.  I am particularly fond of female vocals.  I tend to like audio chains that are relatively neutral/balanced - with a slight emphasis on the mid-range.  I am neither a bass or treble head (you could argue that I do like clarity though).  Current amps = NFB12 and LD MKIV.  I also formerly owned several portable amps - the most notable being an Arrow 4G and GoVibe PortaTube.  I have also in the past owned Fiio’s E7, E9 and E11.
 
I have extensively tested myself (abx) and I find aac256 or higher completely transparent.  For my portable listening – it has been my preferred format (space vs quality).  For home listening, I use my archived FLAC copies, as space is no 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, and would rather test myself blind on perceived differences.  I am not a ‘golden eared listener’
 
SO WHAT IS THE UDAC-3?
The uDac-3 is an extremely small (a little larger than a zippo lighter) high resolution USB powered DAC and amp that is capable of 24/96 decoding, as well as DSD (it does DSD by converting to PCM rather than natively).  It also has digital out (so can be used as a USB-coax S/PDIF bridge) and RCA dual analog out (can be used as a DAC to another amp).
 
 
PACKAGING AND ACCESSORIES
The unit I was sent arrived in a well-built cardboard retail box with a clear plastic inner mould to display the diminutive uDac-3.  The front of the carton lists some of the main points of the unit (eg driverless async mode, works with PC and MAC, DSD playback support).  The rear of the carton lists in more detail both features, and also specifications.
 
Also included in the box is a micro-B USB cable, warranty card, manual, and foldout brochure listing some of their other products.  I actually thought the foldout brochure was a nice touch (on the cover it says “May We Recommend”) – I found it more interesting than the manual to tell you the truth.  The one thing missing from the manual is instructions on needing drivers for DSD playback – but thankfully these were easy to find on their website.
 
 
Note to NuForce (for consideration)  - the two accessories I would have loved to have seen with the unit would be a soft cloth carry case – doesn’t need to be expensive, but would protect the unit during transport.  The second thing would have been a mini-stand so that it could be easily mounted vertically (if someone wanted to use it in a more permanent setting).
 
TECHNICAL SPECIFICATIONS
 The table below lists most of the relevant specifications.

I have asked Wolgang about the impedance rating for the headphone out – he has asked his engineers, but at this stage I am awaiting a definitive reply.  I didn’t notice any really glaring frequency issues with any of my headphones (including the 10 ohm DN-1000s), and NuForce recommend using headphones from 16 – 300 ohm.  I’m going to take an educated guess – and with a damping factor of 1:8 – estimate that the headphone out is possibly around 2 ohms impedance.
UPDATE - got a reply from Wolfgang at NuForce - the actual impedance on the headphone out is 5.3 ohms.  Higher than I expected.
 
BUILD / DESIGN
The build quality for this little unit is extremely good.  The unit consists of a one piece milled body, and matching front and rear plates.  On my unit, everything lines up nicely with only a very small lip between the body and end plates.  Screws are nicely even and countersunk correctly.  Edges are smooth with no sharp corners.  The volume pot is an excellent size (not too small), and rolls smoothly – yet has enough resistance to avoid accidentally bumping.  It doubles as an on-off switch (rotating fully to the left turns the unit off).  The front headphone socket is 3.5mm and the fit with everything I’ve tried has been snug and firm.  It has no problem with 3 pole plugs (ie headphone cables with inbuilt microphone) – and does not suffer for cut-out.
 
 
At the rear of the unit are 3 gold plated RCA ports – left and right for outputting to another amp, and a coaxial digital S/PDIF port for using the unit as an USB to coaxial converter.  The plug sockets are placed nicely apart – and I had no problem with all 3 plugs fitted at once.
 
 
The USB port at the rear is micro-B and fits the supplied plug firmly.  It also had no issues with 2 other micro USB plugs I had on hand.  My only criticism here was that while the USB plug fits firmly, it does not seat fully.  I know this is nit-picking, as it doesn’t affect functionality – but even so, having the plug fully seated in the socket would be better long-term for both the unit and the cable.
 
 
There is a single LED on the front panel which glows blue when the unit is plugged, and changes to blue-white when engaged (signal being fed).
 
The NuForce name is nicely engraved both sides of the main housing – so you can orient it whichever way you prefer, and still see the etching (a nice touch).
 
FEATURES / FORMATS
The uDac3 has a discrete asynchronous USB audio receiver and D/A converter stage, and does have DSD decoding ability.  DSD decoding is converted to PCM rather than natively – but I did test this (downloaded some free test tracks from Blue Coast Records to check this), and it worked admirably.  It also sounded extremely good – the DSD files were mastered beautifully.
 
The unit can function as an USB to coaxial S/PDIF bridge – and also tested and confirmed that this works wonderfully as well.  The RCA L/R analogue ports allow output to another amp, and I tested this with my LD MKIV tube amp (more on that later).  These ports operate a line-out at 2Vrms.
 
The uDac-3 is fully USB powered – and I had no problems with my netbook, laptop, and two desk-tops.  Unfortunately my iPad 2 did not have enough power to run it (via the cck).
 
The uDac-3 can natively decode bit-rates up to 24 bit, and samples at 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, and 96 kHz.
 
PERFORMANCE
 
The u-Dac3 was essentially plug and play on all the systems I used – being recognised as “SPDIF Interface 2-uDac-3 Async”.  Playback defaulted to 16/44.1 – and interestingly 24 bit didn’t show in the windows mixer – but 32 bit did.  I tend to have my system running natively at up to 24/96 – so I changed the settings to 32/96 and after that had no issues.  In Foobar’s preferences WASAPI playback didn’t seem to be a workable option – but ASIO showed up as an option – and worked admirably.
 
In order to have DSD support (Foobar), you need to download NuForce’s own driver plus they also supply a Foobar plugin package and full instructions.  This isn’t mentioned in the manuals (but should be).  The drivers are easily found at https://nuforce.com/index.php?option=com_k2&view=item&layout=item&id=680&Itemid=2751.
 
The downloadable NuForce driver can also be used for normal playback.
 
AS A DAC
The first thing I did for critical testing was to set-up the u-Dac-3 feeding my LD MKIV (full OTL tube), and also set-up my NFB-12 the same way.  I then volume matched both amps to within 0.5 dB using an SPL meter and a 1kHz tone.  I then A/B’d both units (sighted) using a switching box with dual inputs and single output.  The uDac-3 showed limitations of its diminutive size, and was a very pleasurable listening experience with a variety of test music from Dire Straits / Steely Dan to Tchaikovsky and Vivaldi.  Using the LD MKIV for both sources – there was very little if any difference at all – which is a testament to the uDac-3.
 
 
At this point I should mention that the volume pot on the uDac-3 does control gain on the RCA outputs (I understand this range is about 6 bB gain).  I generally ran it at around 12-1pm on the pot, and this provided more than ample output for the Little Dot.
 
The uDac-3 was surprisingly detailed for such a small footprint – and very similar to the output from the NFB-12.  It has a nice linear bottom end, with a full mid-range, and slightly mellow (yet still detailed) upper end.  If anything – it just gets out of the way and lets the music shine.
 
Main headphones used for this testing were DT880 and HD600.
 
AS A DAC/AMP COMBO
For testing this time, I compared directly to NFB-12, and once again volume matched carefully.  Switching was a little more cumbersome this time, as I had to plug and replug.  This time I mainly used my HD700, as well as my DN-1000 and BA-100 IEMs.
 
 
When testing the IEMs, I had to take the volume pot a lot lower than with the full sized headphones – but noticed no channel imbalance in doing so.  Both IEMs performed admirably with no signs of hiss (I wasn’t sure what to expect with the 10 ohm Dunus).  As mentioned earlier, I have asked Wolfgang about the impedance of the headphone-out, as I suspect it may not be ideally suited to the Dunu’s – which exhibited a slightly more flabby bottom end than they normally do from other sources.  I suspect that some of this could be from a slightly mismatched damping factor.   The BA-100s (at 36 ohm) were fantastic, as were the HD700.
 
My overall impression was that the uDac-3 is relatively neutral overall, with a slightly warmish tilt to the bottom end and mid-range.  It’s subtle – but very pleasant.  The detail levels remained extremely good overall – and whilst the NFB-12 may have just topped it overall with slightly more transparency, once again the comparison was extremely close between the two.
 
On power – with the BA-100s, the pot was at around 9 o’clock (switch off occurs between 7 and 8).  The HD700s were comfortable at anywhere from 10-12 position.  My 250 ohm DT880s needed about 11-1pm on the pot.  The volume can crank all the way to 5pm – but you’d deafen yourself before attempting this with the headphones I have.  So there is plenty of good clean power available – and at no time did I encounter any hint of clipping or distortion.
 
CONCLUSION
Looking at the uDac-3’s small size and simple design, you’d be forgiven for thinking that this is more toy than serious sonic device.  But looks can be very deceiving, and I’m pleased to be able to report that the uDac-3 is a seriously good DAC/amp combo at its price point (USD 125.00 MSRP) – especially if you’re cramped for space, or looking for an easily transportable device.  It was a welcome addition to my recent 2 week global business trip – especially as I had just picked up the HD700s whilst in New York, and this gave me the perfect platform to enjoy them.
 
I now use the uDac-3 almost every day at work (paired with my DT880).  It is a revealing yet slightly warm and friendly signature that just does its job and lets the music shine.
 
The real litmus test is would I recommend this amp to my family and friends – and to that I would say yes with no hesitation.
 
I did offer to return the unit to NuForce after I’d finished the review, however - because of the shipping cost and the fact that it was B-stock, Wolfgang invited me to keep the unit and I am very grateful for their generosity.  If they hadn’t, I would have bought one myself – my office would simply not have been the same without it!
 
Wolfgang and NuForce – thanks for the opportunity.  I shall be keeping a very close eye on your progress in future, and I have no doubt that your higher end products will be on my radar at some stage in the future.

