Big ups PAR fam. Today we review the LXear Pluto, a 4BA (balanced armature) driver custom in-ear monitor. LXear custom IEMs are 3D-printed using the latest top-of-the-line 3D printing technology.

LXear is located in Bucharest, Romania and was founded by an experienced musician and audio engineer, with the goal of taking the local in-ear monitor market to a higher level. The company uses premium materials made in the USA and the highest quality drivers in all their monitors.

The Pluto system is much more complex than I had expected.

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Alan Stern

Official website: https://lx-ear.com/

This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Package and Accessories

The Pluto comes in a refreshingly minimalist packaging that eschews the commonplace copious amounts of superfluous cardboard and drama. Instead, it is simply delivered in a handy carrying case which is wrapped in a cardboard sleeve.

The outer sleeve is white and has an image of some custom in-ear monitors and a section of cable on the front. On the back is a similar image albeit with a different CIEM, plus the company’s website address.

Removing the outer cover reveals the carrying/storage case. Inside is a foam insert with various cutout sections for the monitors and accessories. Here’s what you’ll find in the box:

• LXear Pluto in-ear monitors
• Detachable 2-pin cable with 3.5 mm plug
• 3.5mm to 6.35mm adapter
• IEM cleaning tool
• Branded cleaning cloth
• User guide

Build Quality and Design
LXear custom in-ear monitors are manufactured using state of the art 3D-printing. That was the first thing that came to my mind when I saw my Pluto CIEM. Physically, it reminded me a lot of my Empire Ears Bravado and Custom Art FIBAE Black. The contours of the shells are very smooth and there is a kind of uniform thickness to the shell that handmade customs cannot replicate.

My unit came with a very interesting, mottled earthy brown and green pattern on the faceplates and translucent, sage-green shells. I was really surprised and pleased with the look and this is why I like to sometimes leave the design up to the manufacturer; because I usually end up with something unique that I would not have conceived otherwise.



There are many more design and colour options available that aren’t shown on the website’s customization tool but you can contact LXear via the website and talk about what kind of custom artwork you want for your CIEM, including your own logo if desired. You can also opt for normal or recessed 2-pin connectors.



Comfort and Noise Isolation
As always, the fit of your custom monitors relies on sending a good set of ear impressions. The website has a useful page with detailed instructions on how to get the best fit. It’s wise to print the instructions and share them with your audiologist.

The Pluto’s 3D-printed shells are very smoothly finished and fit perfectly to the contours of my ears. Although the shells are slightly larger than average I find them to be very comfortable and suitable for long listening sessions. Noise isolation is excellent and only surpassed by my M-Fidelity SA-50 which has solid resin housings rather than hollow shells.

Sound
Gear used for testing includes the Sony NW-ZX300 and Soundaware M2Pro as portable sources. On the desktop, I plugged the Pluto into my Arcam irDAC-II. The Pluto is reasonably easy to drive but due to its aggressive low-end, I recommend pairing it with a more neutral or brighter source.

The LXear Pluto has an L-shaped signature with a large mid-bass hump and a heavy focus on the bass and lower midrange. It has a very warm and rather thick tonality with a relaxed treble. This results in a full-bodied, dark presentation, making this IEM tuned for fun and musicality over precision.

Bass
The Pluto is all about the bass and in particular, it’s mid-bass hump. This is the most mid-bass-oriented of all my custom monitors to date, with only the Empire Ears Bravado coming close in terms of mid/upper-bass quantity.

Sub-bass has a deep, physical rumble which is impressive for BA drivers and great for those big bass drops and certain genres like dub, reggae and electronic. It has a typical balanced armature tidiness and control to it but is forward and bold in its presentation. Pluto’s mid and upper bass dominates the scene with its energetic presence. As a result, it can be boomy and there is some bloat but its medium speed gives it a natural warm air and roundness.

Mids
The midrange is positioned just behind the bass and has a reasonably thick note structure. Male and female vocals are rounded and smooth but could use some extra clarity and articulation to lift above the bass more clearly. Lower midrange notes are full-bodied and pushed forward, adding body and thickness which adds to the Pluto’s smooth and easygoing character at the cost of some transparency and accuracy.

The underlying warmth and thickness of the mids add extra body but that mixed with the relaxed treble means that some of the subtle details are muted or lost as a result. However, to compensate for its modest detail retrieval, Pluto’s mids are rich and musical. In Anathema’s “Ariel”, the vocals are emotive and engaging in both the female and male sections throughout the song but could use more texture.

Treble
Treble extension is good and the tone of treble notes is natural but it’s laid back and a little distant. It has a light airiness that at times struggles to gain a foothold under the weight of the bass and lower midrange.

This is definitely an IEM that would be safe for the treble-sensitive but not ideal for those who want maximum precision and detail. The treble is smooth and airy, reaffirming the Pluto’s warm and darker presentation but at times could benefit from a more forward presentation.

Soundstage
The Pluto’s stage dimensions are moderate and have more width than depth. With it’s enhanced bass and lower midrange, the Pluto relies on its stage width to create space and separation. Instrument separation and layering are good but things can get congested during busy segments. The stage never really opens up due to the Pluto’s warm nature and accentuated mid-bass which also limits transparency.



Comparisons
Custom Art FIBAE Black

The Black is another warm IEM but its overall tonality is more balanced. It has leaner notes which are more laid back, giving it an airier and more open stage. Pluto is warmer in comparison, with more forward bass and midrange but its extra note density gives it more physicality and body. While the Black’s stage dimensions feel larger, the Pluto’s denser notes give it more precise imaging.

CA Black’s bass notes are thinner and it relies on its cavity and resonance for fullness while the Pluto’s bass is enhanced via quantity and forwardness. The Black’s bass is airier and has slightly better control. The Pluto’s thicker bass lends more warmth to the midrange as well as the more obvious bass punch and impact, although the Black’s mid-bass has a sharper slam.

The Black’s midrange is more laid back and neutral, while the Pluto’s is warmer with rounder notes. Black’s vocals are drier and further back. In addition, the Black’s leaner midrange notes result in more openness and transparency but a less natural tone.

While both monitors have a relaxed treble presentation, the Black’s treble has more definition and clarity. It’s slightly more forward in the mix, without being any brighter. This gives the midrange more clarity and resolution.

Empire Ears Bravado

The Bravado has a similar musical approach that relies less on technicalities in favour of fun. Pluto is more forward and has more inherent warmth with a thicker presentation. The Bravado has a rounder stage with added depth and its thinner notes present a cleaner image. In contrast, Pluto’s stage is more forward and intimate.

Bravado has a deeper sub-bass reach with less roll off down low. Both IEMs have a similarly prominent mid-bass but the Bravado is able to better separate its bass from the lower midrange, giving it an advantage in layering.

Bravado’s midrange is less coloured and more laid back. Pluto’s lower midrange notes are thicker and more forward. Both IEMs have a laid back treble but the Bravado’s treble is more forward relative to its midrange, without being any brighter.



Conclusion
The LXear Pluto certainly has a unique presentation for a custom in-ear, at least in the context of my personal experience with them. It is heavily skewed towards the mid-bass and lower midrange, which is not surprising considering it was developed by a sound engineer who spends a lot of time near or on the stage and at live performances.

For my own preferences, my ears are missing some upper midrange presence and treble emphasis, along with subtle details. Pluto at times feels as though it relies more on brute force than nuances or agility with its exuberant thump and saturated character. At other times though, it surprises with its emotive and more delicate side.

In terms of build, the Pluto ranks among the best in my collection, thanks to its high-precision 3D-printed shells and the quality of the design and finish is top notch. If you’re after a warm, smooth monitor with a load of kick, forward, full-bodied midrange and polite treble then the Pluto is sure to deliver.