 
INTRODUCTION
My audio chain has actually been pretty stable of late, my last addition being the Studio V3 Anniversary (DAP) and Dunu DN-1000s.  With the addition of the Studio V3, I had pretty much solved the one missing component – a decent DAP for my requirements.  I watched the progress with other “audiophile” high-res players being released (DX100, DX50, AK100 & 120, X3 and others), but beyond mild curiosity, I wasn’t overly tempted to go beyond what I currently have.  Then Fiio advertised that they were looking for reviewers for a World tour for the X5 – and with the hype building I put my hand up and was fortunate to be included.
 
My main reasons for wanting the opportunity were to further my experience with reviewing and to make a comparison with the Studio V3
 
So how does the X5 perform in my eyes?  Is the current hype justified?
 
DISCLAIMER
I was provided the Fiio X5 as a tour sample.  It now goes on to the next reviewer once I have finished reviewing it.  There is no financial incentive from Fiio in writing this review.  I am in no way affiliated with Fiio - and this review is my honest opinion of the X5.  I would like to thank Joe & James for making this opportunity available.
NOTE - I later paid for the review sample from Fiio at a price I am not at liberty to disclose.

PREAMBLE - 'ABOUT ME'.
(This is to give any readers a baseline for interpreting the review).
 
I'm a 46 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 mid-fi set-up.  I vary my listening from portable (iDevices and Studio V3) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP).  My main headphones at the time of writing are the Senn HD600, Grado RS1, Beyer DT880, Dunu DN1000 & Shure SE535 Ltd Ed. IEMs.
 
I have very eclectic music tastes listening to a variety from classical/opera and jazz to grunge and hard-rock.   I listen to a lot of blues, jazz, indie, classic rock, and alternative rock.  I am particularly fond of female vocals.  I tend to like audio chains that are relatively neutral/balanced - with a slight emphasis on the mid-range.  I am neither a bass or treble head (you could argue that I do like clarity though).  Current amps = NFB12 and LD MKIV.  I also formerly owned several portable amps - the most notable being an Arrow 4G and GoVibe PortaTube.  I have also in the past owned Fiio’s E7, E9 and E11.
 
My experience with DAPs in the past have been initially with very cheap Sony offerings, then step-ups to the Cowon iAudio7, my iPhone4 and iPod Touch G4 – which are both very good sounding and have excellent interfaces, and finally to my HSA Studio V3.  I've also listened to various other devices along the way - including Cowon's J3.
 
I have extensively tested myself (abx) and I find aac256 or higher completely transparent.  For my portable listening – it has been my preferred format (space vs quality).  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, and would rather test myself blind on perceived differences.  I am not a ‘golden eared listener’
 
WHAT I LOOK FOR IN A DAP
I thought I’d list (before I start with the review) what I really look for in a new DAP.

1. Great (neutral) sounding – but with body (not thin)
2. Good build quality
3. Reasonable battery life
4. Easy to use interface
5. Able to drive both low impedance and (within reason) higher impedance cans without additional amping.

 
Did I get all of this with the X5?  Mostly – yes, and I’m sure what is missing will come with firmware updates.  Will I be buying an X5 – likely based on my very short time with it, but this would be dependent on FW upgrades which I will be watching closely.  So please pull up a chair, sit for a while, and let me relay my experiences with Fiio’s new flagship.
 
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
 

First up – the review sample I was sent was really well packaged with exterior foam – so Kudos to Fiio for that.  The retail box is red and black, actually reasonably compact considering the contents, and very smart looking IMO.  There is a great photo of the X5 on the front, whilst the rear has information on the build, specifications, and other features of the DAP.
 

On opening the retail outer box, you are presented with an inner black textured box and lid which houses the X5, silicone case, documentation, and in a compartment underneath, the accessory package.  This includes:

1. A USB charging / data cable (very well constructed and shielded)
2. A digital out to coax cable
3. 3 x socket pin protector plugs (for the output ports)
4. A Fiio branded USB micro SD card reader (this is very handy!)
5. 2 spare screen protectors for the X5 (plus one already fitted)

 

Documentation includes:

1. A Fiio warranty card
2. An HD tracks discount card (15%)
3. A contact card
4. The Fiio X5 quick start guide

 
 
The entire package is IMO very good, covering everything you initially need for the player.  Materials are all good quality.  Cables are particularly sturdy.
 
TECHNICAL SPECIFICATIONS
The tables below list most of the relevant specifications.  I’ve collated these from information on the box, information found on line, my own personal experience with the X5, and also information from Joe.
 
General
 
Headphone Out
 
Line Out
 
BUILD
The build on the X5 (IMO) is what I would expect (mostly) in a top of the line DAP.  The casing looks to be a 2 piece high quality CNC aluminium alloy with a very nice matte finish.  I see no blemishes on this unit – everything seems to fit extremely well together, and the corners are smooth, and bevelling gives a nice touch of class.  The X5 feels more expensive than its RRP.  The screen has a really nice resolution, and is very clear and easy to read.  It does suffer a little in direct sunlight, but just shading the screen with your hand helps.
 
 
The scroll wheel flows nicely, and is easy to spin.  My only critique is that there is some side-to-side play with this unit – not much but it is there.  Probably the only part of the unit that feels a little flimsy.  The wheel itself is fairly sensitive, and takes a little getting used to – but practise makes perfect, and the buttons are also very easy for advancing and reversing through menu choices.
 
 
The buttons themselves are nicely placed, and feel good to the touch.  They are easy to locate on the unit, and equally easy to use unsighted (or with the screen off).
 
 
Moving to the ports – once again, an excellent fit – nice and snug for plugs.   All connections feel very solid. The best I have seen from Fiio in this regard.  There are three ports in the top of the unit – the headphone out, a dedicated 3.5mm line out, and also a digital plug (works with a 3.5mm to coax adaptor – which Fiio supply).
 
Finally the micro SD ports – functional, and positioned well.  My only criticism is the covers for these.  I appreciate them being there, and I’m probably a user who wouldn’t be removing the cards a lot.  But the covers themselves are extremely difficult to remove.  Maybe something that loosens over time, and therefore fixes itself.

Overall – the build for me is a solid 4.5/5.  TheX5 feels reassuringly solid in your hand at 122g.
 
UI (USER INTERFACE) / USABILITY
Please note that this is with the released firmware 1.00.
 
Let me preface by saying that for me the overall usability sits above my experience with my Studio V3, but still falls short of the benchmark (Apple).  However – the surprising thing for me is how good the interface is considering it is just the initially released firmware.
 
 
On starting the X5, you are greeted with a very nice “welcome” and Fiio animation – before moving to the menu.  The menu can be navigated using either the scroll wheel or buttons.  At the top of the menu is a status bar which shows (left to right) : volume, gain, current screen, sleep timer – if set, SD card in use, play status, and battery level indicator.
 
 
The menu choices include: now playing, equaliser (10 band), audio settings, general settings, folder mode, library access (via tags), and favourites.
 
 
The general setting and audio settings screens are straight forward, and pretty much include everything you’re likely to need.  General settings include language, media library updating, lock screen settings (2^nd option allows manual button access while locked), timer, brightness and power settings, access to different USB modes, information about the player, and ability to format.  Audio settings give access to the play
modes, gapless on/off, volume default settings, gain and balance modes.
 
The equaliser is 10 band, and comes with 10 presets including ‘flat’ and a custom one you can save.  The presets are OK – I probably wouldn’t use them – but the custom one is handy, especially if you have a headphone that needs a tweak.  My only wish would be that there was an option to add more custom EQs, or simply ditch / override the presets, and replace them with your own.  I would rather have 3 or 4 EQs for different headphones rather than different music types.  It would have been nice to have a parametric EQ setting – but the 10 band is functional and works well.
 
 
Folder mode works very well, and is far easier to use with this firmware release than browsing by tags.  In tag mode you can select one major level of operation, and then one minor level – e.g. choosing artist brings up the artist list – but then all material from that artist is listed in file name order (i.e. there is no sorting by album etc).  So if you have multiple albums under an artist, and your filenames list by 01 name, 02 name, 03 name – then all the 01’s are listed first (i.e. albums are scattered).  Similarly – browsing by album brings up individual albums – but if you have multiple CDs within an album, and they aren’t noted in the album name (e.g. “The Wall CD1”) then you have the same problems.  Fiio will be apparently fixing this – and they need to.  Browsing by tags at the moment for me is pretty much not going to work.
 
 
Going to folder mode is better – as you have the ability to then organise a folder hierarchy to suit (much easier to navigate).  Mine are always stored artist > album.  The only issue I have again is that (being used to Apple and also any reasonable PC software) I sometimes store multiple-disc albums together (again The Wall) – but have differentiated the 2 discs in the tags rather than in separate folders.  This is a relatively easy fix (I have to manually do it).  The best answer is having tagging working.
 
 
The upper left button brings up a context menu that is dependent on the menu you are in.  Amongst this is a favourite’s button so that you can save a song to a favourite’s playlist.  This works really well, and it is quite easy to add and remove songs from favourites using the context button.  Unfortunately there is only one favourites list – so no using multiple playlists at this stage.
 
The upper right button is a back button, and this is literally what it does – puts you back exactly to your last menu choice.  It has a memory too – so you can go back 4 or 5 choices.  This is something I would personally change.  IMO it would be far more practical to have this as an “up one level” button instead.  When navigating simply as a back button, it is quiet easy to get lost if you’ve been in a number of screens.  Holding this button down (no matter where you are) will take you back to the main menu.
 
The bottom two buttons are forward, back / up, down / fast forward, rewind – depending on your application.
 
The middle button is simply to select (i.e. action button).  One thing I have found – if you want to change volume – hold this button in (when screen is active) and the wheel volume control is activated.  Nice little touch.
Overall the UI is reasonably responsive – but can sometimes have some small lags between button press and actual action (this includes the wheel).  Hopefully this gets better with later firmware releases.
 
A couple of final notes on the UI – the gapless play is not entirely seamless (still a noticeable micro-pause between songs.  I can live with this – many wont.  This needs fixing.  Also the gain is 6 dB and is much appreciated especially for driving my DT880 and HD600.
 

Overall – if the Apple (think iPod Touch 4 / iPhone4) UI is a 10 (and that’s what I’d give it) – this initial release would come in about a solid 6.  It’s usable, has plenty of features, and I believe will get better with more firmware releases.  But it needs work.
 
SOUND
Probably best if I preface this section with a small note so that you are aware of my thoughts on audiophile type DAPs.  I like my iPhone4.  It is linear, user friendly, sounds pretty good actually – and I can tailor the sound via apps.  When I got my Studio V3, I was very surprised in the increase (to me) of perceived SQ.  Sonically the Studio seemed to have a more holographic/spacious sound to it.  Now I’m not sure if this is crossfeed, a dsp they’re using, or simply in the frequency response (I know the Studio is slightly on the bright side).  All I know is that I like it.
 
 
Also – when doing comparisons – to make sure I’m comparing correctly – I equalised the volume on all 3 devices with an SPL meter, and used the same files for all 3 devices.
So without further ado ….
 
The X5 (IMO) sounds phenomenal.  My initial impressions, and this is also comparing to my desktop (NFB-12) is that the X5 essentially has a very black background, is essentially flat/neutral – but with a slightly warmish tint to it.  It sounds very similar to my NFB-12 when level matched.  So the sound is quite full bodied (yet not dark).  I’ve noticed no hiss at all, and even with sensitive IEMs (SE 535), no issues with any channel imbalance.
 
I won’t go into highs, mids, lows etc. – as that is more to do with the frequency range of the headphones being used.  But I will say that I am very happy with the detail presentation, and also with the overall sense of space when listening via both my HD600 and DT880.  There is nothing lacking.
 
After level matching, I tested the following tracks with the Studio V3, Fiio X5 and iPhone4.  I used the DT880 250 ohm as it’s the most neutral can I currently have (and it was easier level match than the IEMs).

1. Steely Dan – Hey Nineteen
2. Dire Straits – Sultans of Swing
3. Amber Rubarth – Tundra (ideal for soundstage and imaging tests)
4. Anna Netrebko & Elina Garanca – Lakme, The Flower Duet
5. Porcupine Tree – Trains

 
I had two main revelations when doing this:

• How close the V3 and X5 sounded in terms of detail and sense of space
• How good the iPhone sounded comparatively

 
In terms of absolutes (and please remember this is very subjective - my ‘old and imperfect ears’) in all of the tracks tested …..

1. V3 is definitely slightly brighter than both the iP4 and X5
2. I’d actually call the iP4 the most neutral – sitting between the V3 and X5
3. V3 and X5 have similar detail retrieval – withiP4 comparatively just a little behind, but still performing well.
4. Whilst the X5 is still very flat/neutral – it does have a slight hint of warmth to it – and this does it give a slightly fuller sound than both the iP4 and V3.  The X5 does this without losing its sense of detail.
5. Both V3 and X5 have a bigger impression of spaciousness (than the iP4)

 
 
For my personal preference and rankings – skip forward to the end.
 
OTHER FEATURES
The review wouldn’t be complete without a quick word regarding the other features the X5 offers, and this is where it truly sits apart from my other devices (as they do not have some of these features).
 
As a digital transport – using the 3.5mm to coax out – it works extremely well.  This is ideal for anyone who is away from home (e.g. at a Meet) and wants to test an audio chain – but with their own music.  I actually tried this feature going straight to my NFB-12, and then alternately using the NFB-12’s SS amp and also my LD MKIV.
 
With line-out to an external amp.  The line-out (to my ears) is essentially very clean, with no discernable noise or degradation of SQ.  I used this feature going straight to the LD MKIV – and the X5 in combination with my HD600s was simply sublime.  I actually ended up getting lost in Vivaldi’s Four Seasons (Anne-Sophie Mutter) for about half an hour while I was supposed to be evaluating.  To me, getting lost in the music is always a great sign of an audio chain done right.
 
As a DAC.  It did take a while to get the drivers loaded for Windows 8.1 (if you’re having trouble try this link [http://www.youtube.com/watch?v=NM1MN8QZhnk] – thanks to John aka musicheaven for the help with that).  Once the drivers were installed, the X5 performed flawlessly with no recognisable dropouts or glitches.  The interesting thing was that I did a volume matched (using an spl meter) comparison with my NFB-12 and DT880s, and they sounded pretty much identical.  Blind, I don’t think I could have picked one from the other.  From my point of view – this is a great endorsement, as it means I can essentially have desktop quality whilst on-the-go.  Fantastic!
 
POWER
The X5’s amp section is a good one.  The power output is listed in the specs earlier in the review.  Basically I tested these with: HD600 @ 300 ohm, DT880 @ 250 ohm, RS1 @ 32 ohm, SE535 @ 36 ohm and DN-1000 @ 10 ohms.  At no stage did I feel any of the headphones were under driven, or in any way lacking.  With the X5 – for my tastes, there is simply no point in having an add-on amp.
 
BATTERY PERFORMANCE
Fiio rates the battery life under current firmware at around 10-12 hours, and thinks they can get up to 15 hours once the firmware matures.  I ran a ‘real world’ test from fully charged, and playing overnight with screen off.  I managed 11.5 hours before the X5 quit (playing red-book FLAC files) – so consistent with the information released.  From fully depleted using a 1a wall-wart, full charging took ~ 4 hours (again consistent with Fiio’s released information).
 
SD MICRO CARDS (PERFORMANCE/SCANNING)
With my Studio V3 – one of the ‘issues’ that I have is that every time it’s switched on, it scans the card for changes.  With approx. 2200 lossless tracks – this takes around 1m15s (64Gb card).  After that it’s pretty good – with very little lag.
 
With the X5 – the nice thing is that you only have to scan once – and then no scanning again unless you update / add to your library.
 
Scanning the same micro SD card on the X5 took approximately 3 minutes, - dual cards roughly double that.  Scanning a single 64Gb card filled with a mix of FLAC, aac and MP3 files (approximately 5500 files total) took considerably longer – but once again, after the initial scan – access has been very snappy.
 
MY PREFERENCES
Ok – time for me to state my personal rankings – and remember these are mine – your own thoughts may be different.

1. Packaging / accessories – 5/5 – nothing missing IMO.  Packaging is smart and accessories are well thought out.
2. Build/form factor – 4.5/5 – excellent build, and size is good considering it’s feature set (audio only), and power capabilities
   X5 > V3 > iP4
3. UI – 3.5/5 – still some work to do, but promising feature set.  Slight responsiveness lag at times and the hierarchy within the audio structure needs to be multilevel and fixed.  This is essential to the X5’s success.  Other features need tweaks, and there is room for added functionality.
   iP4 >>> X5 >= V3
4. Sound – 5/5 – I can’t fault it.  The X5 sounds fantastic.  I wouldn’t change anything.
   X5 = V3 > iP4
5. Other features – 5/5 – the versatility of this DAP is going to be one of its greatest strengths
   X5 >>> iP4 > V3
6. Power – 4.5/5 – it’s not going to drive power hungry orthos, or extremely high impedance cans – but it’ll drive practically anything else.  Based on my tests – I’d guess an effective target impedance range might be between 10-300 ohms (depending on sensitivity).
   X5 >= V3 >>> iP4
7. Battery – 4/5 – average-to-good for its class, and if Fiio can get it to 15 hours, it would be ideal.  The V3 can’t be beat here though.
   V3 >> X5 = iP4
8. Overall – given its feature set and current FW, I’d put the X5 ahead of the Studio V3 for my preferences.  The main points (given SQ is similar) is the potential for better UI, plus the far quicker boot time and access to both SD cards simultaneously.
   X5 > V3 > iP4

 
So will I be getting one?  That will very much depend on the development of the firmware,  If Fiio gets it right – then the purchase of the X5 is a given.  The value proposition is simply too good at USD 350.00 to turn down.
 
FINAL THANKS
Firstly – my apologies for the length of the review.  I really couldn’t do it any other way without glossing over essential information.  My thanks to Joe and James for the opportunity to be part of the tour.  I will genuinely miss having this unit when I have to send it on to the next recipient next week!

Introducing Brainwavz very uniquely designed dual dynamic IEM


I've been lucky enough recently to start reviewing for a few IEM and earbud manufacturers. Raz from MP4 Nation PM'd me a month ago, and asked if I'd be interested in listening to, and reviewing, the new Brainwavz R3 dual dynamic driver IEM. This is one I was really looking forward to for a variety of reasons:
[a] I previously owned and very much enjoyed Brainwavz B2 (dual BA) IEMs , and also their HM5 full sized headphones.
Brainwavz and MP4 Nation (in my personal experience) really try to look after their customers, and their service to me has always been excellent
[c] The R3 was such a unique design that I really wanted to see how they sounded.

They arrived a week ago – and in that time I’ve logged as many hours as I could with them (so that I could get Raz my impressions before Xmas). I have around 20-30 hours with them so far, and they haven't noticeably changed in that time (to my ears anyway). I’ve listed price at USD $100 (current MP4 Nation promtoional price at time of writing) – however this is not what I paid for them (they are a review sample).

Disclaimer
I was provided the R3 as a review sample. I am in no way affiliated with MP4 Nation or Brainwavz - and this review is my subjective opinion of the R3. I would like to thank Raz at MP4 Nation for making this opportunity available.

Preamble - 'about me'. (This is to give any readers a baseline for interpreting the review).
I'm a 46 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 mid-fi set-up. I vary my listening from portable (HSA Studio V3 and iPhone4) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP). My main headphones at the time of writing are the Senn HD600, Beyer DT880, and Grado RS1. Most of my portable listening is done with IEMs - up till now it has mainly been the Shure SE535 Ltd Ed., Dunu DN-1000 (recent acquisition), or the HSA BA100 IEMs. I have auditioned quite a few entry and mid-tier cans, but have yet to hear/own any real flagships (at current time of writing this review). 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 hard-rock. I also listen to a lot of blues, indie, 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 am neither a bass or treble head (you could argue that I do like clarity though). Current amps = NFB12 and LD MKIV. I also formerly owned several portable amps - the most notable being an Arrow 4G and GoVibe PortaTube.