Specifications

• Dual bore design
• Four Balanced Armature ( 2 x low, 1 x mid + 1 x hi dual combo )
• 113,5 db max. SPL 10% THD
• 28 Ohm @1kHz (+-15% 10Hz-20kHz)
• 20Hz-20kHz

This review was originally posted on my blog.

Hi, there fam. In today’s review, I’m checking out the Custom Art FIBAE Black, a single balanced armature driver in-ear monitor. The Black utilizes not just the established FIBAE technology but also sports a new innovation: Pressure Optimizing Design (POD). According to Custom Art’s website:

Pressure Optimizing Design allows for extremely precise control of frequency response, improving soundstage and separation capabilities, without issues arising from crossovers or multi-driver constructions.

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The Custom Art
Custom Art website: https://thecustomart.com/
Learn more about FIBAE tech: https://thecustomart.com/fibae/

This sample was provided for the purpose of an honest review. All observations and opinions here are my own based on my experience with the product.

Package and Accessories

This time around I didn’t get the usual packaging because I received the FIBAE Black in person from Piotr Granicki, the man behind The Custom Art, during CanJam Singapore 2019. However, the regular bundle remains the same as the other FIBAE models and includes the following:

• Custom Art FIBAE Black earphones
• Detachable SPC 2-pin cable
• Pelican 1010 storage case
• Zipper clamshell case
• Cleaning tool
• Desiccant pellet
• Warranty card

Build Quality and Design

The FIBAE Black is the first of Custom Art’s in-ear monitor models to use 3D-printing technology. Why use 3D printing? It offers more consistency across each unit, increases the speed of production time and it also allows for more precise reproduction of each person’s ear shape. It is available in both universal and custom fit (I chose a custom fit).


There is a downside, however, to this new tech. It means that there are fewer customization options available but this is likely to change once the technique is refined. With CA’s other models you can choose different colours for the shells and canals. With the Black, you can currently only customize the faceplate. The only colour option for the shells is a glossy, piano black. Fortunately, the black shells look classy AF!

The FIBAE Black is really nicely built. The thickness of the 3D-printed shells feels more uniform compared to the handcrafted models and the contours are smoother overall. There’s not much difference otherwise since The Custom Art have always produced really high-quality products.

Comfort and Noise Isolation

If you’re getting custom shells like me, the comfort will depend greatly on the quality of your ear impressions.

So does the 3D-printing work? Well, the Black is now my third CIEM from Custom Art. All three were produced using the same silicone ear moulds/impressions that I had made here in Bangkok (I highly recommend BKK Audio if you’re looking for impressions in Thailand). Although my FIBAE 2 and 3 fit great and are comfortable, the Black is even better. It has a more curved and smooth surface and gives me an even better seal than the aforementioned models.

Naturally, because I chose to get the custom version, the noise isolation is superb as is normally the case with a custom in-ear monitor. Not much else to say about it really, except that you should be aware if you try to talk to me while I’m wearing the Blacks, I’m likely to just shake my head and offer no other response.


Cable

The included SPC cable is the new Plastics1 Crystal Motion. It has a transparent TPU sheath through which you can see the silver-plated copper wiring within. The transparent plastic 2-pin connectors are unchanged from previous iterations and still have the minimalistic but very functional blue and red dots to easily identify the left and right sides.

There is a short length of memory wire at the top of the cable. Further down are 2 simple transparent plastic discs that act as a cable cinch and a matching Y-split. They’re both unobtrusive and lightweight.

The cable terminates in a right-angled 3.5 mm plug. As with previous stock Plastics1 cables, this one is really simple but very functional and comfortable. It’s pliable, lightweight and has virtually no microphonics.


Sound

Gear used for testing includes the iBasso DX120 and Soundaware M2Pro as portable sources. On the desktop, I currently have my Arcam irDAC-II in rotation which is connected to my PC via USB. The FIBAE Black does not require extra amplification but it does scale well with a better source. My favourite source tested was by far the Soundaware M2Pro which has a fantastic, holographic soundstage and smooth yet resolving character.

Dark is a term I haven’t used often in recent times but it comes to mind when I listen to the Black. Lately, it seems as though everyone is focusing on more neutral or reference tuning where technical showboating takes precedence over musical enjoyment. The Black laughs in the face of that approach and then does the exact opposite.

It has a sound that focuses on the middle bass and to a lesser extent the upper bass and upper midrange. The end result is a sound that’s warm and soothing with a little bite added for interest and contrast. Kinda like salted caramel if you know what I mean. And if you don’t, be warned; you only need one spoon to enjoy it but it’s very hard to stop after just 1 spoonful.

What makes the Black special is its ability to have such an easygoing, relaxed signature and yet still be resolving and maintain a decent amount of tonal accuracy. Because it has such a unique approach it took me a little longer than usual to adjust to the Black’s sound signature.


Bass
The Black’s bass is lush with a fullness that forms the warm foundation on which everything else rests. It focuses on the mid and upper bass which are slightly enhanced while the sub-bass is on the lighter side with moderate extension.

Despite the roundness of the bass notes it still has a fantastic, grungy texture that makes it really satisfying. A great example is the bass in Wang Wen’s “Mail From The River” starting from around the 2-minute mark which the Black reproduces with a gritty physicality.

Another fine example of the Black’s enticing bass is Porcupine Tree’s “.3”. The rolling bassline takes on a life of its own and the impact you get from the kick drum will make you question if there is really only one single balanced armature driver hidden within.

Mids
The midrange on the Black can be quite deceptive. It has the illusion of being quite thick but that’s mostly the effects of the underlying warmth and resonance of the bass as well as the attenuated treble. I reckon this is the magic created by the Pressure Optimizing Design but I could be wrong. I’m probably wrong…

The transition from the upper bass to lower mids is fairly linear, adding some girth to lower-register instruments and male vocals. Similar to the bass, male vocals are buttery smooth but rich and textured. An upper midrange rise adds presence and vibrancy to female vocals, all the while maintaining that sense of effortlessness.

The Black’s midrange richness and body exist in stark contradiction to the speed and definition that coexists along with them. It’s one of the aspects that makes this such a unique and interesting in-ear monitor.

Treble
The Black has a treble that is clear and well-defined but slightly attenuated and pushed back in the mix. This adds to the dark nature of the Black’s tonality but what I really love about it is the timbre. Everything in the treble range sounds realistic and natural and as an added bonus is completely free of sharpness or sibilance.

A little bump at 6kHz adds clarity and articulation plus the excellent extension in the upper treble adds airiness and lightness without brightness. It’s not the most detailed treble and some of the micro details will go unnoticed but it fits in perfectly with the Black’s laid back style.

Soundstage
The Black’s dimensions are reasonably modest, at least, in terms of width. The depth portrayed by the Black is quite impressive, although it occupies a fairly narrow space in front of the listener. Despite its rounder notes and slower transients, the Black maintains good layering with a dark background and there is ample separation between instruments to avoid feeling closed-in.


Comparisons

Custom Art FIBAE 2

The FIBAE 2 is more V-shaped in comparison with the Black. It has a more energetic upper midrange and treble giving it a brighter character. Midrange notes are thinner, making it slightly less forgiving although it still has the characteristic Custom Art smoothness.

Despite the FIBAE 2’s extra treble presence, the Black’s stage dimensions feel larger. So even with its note thickness, the Black paints a clearer picture because of its blacker background and cohesiveness.

Custom Art FIBAE 3

The FIBAE 3 shifts its focus further up the scale than the Black. Its bass has a similar character with a slow attack and solid impact but is positioned behind the midrange. FIBAE 3 brings the midrange forward, letting vocals and instruments enjoy the spotlight. Its treble is more open and airy as well, giving it a lighter and brighter character compared to the Black.