For the purposes of this review - I used the R3 straight from the headphone out socket of both my iPhone 4 and Studio V3. I did not bother with amping them, as IMO they do not require an amp. The Studio 3 has a class A amp anyway - and has no issues driving my full sized cans (including the HD600 and DT880). In the time I've had the R3's I have probably already put around 20-30 hours listening time. In that time I have noticed no change to the overall sonic presentation (I do not believe in 'night and day' burn-in). I will allow that the more time I've have spent with these IEM's, the better they have sounded to me. Personally I think this is brain burn in - but I will respect others choice if they interpret this as physical 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

Packaging and Accessories

​

The R3's arrived in a simple retail box - consisting of an outer case over a clear plastic inner - which shows the R3, but hides the supplied carry/storage case, and accessories. The specific sales messages on the box are very much straight forward and to the point:
- twin driver configuaration (tick, definitely true)
- bass and clarity (tick again, but not what I originally expected)
- rugged metal housing design (tick, definitely true)

​

The box also has a list of specifications on the side, as well as a list of included accessories. On the rear of the box (which is a fantastic touch) is an image of the driver design (cut-away image of the shell). They also have a blurb regarding the design, and what they were aiming for.

​

On opening the outer box, you're presented with the inner clear plastic 'tray' (which is pretty flimsy but funtional) the (fantastic) Brainwavz carry case, and the very shiny and rugged R3's. On opening the Brainwavz carry/storage case you discover the very good accessory range shipped with the R3s.

​

For accessories, included is the excellent semi-rigid red and black case (dimensions approx 90x70x45mm). The case is strong enough to fully protect your IEM's, has twin pockets on the inside for tips etc, and is very roomy (you'll see this last part does not apply to the R3 however - more on that later). I still have the original case from my R1s (impulse buy when they first came out) - and although the R1's were given to a friend, I kept the box - simply because I love the design.

​

The R3 also comes with an excellent 3.5 to 6.3mm adaptor, two prong standard airline adaptor, warranty form, and a variety of tips. The build quality on both the adaptors is certainly excellent, and in keeping with the very solid build which seems to be a theme with the R3. The R3 warranty card must be a standard warranty/RMA form because it states 12 months on the form - but 24 months on the box. Something which may have to be fixed / clarified in future.

​

The R3 also comes with a great range of different sized tips including triple flanges, dual flanges, single flange standard silicone (two types in S/M/L, and also some comply foam tips (which were originally in a sealed comply pouch).

All-in-all, the accessories included are highly impressive considering the price. I applaud Brainwavz for this.


Technical Specifications
(From the packaging)

Drivers :	Twin dynamic drivers (10mm x 2)
Crossover :	Passive
Impedance :	32 ohm
Sensitivity :	95dB at 1 mW
Rated Input Power :	2 mW
Frequency response :	20hz-20 khz
Jack / cable :	3.5mm angled standard gold-plated jack, 130 cm cable

Build / Fit / Comfort / Isolation

​

The R3 is built like a tank. The shell is an aluminium alloy. It's approx 1.3cm in diameter and 2.7 cm in length, with a further 1.2cm for the nozzle. The IEMs are a little heavier than standard IEMs (because of the shell size), but so far I haven't found the weight obtrusive in any way. The casing is very shiny, and has the Brainwavz logo printed on one side of each casing, with the word "Brainwavz" on the opposite side. At the tip of the IEM shell is a port (bass port?), and there is another one at the taper toward the strain relief. There is an interesting seam above this port where you can see the connecting wires between the two drivers. This is intentional, and Raz assures us that the wires are completely sealed. It all makes for a very interesting design. L&R markings are above this seam, and reasonably easy to find.

​

The cable is (IMO) the worst cable I've ever had with an IEM.

Let me start with the formable wire extending from the strain relief. This is quite rigid because the user is supposed to form them to his/her ears to make fit better. On my Shure SE535 - these are the perfect length of around 8.5cm. On the R3's, this is approx imately 16cm (or twice as long as it should be). I may as well state the obvious now - because this is one of the issues that has blighted an otherwise very interesting IEM ...... unless the designers were designing these for elves, aliens or very large primates - how could they mess this up so bad, when the rest of the design actually works reasonably well? This is not just bad, it's inexcusable. Did they
not try them before they released the design? The issue with the formable wire being so long is that the excess rubs against clothing, either dislodging the IEMs, or causing extremely bad cable noise. The only solution is to fold the excess wire (see photos).

​

​

Next we have the cable itself. It's thick. It's very, very thick. To give you an idea of how thick - it's actually very close in diameter to the cable on my Beyer DT880s. The problem with this is that it's slightly rubbery, and it's very, very microphonic. Even worn over ear (which is pretty much compulsory with this IEM), I still get microphonics when moving. Not only that - when you roll the cable to store the IEMs, it's so big it doesn't fit easily in the case, and because of it's width, it has a lot of memory (ie it remains kinked). I've taken some photos to hopefully show the cable difference between the R3 (awful), my SE535 (as wide as I'd want to go), the DN-1000 (excellent) and HiSound Audio's "Living" earbuds. The 535 and DN-1000, even after rolling reasonably tight, smooth out to a completely straight line again. The Living is very light but still very tough, and only shows light kinking. The R3 with it's 'industrial' design kinks all over the place and will not straighten!

​

​

OK - enough about the cable - just one final parting comment on it. If Brainwavz had spent even 5% of their time designing the cable properly, they would have had a potential winner here. Because of this oversight - IMO they don't. Despite it's very good sonics, I would not / could not recommend this IEM because of the cable - that is how bad it is.



Cable relief is very good at all points. The cable cinch is extremely similar to the design on my SE535 and works well. It's at about the limit though on size. Both it (and the splitter/cinch om my SE535) could be smaller. The plug is angled. Some will like it, some will not. Most angled plugs I've come across have the angle closer to 90 degress (ie right angles). This one is quite high. I don't mind either way.



I have one canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that single silicon flanges don't fit overly well. The included dual flanges and triple flanges weren't too bad - but I found that another dual flange I had (slightly different design) allowed me the best overall fit. The complies are almost a perfect fit (don't seal 100%), but were easy to insert, and the most comfortable. I also tried Monster gel tips which gave me the best isolation, but became uncomfortable after a while. I'm pretty sure a larger comply tip would be the best solution overall for me - but in the meantime the dual-flanges are a nice compromise.



Once the R3 are correctly inserted, I find them (despite the 'funky design') to be pretty comfortable for short to medium listening sessions. However the (insert appropriate expletive here!) cable does get sore after a while (this never happens with my Shures). In the R3s defense - it's probably because of the folds I have in the ear guides to shorten them. They do however sit flush enough with my ears that I can easily lie down with them still in place - and I think I'd have no issues sleeping with the R3 still intact (if the cable was modified). They are designed in such a way that they can only really be worn cable over ear.

As far as isolation goes - these are 'OK'. They aren't as good as the Shures - but I think this is very much tip dependent. It should be good at eliminating most ambient noise - or at least mitigating it.

So are the sonics worth the hassles of the sub-standard cable ……… ?

Sound Quality
The following is what I hear from the R3. YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline).

Detail
For this I’m using my normal tracks: Steely Dan’s “Hey Nineteen” 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 B3 displays very good detail with a definite (but polite) crispness, and enough balance so that detail is present without having the treble overly highlighted. Cymbals are nicely present – but it's not overdone, and I'm not detecting sibilance.

Sound-stage & Imaging
For this I use a binaural recording – Amber Rubarth “Sessions From The 17th Ward” - “Tundra”. I use this because it’s a pretty simple way to get comparative data on sound-stage. I also use some recorded live performances (including tracks from Joe Bonamassa’s “An Acoustic Evening at the Vienna Opera House”).

IMO it’s usually difficult to get a reasonable stage size from an inner ear monitor. The stage is usually quite small / close – with an average impression of space. With the R3 there is an impression of being slightly out of your head. These are surprisingly spacious, not to DN-1000 standards, but better than the intimate stage of the Shures. This is particularly strange with a slightly 'mid-forward' IEM The R3 shows reasonable separation and the imaging seems pretty accurate and precise.

Switching to Bonamassa – and the R3 this time is not quite as spacious - but still sounds very good with this exceptional live blues album. The acoustics of the Vienna Opera Hall are well represented and there is some perception of space - size (width) mainly, but depth is not as well represented.

Highs/Mids
Rather than referencing tracks – I’m going to give general impressions – as I’ve tried to listen to as many varied genres as I can.

The R3 actually has a very articulate top end with just enough sparkle to make it interesting. There is definitely a crispness to them – but it is not overdone, and with my music, has never bordered on sibilance. I'm finding the top end has excellent clarity - but it's not spotlit like some IEMs. My only issue is with the cohesion between upper and lower mids. Lower mids sound excellent (Bonamassa, Pearl Jam, any male vocals sound perfect). But with some of my female vocalists, the upper mids sound a little too warm (almost contrived). I used Equaliser on my iPhone and gave them a very small boost around 3-5K (only needed about 3dB) and balance was restored.
This could be just my personal preference at play so YMMV.

The mid-range is almost how I like it – relatively balanced with the rest of the spectrum – yet still full and rich. The mids slightly forward. Vocals are very clear – and acoustic guitar has a nice crunch to it. Timbre is reasonable. Male vocals are realistic - with female vocals being a touch on the warm (darkish) side. Bonamassa's live album from the Vienna Opera House was particularly good with the R3. The guitar had nice bite and was well focussed, and Joe's vocals blended really nicely.

Bass (specifically)
The R3 was a surprise to me. I was expecting these to have some good bass - but was expecting more quantity than quality with dual dynamics. The bass is definitely there, and actually very well defined. Almost reminded me more of a BA than a dynamic. My standard test now for bass quantity is Lorde’s new release “Royals” (local girl on the rise internationally) – mainly because the bass absolutely reaches low and has quite a bit of power. It handled the bass very well – good quality and not bad on quantity - without a lot of boominess. I'm pretty impressed with the quality of the bass overall - and the quantity is actually OK in my books - but I can imagine
that for some it may not be enough. I listened to Porcupine Tree's "Trains" as it has a nice mix of cymbal, snare, with intertwining bass guitar - and everything sounded nicely coherent. Thumbs up to Brainwavz.

Power Requirements
The R3 is easily powered out of my iPhone4, and on most tracks I am around 50% on the volume slider. With the StudioV3 - the volume is around 11. Comparatively - my Shures need less power. The Studio V3 does have a class A amp - but it's hard to say if my preference for the Studio over the iPhone4 is the extra power at play, or if it is simply that the Studio V3 sounds better. Anyway - I digress. You're not going to need external amplification with the R3 unless you have a very weak source, or if it has a high output impedance.

What About Response To EQ?
IMO - the R3 don't need a lot of tweaking - for my tastes, just a slight lift in the 3-5K area. They responded extremely well to this slight bump, and even elevating the bass worked well.

Quick Comparisons With Other IEMs
For this I'm going to simply use two contrasting tracks (no EQ) - Pearl Jam's "Elderly Woman Behind The Counter" and Beth Orton's "Magpie" - not because they're reference or anything - but more because I know and love these two tracks, plus they give two very different styles and vocal ranges. These four IEMs are in different price brackets - but all have strengths and all are highly rated in my books.

"Magpie"

1. 
   
   
   • HiSound Audio's BA-100 = extremely well balanced, vocals slightly forward, very clear. Very comfortable and lightweight though - and the more you listen to them, the better they sound.
   • Shure SE535 Ltd Ed = well balanced, but with much clearer and more upfront vocals. Very full, very clear, sublime really. These do vocals incredibly well. Bass is balanced and textured but sometimes just doesn't have the impact I'd like.
   • Dunu DN-1000 = very clear, mids not as foward, the most balanced of the four - definitely not as bright as the Shures, yet still very clear. Vocals are great, almost as good as the Shures, bass is better.
   • Brainwavz R3 - definitely the darkest mids of the four with this track. Bass is lighter compared to the DN-1000, similar to the Shures for quantity. Yet still a very nice presentation overall.

"EWBTC"

1. 
   
   
   • HiSound Audio's BA-100 = again very clear, but with this track, slightly thinner and brighter than the recording should be. Vocals are superb though.
   • Shure SE535 Ltd Ed = simply incredible. The balance, separation and timbre makes me realise just why these are worth the money I paid for them. Breath-taking with this track.
   • Dunu DN-1000 = again very clear, and again mids not as foward. Yet again the most balanced of the four. Vocals are great, almost as good as the Shures, but doesn't have quite the timbre and emotion.
   • Brainwavz R3 - wonderfully clear. Balance is really good with nothing sounding out of place. Could listen to this for hours. Doesn't have the emotion of the Shures, or quite have the overall cohesion of the DN-1000

By track ranking (audio):
Magpie : DN-1000 > SE535 > BA-100 > R3
EWBTC : SE535 = DN-1000 > R3 > BA-100

Ranking (fit/comfort):
DN-1000 > BA100 > SE535 > R3

SUMMARY
I'd really been looking forward to this IEM as soon as I saw the design, and read some of the glowing reviews. What I'm surprised about is why more hasn't been said regarding the design of the cable.

The R3 has a very pleasant signature, very clear and detailed (almost more like a BA than a dynamic), with a slightly better than normal sound-stage presentation. The odd shape is actually quite comfortable once you get the right tip - although that will be an issue for some (I'm still going to try the slightly larger complies).

Sonically I think there is a very slight mismatch between lower and upper mids (would love to see if anything shows up on a frequency chart) - leaving female vocals sounding slightly unnatural to me. This was easily fixed with EQ. Even without EQ though - the R3 is a very pleasant sounding IEM to listen to.

My issue lies with the cable design which I can't really put a positive spin on. It's awful.

Sonically these are very good for their price. Normally I'd have no problem recommending these to others - however for my personal taste the BA-100 are at least on par (if not better) with their single full range driver and much better comfort. In their current form (with the current cable set-up) I simply cannot recommend the Brainwavz R3 to anyone, let alone family and friends.

Recommendations to Brainwavz
Here is a very short list of what I’d change if I could. Hopefully this may be helpful to you Raz.

Brainwavz R3:

1. 
   
   
   • Lose the memory wire - you don't need it. Include detachable ear guides if you want - they would be more practical.
   • The cable needs to be far thinner and made of better material. I'd also make the splitter just a little smaller.

Once again Raz – thanks for the opportunity to try these. I'm sorry I can't be more positive. If Brainwavz do decide to change the cable, can you let me know? With a better cable, and at their current price point - these could be a very good buy.

Introducing Dunu's DN1000 Hybrid (dual BA + single dynamic) IEM
 
I've been lucky enough recently to start reviewing for a few IEM and ear-bud manufacturers.  After reading other comments and reviews on Dunu's latest flagship (the DN-1000 triple driver hybrid), and communicating with Rocky from Dunu, I got my chance to listen to this wonderful product recently. They arrived a little over three weeks ago – and in that time I’ve logged a lot of hours with them (in fact they've been my IEM of choice).  I’ve listed price at  USD $215 (current Amazon price at time of writing) – however this is not what I paid for them (they are a review sample).
 
Disclaimer
I was provided the DN-1000 as a review sample.  I am in no way affiliated with Dunu - and this review is my honest opinion of the DN1000.  I would like to thank Rocky for making this opportunity available.
 
Preamble - 'about me'.   (This is to give any readers a baseline for interpreting the review).
I'm a 46 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 mid-fi set-up.  I vary my listening from portable (HSA Studio V3 and iPhone4) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP).  My main headphones at the time of writing are the Senn HD600, Beyer DT880, and Grado RS1.  Most of my portable listening is done with IEMs - and up till now it has mainly been the Shure SE535 Ltd Ed. or the HSA BA100 IEMs. I have auditioned quite a few entry and mid-tier cans, but have yet to hear/own any real flagships (at current time of writing this review).  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 hard-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 tend toward cans that are relatively neutral/balanced - with a slight emphasis on the mid-range.  I am neither a bass nor treble head (you could argue that I do like clarity though).  Current amps = NFB12 and LD MKIV.  I also formerly owned several portable amps - the most notable being an Arrow 4G and GoVibe PortaTube.
 
For the purposes of this review - I used the Dunu DN-1000 straight from the headphone-out socket of both my iPhone 4 and Studio V3.  I did not bother with amping them, as IMO they do not require an amp.  In the three weeks I've had the DN-1000's I have probably already put around 60 hours listening time.  In that time I have noticed no change to the overall sonic presentation (I do not believe in 'night and day' burn-in).  I will allow that the more time I've have spent with these IEM's, the better they continue to sound to me.  Personally I think this is brain burn in - but I will respect others choice if they interpret this as physical 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
 
Packaging and Accessories
The DN-1000's arrived in a smart (simple but elegant) retail box - consisting of a outer sleeve over a 'book' style inner case.  The first thing I noticed (which actually impressed me a lot) was that the box was completely shrink sealed.  That shows two things IMO - a high level of care with their product, and complete confidence in their QC (that any pack they do is up to review standard).
 
The packaging is ideal for a retail presentation - an easy to display rectangular retail box - with an 'average' footprint.  I quite like the style of this box – matches the IEMs really – simple, but a lot of thought gone into the design.  The specific sales messages on the box are a general one for the DUNU brand (Delicate, Unique & Utmost), while the specific one for the DN-100 reads simply "Ultimate quality hybrid in-ear earphone". The box also has a list of specifications (multiple languages) on the side, and a list of included accessories on the rear.
 
On opening the inner box, you're presented with the metal carrying case, and the IEMs.  It's not until you explore the rest of the case that you find out how compelte the accessory package is.  I was actually 'blown away' that so much is included with the DN-1000.
 
For accessories, included is an excellent rigid metal case (dimensions approx 70x70x30mm).  If you own any of the HiSound Audio products - the case is virtually the same size - but rigid rather than soft.  It is an ideal size for the IEMs - and has room for spare tips etc.  It is large enough to hold the IEMs safely – yet small enough to fit in a front pocket.
 
It also comes with a well made soft leather pouch (with draw string).  I'm not sure of the purpose of this (maybe for carrying all the accessories) - but what I have found is that it's a perfect fit for my Studio V3 DAP - so thank you Dunu (solved a problem with how to carry my DAP without scratching it).
 
In addition there is an airline daptor plug, ear-guides (detachable), a cable clip (if you want to wear them down), a 3.5-6.3mm adaptor plug, a cleaning cloth, and some aluminium spacers for Dunu's nozzle adjustment system (nore on that later).  There is also documentation including a warranty card (English) and instructions on how to use the nozzle adjustment system.
 
The DN-1000 also comes with a plethora of different sized tips including dual flanges, single flange (reinforced interior), and also some foam tips similar to Complys (not quite as soft).
All-in-all, the accessories included are highly impressive, and I have not seen a better set of accessories with any of my own IEMs - except maybe the SE535 which is double the price of the DN-1000.
Technical Specifications
(From Dunu)
Build / Fit / Comfort / Isolation
The DN-1000 is pretty much built like a tank.  I checked with Rocky, and the shell is an aluminium alloy.  It's approx 1cm in diameter and 1 cm in length, with a further 0.7cm for the nozzle.  The IEMs are relatively heavy (at 26g), but so far I haven't found the weight obtrusive in any way.  Each nozzle has an inbuilt filter.  On the rear exterior of each shell is Dunu's logo.  L&R markings are quite small - and IMO could have been more prominent / easier to identify.  I solved this via the use of the differnt coloured comply tips (red and blue) - but it's something I think a lot of manufacturers could improve.  You don't see the markings when they're in your ears - so why not make them easier to read?
 
The cable is a very smooth PVC outer, and appears extremely well put together.  I can't see this breaking any time soon - and it's pretty much tangle free to boot.  There is a short cable relief at the shells, and also at the 3.5mm right angled plug.  I checked with Rocky on the cable materials - and he not only confirmed the PVC, but also that they had gone out of their way to use material that is considered 'green', or 'eco-friendly'.
 