FIBAE 3’s stage is wider but has less depth than the Black. This gives it a rounder stage with more even proportions but the forwardness of its midrange makes it feel quite intimate. Details are more apparent on the FIBAE 3 but the Black is more musical and inviting and draws you into its warm embrace.


Conclusion

I know it’s a term that gets thrown around loosely but the FIBAE Black is just an intensely musical IEM. With its single balanced armature driver, the Black has a very cohesive presentation which adds to the naturalness of its sound and enhances its earthy, organic style.

It’s not the most technical IEM and not suitable for those who prefer an analytical or reference sound. With better extension on either end, this would be a serious flagship contender. But I can’t really take points away for that because the Black isn’t trying to be anything except for what it is.

The Black is designed for pure, unadulterated enjoyment of music and it delivers in spades. With its supremely comfortable 3D-printed shells, reasonable price and unpretentious character, there’s a heck of a lot to like about the Black.

Specifications

• Single proprietary Balanced Armature
• Pressure Optimizing Design
• 108.5dB @1kHz @0.1V
• Low %THD
• 5.2 Ohm @1kHz (+-0.8 Ohm 10Hz-20kHz)
• 3D printed acrylic shell
• 10Hz-16000Hz (+-10dB into IEC 60318-4 coupler)
• Custom or Universal fit

*This review was originally posted on my blog. You can check out my other reviews here.

Tested at $72

For a while, I’ve been saying that the Bluetooth audio age is truly upon us and 2018 really put this into perspective for me. With advanced streaming codecs and steadily improving battery technology Bluetooth audio just keeps getting better. A perfect example of this is the iDeaPLAY V402 Bluetooth headphones with Active Noise Cancelling (ANC) which I’ll be reviewing here today.

I have tested several Bluetooth headphones from iDeaUSA in the past and they have continued to impress me each time. They offer quality products that are very well-built, are affordable and sound great to boot. Imagine my surprise then when the V402 arrived and had a sound signature unlike any other of their previous models. Is that a good thing or a bad thing? Well, let me tell you about it and then you can decide for yourself.

iDeaUSA website: https://ideausa.com/

IDEAPLAY V402 SPECIFICATIONS

• Model: iDeaPLAY V402
• Bluetooth: v4.2 with apt-X
• Profiles: A2DP / AVR CP / HSP / HFP / apt-X
• Range: 10m
• Noise reduction level: ≥16dB
• Speaker Diameter: 40mm
• Speaker Impedance: 32 ohm
• Frequency Response: 20Hz—20KHz
• Battery: 3.7V / 500mAh (20h ANC playback, 30h music playback)
• Dimensions: 20x16x8cm
• Weight: 265g

Package and Accessories


The iDeaPLAY V402 comes in a white box that has a clear, large image of the headphones on the front. On the back of the box are some more pictures and info about the key features. It’s a pretty straightforward delivery system that’s uncluttered and informative.

Inside the box is a black, semi-rigid zippered carrying case that holds the headphones and all the included accessories are found in here as well. So here’s what you get in total:

• V402 ANC Bluetooth headphones
• USB charging cable
• 3.5mm Aux cable
• Airline adapter
• Protective Case
• User manual
• Warranty card

It’s a great little bundle that is well thought out and practical. The inclusion of an airline adapter makes sense as that is why a lot of people buy ANC headphones in the first place. Also, having an aux cable means you can still use the headphones if you run out of battery power or just want to squeeze out the maximum audio quality.



Build Quality and Design

My first impressions when I first saw and held the headphones were very positive. The V402 feels durable but lightweight and although they are made from plastic it feels strong and premium. There are no creaks or rattles anywhere

There is a generous amount of padding on the underside of the headband to reduce pressure on the top of your head. Strangely, the iDeaPLAY branding is embossed on the underside of the headband – while I find it quite unusual I actually really like this subtle approach as it fits in really well with the headphones’ overall low-key visual design.