The splitter is quite rigid, and also appears to be made out of an alloy.  One of the great things about the splitter is that there is enough weight in it to keep the cable pulling down slightly.  The other thing I love about this splitter is that the top half of it detaches to become the chin slider.  The design is simple, very elegant, and works incredibly well.  The other fantastic (to me anyway) design element in the cable is the inclusion of an 'on-cable' cinch (or rubber cable tidy).  This is a really simple mechanism that is unobtrusive - but means that whenever it's time to store the IEMs, the cable is always tidily looped.  For me (being slightly OCD), I simply LOVE this inclusion.  So simple - yet so practical.   
 
July 2014 - I've updated this section for a comment on the cable.  Mine has noticeably stiffened over time.  I don't know if this is due to sweat on the cable, or exposure to sunlight, or another cause. What I do know is that this is concerning for the overall longetivity of the IEM - especially when I'm not the only one who has noticed this (see H20's comments elsewhere on Head-Fi).  So far it hasn't detracted from the sound, or even the usability - buut buyers should be aware of a potential issue - especially considering the cable is not replaceable.  I have adjusted overall score accordingly.
 
Before we go into fit, I'll briefly touch on the inclusion of the coloured rings (or spacers).  The DN-1000 is designed to allow you to fit one of three different sized spacers (or fourth option - use none at all) - that then allow the tips to be closer or further away from the body of the IEM.  Changing this theoretically affects the frequency response, and also the insertion depth.
 
I tried different settings and different tips - and whilst I like the idea (it definitely has tweaking options for the enthusiasts here), I do wonder how effective it is.  I tried all of the different rings, eventually settling on the reds - but to be honest I found that any change in frequency response (for me) was marginal and I doubt I could tell anything in a proper blind test.  It's also likely that the few mm change between rings would be nullified by the actual change in fit each time you use them (ie I guarantee that my insertion depth with the same red rings will be different almost every time I use them).
 
Anyway - nice idea - but leads to the one design issue I have with the DN-1000.  By allowing for the change of rings, they can't acccomodate a lip on the nozzle.  Because of this - anyone trying for a really good seal / deep insertion with some of the tips may very well find themselves removing the DN-1000 from your ears, and finding the tips still in your ears.  This doesn't happen for me with the comply foams (they stick on the DN-1000 pretty well), but I found that with the dual flanges, I often had to go fishing (in my ears) for the missing tips.  Didn't happen often - but enough to be annoying.  If I was to have my choice between tip stability and tweakability with the rings, the rings would be discarded.  Others may have different ideas.
 
Anyway - onto fit.  I have one canal slightly different to the other one (my right is very slightly smaller) - so I tend to find that single silicon flanges don't fit overly well.  However Dunu included a single flange design that I haven't seen before, and I'd pick some people will love this.  It has circular reinforcing fins, and keeps the tip shape resonably firm (nice design).  The included dual flanges allowed me the best overall fit - but unfortunately I had issues with keeping them intact with the DN-1000 on removal from my ears.  The included foam tips are almost a perfect fit, easy to insert, and I never have an issue with them coming loose.  The only downside is that they don't completely isolate (seal may not be 100% perfect) - but I find they sound wonderful sonically.  I did try some monster gel-tips and also super-tips.  The gel-tips were a disaster, but the super-tips actually fit really well - and I may try them for my next long-haul flight.  In the meantime the foam tips are very comfortable and my tip of choice.
 
 
Once the DN-1000 are correctly inserted, I find them (despite the weight) to be extremely comfortable, and have no issues with even long listening sessions.  They sit flush enough with my ears that I can easily lie down with them still in place - and I think I'd have no issues sleeping with the DN-1000 still intact.  They are designed in such a way that they can be worn cable down, or cable over ear.  My preference has always been over ear, and it fits snugly without the need for the included guides.  I did try the guides, but found them a little unwieldy.  they may appeal to some though - and it's nice to have the option.  Cable microphonics were very low (pretty much non-existent) with the cable worn over ear.  There was some cable noise worn down - included shirt clip may help reduce this.  One point to note here - I got very little bone induction noise when walking while wearing these.  Not sure if it's the tips I'm using and the slightly less isolation compared to my Shures - but it definitely makes exercise (walking/jogging especially) a lot more enjoyable.
 
As far as isolation goes - these are 'OK'.  They aren't as good as the Shures - but I think this is very much tip dependent, and as stated earlier, it's pretty hard for me to have an extremely isolating tip with the current nozzle design.  I have several long-haul flights in Feb next year - so it will be interesting to see how they go.  Anyway - isolation is listed by Dunu at 26dB - which should be good at eliminating most ambient noise - or at least mitigating it.
 
So what do these suckers sound like ……… ?
 
SOUND QUALITY
The following is what I hear from the DN-1000.  YMMV – and probably will – as my tastes are likely different to yours (read the preamble I gave earlier for a baseline).

Detail
For this I’m using both Steely Dan’s “Hey Nineteen” 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 Dn-1000 displays good detail with a nice (if polite) crispness, and enough balance so that detail is present without having the treble highlighted.  The DN-1000 actually sound pretty natural, and even swuitching to my 535 Ltd Eds, I'm realising that the Dunu's have similar clarity and detail - with the Shures having a more mid-centric presentation, whereas the DN-1000 are a little warmer (and bassier).  The one thing I noticed in switching between the 535 and DN-1000 was that the Dunu's may have very slightly more treble roll off in the upper registers.  Cymbals are still fully present – but they are more apparent with the Shures.  I have no complaints about the DN-1000 though.  The overall presentation of detail for this IEM is very enjoyable, and the dual TWFK drivers are really showing what they can do.
 
Sound-stage & Imaging
For this I use a binaural recording – Amber Rubarth “Sessions From The 17th Ward” - “Tundra”.  I use this because it’s a pretty simple way to get comparative data on sound-stage.  I also use some recorded live performances (including tracks from Joe Bonamassa’s “An Acoustic Evening at the Vienna Opera House”).
 
IMO it’s usually difficult to get a reasonable stage size from an inner ear monitor.  The stage is usually quite small / close – with an average impression of space.  Not so with the DN-1000.  These are surprisingly spacious for an IEM with the stage projecting very slightly outside my head.  Comparatively, my Shures and the HSA BA100 definitely have a smaller more intimate stage with the track “Tundra”.  The DN-1000 shows good separation and the imaging seems pretty accurate and precise.  Switching to Bonamassa – and the DN-1000 again really excels with this exceptional live blues album.  The acoustics of the Vienna Opera Hall are well represented and there is a real perception of not only space and size - but depth as well.  Although I am close to the stage - I'm not 'on it'.  What I do like is how engaging the Dunu's are - I can't help tapping my feet and nodding my head - and that's the sort of presentation a live performance should be giving me.
 
Highs/Mids
Rather than referencing tracks – I’m going to give general impressions – as I’ve tried to listen to as many varied genres as I can.
 
The DN-1000 actually has a very articulate top end with just enough sparkle to make it interesting.  There is definitely a crispness to them – but it is not overdone, and with my music, has never bordered on sibilance.  I'm finding the top end has excellent clarity - but it's not spot-lit like some IEMs, and it blends nicely with both upper and lower mids.  Cymbals are heard – but aren't glaring.  If I had to describe it,  I’d say the treble is very smooth but very clear at the same time.  Treble heads and extreme detail freaks will probably not be completely satisfied, but for those who like a rich organic sound without any lack of clarity – these should definitely be considered.  For my personal preference (and I usually prefer a little more clarity and shimmer) – I'm finding these actually close to perfect (must be the overall balance).
 
The mid-range is how I like it – nicely balanced with the rest of the spectrum – yet relatively full and rich.  The mids are not overly forward.  Vocals are wonderfully clear – and acoustic guitar has a nice crunch to it. Timbre is rich and very well presented   Both male and female vocals are realistic - if maybe a touch on the warm/rich side.  The more I use the DN-1000 the more I really like them, even to the point that I rarely use my Shures any more.  Seether's acoustic album “One Cold Night” sounded particularly good with the Dunus.  The guitar sounds the way it’s supposed to with good bite – without being showy.  I'm a mid-range junkie, and normally I'd prefer a slighly forward mid-range - with the vocals being the focus - but I'm surprised with every different album I try how well balanced these are through the mids and highs.  I remember (when I owned it) - I had a Brainwavz B2 dual TWFK which had marvelously tuned BA drivers - utterly engaging and captivating.  These are similar - but without the upper register glare of the B2 - and I guess that's where we need to talk about one of the strengths of this IEM - the bass from the dynamic driver ......
 
Bass (specifically)
The DN-1000 was again a surprise to me.  I was expecting these to have some good bass - but was wondering if it would somehow overshadow the midrange.  The bass is definitely there, and oh so much fun - but I'm not experiencing bass bleed.  The balance on these is incredible.  The bass is very full, hits reasonably hard - but does have a longer decay than my SE535 (which are quite linear - but also really well defined). The bass on the DN-1000 is a bit slower than on the Shures  - but there is much more impact, and they seem to extend reasonably low.  To my ears, it does seem to have very slightly elevated mid-bass (but so far not loose or flabby).  Because the bass is probably slightly elevated over the rest of the spectrum, these do have the tendency to sound a little warm - but they're unlike anything I've heard before, and I find myself struggling to desrcibe what I'm hearing.  They're warm but not dark.  They're relatively balanced - but at the same time very slightly bassy.  They're incredibly well defined, and the mid-range is never recessed - so I wouldn't call them V shaped either.  They simply have an earthy, organic, rich grunt to them which really resonates with my audio preferences.  
 
As a final test I tried Lorde’s new release “Royals” (16 yo NZ girl on the rise internationally) – mainly because the bass absolutely reaches low and has quite a bit of power.  It handled the bass very well – good quality and quantity - just a slight boominess.
 
Power Requirements
The DN-1000 is easily powered out of my iPhone4, and on most tracks I am around 50% on the volume slider.  With the StudioV3 - the volume is around 9 or 10.  Comparatively - my Shures need slightly less power. The Studio V3 does have a class A amp - but it's hard to say if my preference for the Studio over the iPhone4 is the extra power at play, or if it is simply that the Studio V3 sounds better.  Anyway - I digress.  You're not going to need exrternal amplification with the DN-1000 unless you have a very weak source, or if it has a high output impedance.
 