The adjustment sliders are a mix of steel and plastic and have a very firm and clicky action. There is a wide range of sizes available and the headphones should fit just about every head size.



The yokes are made from the same strong, matte plastic we see above the adjustment sliders and swivel a full 90% so the headphones can be laid flat around your neck or on any surface. Interestingly, the yokes are also on a hinge that allows you to fold the headphones up to reduce the footprint even more for travel or storage.

The earcups are the same matte plastic found on the yoke and headband and are visually plain except for a rounded, triangular, perforated metal ring. Finally, the pleather earpads are plush, soft and feel very nice on my ears. On the inside, there’s a big L or R printed to denote left and right sides, a feature I love to see.



Overall, I think this is physically the best headphone from iDeaUSA yet; they just keep making little incremental improvements with each consecutive model and get a little better each time.

All the controls are found on the right earcup while the USB charging port is on the right side. The buttons consist of power, playback and volume control, as well as answering and ending calls. Next to the power button is an LED indicator that shows the headphones Bluetooth status (pairing or connected).

Next to the LED indicator is the jack for the Aux cable, followed by the built-in microphone. Lastly, there is a switch for turning the ANC On or Off.



COMFORT AND NOISE ISOLATION/ANC

The V402 is very comfortable for the most part, although some might find the clamping force a little tight. Apart from that, the headband is great, the earpads are plush, they fit nicely and everything feels great on my head. I can wear this headphone for long sessions but after a couple of hours, I need a short break from the clamping pressure before I’m ready to continue.

With the Active Noise Cancelling (ANC) turned off the V402 does not isolate particularly well and that’s because the perforated metal band on the earcups really is vented, making this headphone semi-open.

Once the ANC is switched on any outside noise is attenuated pretty drastically, especially constant, low-frequency noises like lawn mowers, air conditioners plus vehicle and plane engines. It’s still not quite as effective as some of the Bose and Sony models but considering the difference in price, the iDeaPLAY V402 performs well in this area.

BLUETOOTH AND BATTERY LIFE

Pairing the V402 with another device is simple and follows the regular Bluetooth protocols. Voice prompts are provided as well to guide you through each process. I found the range to be excellent and among the best I’ve seen for a Bluetooth headphone. I can leave my paired Android phone on my desk and walk through to my kitchen or bathroom (both of which are behind a solid wall) without a hiccup.

The V402 is rated for up to 20 hours with ANC on or 30 hours without ANC and these times turned out to be accurate for me during testing. I tend to listen to my music at a fairly low volume so your mileage may vary but regardless, you’re still getting some stellar battery life from these headphones.



Sound

Gear used for testing includes the Samsung Galaxy Note 5, Shanling M0 and Sony NW-ZX300.

Here’s where the iDeaPLAY V402 differs the most from the brand’s other models. Up until now, all their full-sized Bluetooth headphones focused first on bass first and everything else came after. Now, however, the V402 takes a refreshingly balanced approach that I find to really hit the sweet spot.

BASS
For me, the bass is the most interesting aspect of the V402’s sound. Unlike most common consumer tuning the V402 bass is far more balanced in relation to the mids and treble than you might expect.

That doesn’t mean it is anemic or light – it still has punch and a solid response but it is much more conservative than we’re used to hearing from a wireless headphone in this price segment.

The sub-bass does carry more weight than the mid-bass and this is significant, as it lends a reassuring body and warmth to the overall tonality. It also makes for a surprise the first time you hear it! Still, even though the sub-bass is more accentuated it is still not overblown in any way. There is good control and reservedness shown by the 40 mm drivers.

MIDS
The midrange sounds clean and uncluttered and while it’s not a mid-forward tuning it comes through clearly because of the well-executed bass. There’s warmth without any muddiness and articulation without dryness.