What About Response To EQ?
IMO - the DN-1000 don't need tweaking.  But it's always nice to see what they are capable of if you do decide to apply EQ.  So I fired up the iPhone with the Equaliser app, and gave them a little tweak in the upper mids and highs and a reduction in bass – and they responded extremely well.  I quickly turned the EQ offf though - IMO Dunu has the default tuning pretty well right already.
 
Quick Comparisons - SE535 LE & BA100
For this I'm going to simply use two of my favourite tracks - "Trains" by Porcupine Tree and also Pearl Jam's "Elderly Woman Behind The Counter" - not because they're reference or anything - but more because I simply love these two tracks.  These three IEMs are in very different price brackets - but all have strengths and all are highly rated by me.
 
 
HiSound Audio's BA-100 = well balanced, vocals slightly forward, very clear, they almost sound a little tinny/nasally (lacking in body) after using the DN-1000.  Very comfortable and lightweight though - and the more you listen to them, the better they sound.

Shure SE535 Ltd Ed = again well balanced, but with much clearer and more upfront vocals.  Very full, very clear, sublime really.  These do vocals incredibly well.  Bass is balanced and textured but sometimes just doesn't have the impact I'd like.

Dunu DN-1000 = very clear, mids not as foward, almost more balanced than the Shures - definitely not as bright, yet still very clear.  Vocals are great, almost as good as the Shures, bass is better.
 
By track:
Trains : SE535 >= DN-1000 > BA-100
EWBTHC : DN1000 >= SE535 > BA-100

SUMMARY
I'd never had the pleasure of hearing a  hybrid before so I didn't really know what to expect.  it took me a while to get the fit right, but eventually with the complies I've found something that is a good mix of fit and sonics.  As far as build and design goes, the DN-1000 would be one of the most well designed total packages I've encountered - with the one exception of the nozzle (see above).  Apart from that I can't really fault them.
 
Sonically these are incredible for their price.  Well balanced but with an earthy, catchy and exciting low end that just keeps my toes tapping. The slightly wider sound-stage (than normally expected on an IEM) actually pairs really well with some of my genres, and listening to Von Karajam and the Beliner Philharmonic's 1963 rendition of Beethoven's 9 Symphonies with them (paired with the Studio V3) was a captivating experience.  Yet it's rock and indie that really ticked the boxes for me.  I'd imagine they might have a little difficulty with really fast paced music - but as I seldom listen to anything too fast paced, it's a non-issue for me.
 
I would have no hesitation recommending these IEMs to family and friends – and I guess that says a lot for how highly I regard them.  These just really tick all my boxes. 
 
They probably won’t dethrone my 535’s – as I think I'll need the 535's greater isolation on my long haul flights - but if my 535's broke tomorrow, and I was left with the DN-1000, I don't think I'd be looking for another IEM.  Indeed, over time (if they can isolate "well enough") I'd probably sell the Shures before I sold these - and that should be praise enough.  Incredible value at around the USD 200 mark.  I wish I'd found something like this years ago.
 
Congrats Rocky and Dunu / TopSound - these are a winner.
  
Recommendations to Dunu
Here is a very short list of what I’d change if I could.  Hopefully this may be helpful to you Rocky.
 
Dn-1000:

1. Fix the nozzle - it needs a lip, even if it means ditching the rings.
2. Include a larger set of the complies - it was the only tip for me that was missing.
3. A detachable cable would be nice if you do another version of these - it might encourage more people to try them - especially for a flagship.  Personally I find the cable brilliant - but it may attract others, and these need to be tried (over pricier models) - they really are THAT good.
4. Research into cable sheath material.  Needs to be looked at due to hardening issues.
5. More prominent L/R markings for some of us in the older generation - so I don't have to squint

 
Once again Rocky – thanks for the opportunity to try these.  They are incredibly good - and to my ears, play at the same level as much more expensive models.

EDITED AGAIN 4th DEC - FOLLOWING FIRMWARE ADJUSTMENT
Introducing HiSound Audio’s TOTL DAP – The Studio V 3rd Anniversary Edition
 
 
After reviewing many of HSA’s earbuds and IEMs lately, my thoughts turned toward buying a new DAP.  My iPod Touch G4 (32 GB) had been getting pretty full, and I’d been tossing up between simply getting the iPod Touch G5 (64 GB) + an add on amp (probably an Arrow) so I could drive my higher impedance full cans, or buying a DAP that could do an all-in-one job.  I asked Jack from HSA for his opinion, and he steered me toward the Studio V3 A.E.  We struck a deal where I would pay for the device, review it, and if not happy, could return for a full refund.  In this review, I’ve listed the Studio V3 A.E. for its normal list price.  I paid a little under this – but I did pay for the DAP.
 
Disclaimer
I was provided the Studio V3 A.E. as a paid (but discounted) review sample.  I am in no way affiliated with HiSound Audio - and this review is my honest opinion of the Studio V3 A.E.  I would like to thank Jack and the HiSound Audio team for making this opportunity available.
 
Preamble - 'about me'.   (This is to give any readers a baseline for interpreting the review).
I'm a 46 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 mid-fi set-up.  I vary my listening from portable (iDevices) to my desk-top's set-up (PC > coax > NFB-12 > LD MKIV > HP).  My main headphones at the time of writing are the Senn HD600, Grado RS1, Shure SE535 Ltd Ed. IEMs, and HSA’s BA-100, Crystal and Living earbuds/IEMs.  I've also just received the Dunu DN1000 Hybrid IEM this week.
 
I have very eclectic music tastes listening to a variety from classical/opera and jazz to grunge and hard-rock.   I listen to a lot of blues, jazz, indie, 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 am neither a bass or treble head (you could argue that I do like clarity though).  Current amps = NFB12 and LD MKIV.  I also formerly owned several portable amps - the most notable being an Arrow 4G and GoVibe PortaTube.
 
My experience with DAPs in the past have been initially with very cheap Sony offerings, then step-ups to the Cowon iAudio7, and lately to my iPhone4 and iPod Touch G4 – which are both very good sounding and have excellent interfaces.  I've also listened to various other devices along the way - including Cowon's J3.
 
I have extensively tested myself (abx) and I find aac256 or higher completely transparent.  For my portable listening – it is my preferred format (space vs quality).  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, and would rather test myself blind on perceived differences.  I am not a ‘golden eared listener’
 
What I Was Looking For In A DAP
I thought I’d list (before I start with the review) what I was really looking for in a new DAP.

1. Great (neutral) sounding
2. Good build quality
3. Reasonable battery life
4. Easy to use interface
5. Able to drive both low impedance and (within reason) higher impedance cans

​
Did I get all of this with the Studio V3 A.E?  That’s a definite no.  Well - mostly (following some tweaking).  And for me, the two biggest ‘must haves’ were going to be sonic quality and usability.  Do I still have the Studio V3 A.E?  Yes.  No intention of returning.  Read on, and discover with me why I regard this DAP as having a ‘Jekyll & Hyde complex’, but why (for me) it’s remained a keeper.
 
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
When the Studio V3 A.E. package arrived – before I opened the parcel, my initial thought was that Jack must have sent me something along with it.  The box is big considering the size of the DAP – but I have to admit it does give an impression of something “just a little bit special” being inside.
 
On opening the V3 box, the initial impression was “wow this thing is tiny”, and also – it does look very solid and classy.
 
With the V3 you also get:

1. An HSA VIP card
2. Warranty (in Chinese)
3. The Studio V3 manual (in English and Chinese)

 
The manual itself is fairly basic – but also pretty easy to follow.
 
Underneath the display tray is a second compartment with 3 very nicely presented boxes which hold the USB plug and cable, and also a pair of PAA-1 earbuds (which despite their budget appearance actually sound not too bad).
 
 
 
Technical Specifications
There wasn’t a lot of information (technical anyway) on the web – so I’m relying on what was published in the manual.  Relevant details include:
 
 
Build
Four words – solid, classy, high quality.
 
 
The body is a solid piece of machined aluminium with a brushed exterior.  The colour is silvery with a light golden hued tint.  The body has slightly bevelled edges – but it is comfortable to hold.  The buttons are solid, and appear built to last.  The OLED display – while small is relatively easy to read, and can be viewed reasonably easily (dark and light).  It does suffer a little in direct sunlight - but easy enough to shade with a cupped palm.  The USB cable fits snugly, and headphone socket is tight and feels well put together.  On the bottom of the player – next to the USB port – is a micro SD expansion slot.  For this review I’m using a Sansa Ultra microSDXC class 10 card.  The card is easy to fit and is solid once input.  One note here – you’ll need to format the card to FAT32.
 
 
On the top of the unit is the headphone out, and also another plug so that the Studio V3 A.E. can also be used as an amplifier for another source.  I have tried this feature – and while it works, I can’t say that it’s a feature I would ever see myself using.
 
 
The only issue I have with the build is that I’m always worried about scratching it because it looks so classy.  It’s already received a lot of comments from my work mates – and has been instantly a topic of conversation when I’ve had it out.  Quick thought for Jack – it would be nice to include some type of soft cover (or pouch) as an added accessory for the future.
 
UI (Universal Interface) / Usability
 
With pre-loaded firmware DT-DYNAMIC 2013.01.15
Ok – here is where we meet Dr Hyde.  So far my initial impressions were very good.  First I charged the battery for the initial recommended 8 hours, and then began loading some music.  The USB interface is really good.  On plugging I got two Windows Explorer windows – the first the 4 GB internal memory, and the second had access to the 64 GB card.  Putting music on the player was simply a matter of drag and drop.  So far, so good.  When I had the card loaded with about 45 GB of HQ aac files (around 4000 tracks), I unplugged and turned the unit on.
 
 
I’d already read a lot of the threads on the V3 A.E. – so I was expecting a slow start-up.  Initial boot took around 5 minutes.   The disconcerting thing was watching the screen initially scroll the boot messages – then seem to freeze.  Don’t panic if this is happening to you – it’s normal for everything to freeze while it’s initialising the card.  Once it starts scrolling again you notice the card is loaded and you’re ready to go.
 
 
Here’s where things started to get flaky.  Although the card had loaded – the player was extremely laggy moving from menu to menu.  Scrolling was an absolute chore – and sometimes despite clicking repeatedly, it was not scrolling at all.  For anyone at this stage – patience.  What I found out later - through trial and error – is that this player does not like a big library of tracks, and that it gets more responsive around the 3000 track mark or lower.  I also found that leaving the player for about another minute after it’s initially loaded also speeds up the responsiveness.
 
 
Anyway – initially I had ~4000 tracks loaded and the player was extremely laggy.  Not used to the interface, and coming from the excellent UI in all the Apple devices – this made me very impatient, and it was at this point I discovered one of the major flaws in the V3 A.E. UI.  The central button acts as a select option, play/pause, and back option – depending on how long you hold it.  Unfortunately it also acts as the power off button.
 
So imagine if you will – laggy menus, trying to back out of a directory, buttons unresponsive because of the lag – so press the central button either repeatedly or longer (because of the lag) – and you suddenly get the “Bye” notification and the device powers off.   Aaaargh!!!  Wait 5 minutes to power on again.  Repeat process etc.  It was at this point after a further 15-20 minutes that I was ready to just box the whole thing up and return it to Jack.  At this stage I hadn’t even been able to have a decent listening experience.
 
Anyway – fast forward now 3 weeks – and things are much different.  The UI still sucks could be better – but it’s usable.  It’s extremely basic – and Jack’s advice to me (via email) was invaluable.  He advised patience and that eventually I’d get used to working the buttons – the length of time to press etc, and I have.  Like I said earlier – the secret is not to overload the player with files – and to be patient with loading.
 
The menu itself is simple – but effective.  You can either browse by selecting the music option or file browser mode.  Using the music option – your tags need to be correct.  Interesting note here (just another quirky observance) – if you have no music files on the 4 GB internal memory, the player won’t recognise tags on the files on the removable micro SD card.  For me it simply showed ‘no file’.  Once I added files to the internal memory – they reappeared.
 
Main menu options include “Now Playing”, “Music”, “Resource Manager”, and “Settings”.
 
The best part about the UI is that it’s very simple to use once you get accustomed to it.  The worst parts are:

1. Player lag
2. No back button (apart from the central one) and having it double as on/off.
3. Every time you exit a menu you have to relocate that folder again (no memory of where you last were).  This is extremely annoying – especially when browsing by folders, or if you have artists with multiple albums.
4. If you have a lot of folders – you can have a lot of clicking to get to the one you want – there is simply no easy way of getting there in a hurry.
5. No true gapless
6. It has lossless support – but does not work with 24/96 files (have to resample these)

 
One recently discovered fault (could be just my unit) is that sometimes when I power on – the volume either appears to be slightly muted, or louder than it ought to be.  This doesn’t happen very often – and usually just repowering the device of and on again puts things back to normal.  It’s happened only a couple of times in the last 2 weeks – but it is repeatable – so could be an issue just with my unit.

---

UPDATE 28/11
So in an attempt to get better response from the player - I decided to try removing all of the tags from my files.  I use folder browsing anyway - so no biggie.  I fired up MP3tag - deleted the tags, and tried again.  Still a very slow boot, and still some lag in the UI.   Hmmmm ....
 
Next - wiped the player - got rid of the albums I'm least likely to use - so now I was only loading about 2300 tracks (mostly full albums).  This time all of the albums loaded as FLAC - but after I cleaned up all the tags (deleted any ID3V2 tags, deleted artwork, deleted all other eroneous info except for Artist, Album, Genre and Track (title and #).  Reloaded and an instant improvement.  Load time is now about 3.5 minutes (it's pretty consistently around this time) - but a lot of the lagginess is now gone from the menus.  It;s actually pretty snappy, and a lot easier to use!  Now that I'm not having to fight the player all the time - I can have a look around.  Discovered folder play - works really well, and there is an option in settings to randomise the play (nice).  Genre tags work, as do artist and album - so if you want to create playlists you can - just by arranging desired tracks in a common folder.  The good news is that if tagged properly - you can then use the normal 'tagged playing options' to play by album - and the folder option to arrange playlists if you need to.  Takes a little managing the set-up, but all in all - the more I use the player, the better it's becoming.
 
Would I like the UI fixed - YES!  Biggest one for me would be boot time.  But it's very usable at the moment - and it's not a chore as it was in the beginning.  My Hyde is now more of an annoyance than a raving beast

---

UPDATE 04/12
Following Lee730's advice - I finally bit the bullet and reverted to firmware version DT-DYNAMIC 20111223.  I now consider the UI to still be a little primitive but very usable (no longer the Mr Hyde it once was).  Boot time with a fully loaded internal and external memory is now just a little over a minute (approx 74 seconds), scrolling is dynamic, and most of the lag is gone.  I really don't know why this version is not the default one for the player.  All in all now - this has gone from a good DAP to a great DAP in my estimation.  Sonics (as you'll read further) are outsanding, as is the build.  Now the UI is functional as well.

---

 
I could go on a lot more about the UI – but it’s time to move on.  The important thing is that I still have, and use this DAP daily.  And that’s simply because of the sound …..
 
Sound
Let me preface this section by making sure you know where I’m coming from.  I like the sound of my iPhone.  It’s linear – sounds great, low distortion, essentially flat frequency response.  I did not expect the Studio V3 to sound superior – yet it does.  I level matched, got my wife to assist with swapping blind, and tried it with a number of different headphones.  The V3 A.E. to my untrained ears sounds phenomenal.
 
 
It’s essentially pretty colourless – maybe has a very slightly brighter than neutral signature.  It’s either that or most of my other gear has been slightly darker than normal.  I won’t go on about bass, mids or treble – as that won’t get to the heart of the matter.  The V3 A.E. has a very black background.  I’ve noticed no hiss (or other noise) with even my very sensitive SE535 Ltd Eds.  The main difference between the iPhone 4 and Studio V3 A.E. (sonically) is in a greater sense of ‘air’ or ‘space’ with the music.  I know this sounds like stupid audiophile speak – but it’s the best way I can describe it.  Side by side (and volume matched to the best of my ability) – in direct comparison – the iPhone 4 sounds quite flat after listening to the V3 A.E.  If I had to guess – I’d say it was something to do with the crossfeed set-up maybe?  Anyway – the Studio V3 to me simply sounds wonderful – which is why I’m keeping it.
 
Update - spent the evening with Dunu's DN1000 Hybrid and the Studio V3 A.E.  To my ears, these were made for each other.  Crystal clear, gorgeous mid-range, punchy and hard-hitting (dare I say 'magical') bass - and I am definitely not a basshead.
 
 
And to those who are maybe scoffing at this point (like I used to with others) – remember that I have every reason to return the player for a full refund.  The UI is not good not as good as I'm used to, I can’t store all of my music (like I wanted), and features are missing that had grown to be 2^nd nature on my iDevices.  I’m keeping this because it sounds great – despite everything else.
 
Power
HSA claim (on the rear of the device) that it is Class A inside – and this is one of the reasons I looked at it originally.  I wanted a DAP that I wouldn’t have to carry a separate amplifier with (a truly portable device).  And it doesn’t disappoint.  It’s perfect with my sensitive IEMs, and can still drive (with no issues) my HD600.  It sounds great with the RS1 – and when I had my K702 I even tried it for a while.  Whilst the K702 was lacking a small bit of power (didn’t quite have the bottom end that I was used to from a more powerful set-up), volume and general sonic signature on the K702 was far better than from the iPhone – and was very listenable.
The Studio V3 has 31 different settings in its volume scale – and so far I’d never had any issues with headroom.  On the HD600’s I sit close to 20.  With my IEMs – around 8-10.  There are no issues with channel imbalance.
 
 
Battery Life
HSA claim up to 100 hours playing lower bitrate MP3 files in saver mode (ie screen turned off).  I’m guessing from a full initial charge – that could be achieved.  But as far as real world usage goes – I’m probably using the player around 6 hours a day (playing music), and sometimes longer if I leave it in stand-by.  I have no problems getting at least 2-3 days, so I’d say minimum 30 hours with higher resolution files and normal use – probably longer – is achievable.  Anyway – given that it powers all my headphones (portable and full sized) and has very long life – no amp required – I’m very happy with its battery life so far.
 
Summary
So there we have the Studio V3 A.E.  A real Jekyll and Hyde dilemma for prospective buyers.  On the positive side:

1. Truly excellent sonically
2. Wonderful build
3. Powerful enough to use without an additional amplifier
4. Very good battery life

 
On the negative side:

1. A crude and frustrating UI (until you learn it's oddities, and get your library tweaked to overcome the issues)
2. Laggy if used with too many files (becomes snappier with fewer files + also correct tagging)
3. Significant start-up delays (hope they fix this with firmware eventually) - unless you revert back to the older stable firmware.

 
Is it worth the full retail price (USD 450)? – I’ll leave that up to the individual.  For the discounted price I paid – it is my favourite player sonically, and I use it in preference to my iPhone 4 now.  It wouldn’t take much to make the Studio V3 A.E. an absolutely excellent DAP.  Here are a few ideas …..
 
Suggestions for HSA

1. Separate on/off button (absolutely necessary IMO)
2. When back button used – it needs to go back one step only
3. Keep expansion slot – but increase onboard memory.  If the memory was even 32 GB onboard (64Gb would be ideal) – this should significantly increase the responsiveness (I’d forgo the expansion card altogether), and negate the lag from having too many files.
4. Think about adding a lock button/switch.  I had it in my pocket yesterday (jeans) and I seemed to drain the battery quite quickly.  Assume that the buttons may have been inadvertently being pushed (in my pocket) which led to screen being on almost all the time - and resulting in a big battery drain.
5. Revert back to original firmware DT-DYNAMIC 20111223 or at least make the most current firmware as stable and with the same shorter boot time.

 
Thanks again Jack for the opportunity to purchase and review this unit.  I won’t be sending it back – it sounds too good to part with.