Listening to “Sundown Highway” by Long Distance Calling, the midrange guitars come through clearly with good bite and clarity. Transients are a little bit slow which makes this a very forgiving headphone for those poorly mastered tracks but rather than feeling sluggish it simply comes across as being laid back like sitting back with a good drink at the end of a productive day.

TREBLE
I don’t mean to keep harping on about the bass but I feel that I need to mention it again here as well. Because of the way the bass is tuned, the treble doesn’t need to be forward to compete or counterbalance it and neither does a more relaxed presentation become faint and lethargic.

Instead, the V402 is able to have a fairly relaxed treble that is still airy and light but nowhere near strident or harsh. The treble notes aren’t the sharpest but they are non-fatiguing and perfect for that long flight or commute. It’s a great way to round up a very pleasing overall signature.

SOUNDSTAGE
The stage is wider than it is deep with somewhat loose boundaries. Vocals are fairly intimate, as though you’re in the front row and close to the action.

You lose some of the soundstage size and airiness when ANC is turned on but are rewarded with more solidity and sharpness. It’s to the V402’s credit that this headphone can sound good with ANC off or on and is another reason why I like it so much.



Conclusion

The iDeaPLAY V402 is a fantastic Bluetooth headphone with solid ANC. It has excellent build quality, comfort, battery life and a very enjoyable tonality. Throw in a great hard case and some extra accessories and you’ve got a really good deal. I think this is their best headphone yet.

Simply put, if you are looking for a wireless ANC headphone but aren’t willing to pay the price premium for the big name brands then the iDeaPLAY V402 is the perfect alternative.

*This review was originally posted on my blog. Visit Prime Audio Reviews to see more like this.

*This was originally posted on my blog over at Prime Audio Reviews here.

Bluetooth is here to stay. We simply cannot avoid it any longer. Just look at how many new phones still have a headphone jack: there seem to be fewer every day. So how are you supposed to enjoy music from your smartphone now? Enter the FiiO BTR3 Bluetooth Receiver.

The BTR3 is a thumb-sized Bluetooth receiver that you can plug your headphones into and enjoy Hi-Res music from your phone or streaming device. The BTR3 has a built-in microphone so it can be used for hands-free calling too. You can also hook it up to your PC, laptop or tablet with the included USB-C cable and use it as an external DAC (Digital to Analogue Converter).

The BTR3 has a special claim to its name too: It’s the world’s first Bluetooth amp to support all wireless audio codecs. Yes, all of them. This includes aptX, aptX Low Latency, aptX HD, LDAC, AAC, SBC and LHDC.

FiiO official website: https://www.fiio.com/Home

SPECIFICATIONS

Model BTR3
Weight About 26 g (incl. battery)
Audio Input Bluetooth connection (Bluetooth 4.2 supported)
NFC Supported
Headphone Output 3.5 mm stereo jack
Volume Control Side buttons
Charging Time ≤1.5 h (DC 5V 500mA)
Battery Capacity 300 mAh
Output Power About 25mW (32Ω loaded)
About 33mW (16Ω loaded)
THD+N ＜0.003%(LHDC 1kHz)
SNR 120dB (A-weighted)
Bluetooth Chip CSR8675
Color Available Black
Dimensions About 58×25×10.4mm (exclusive of back clip)
Supported Audio Format(s) AAC/SBC/aptX/aptX LL/ aptX HD/LDAC/LHDC
Mic Function Supported
USB Port Type C USB
Status Indicator Light RGB light indicates the input Bluetooth audio codec, charging and working status
Power Input Recommend DC 5V, 500mA
Drive Ability 16~100 Ω (recommended)
Frequency Response 20～20kHz（aptX connection)20～40kHz（LDAC connection)
Output Impedance ＜0.3 Ω（32Ω loaded）
Crosstalk ≥ 75 dB（32Ω loaded）
Accessories Type C USB charging cable*1, Quick Start Guide*1, Warranty Card*1, Lanyard*1
This sample was provided for the purpose of an honest review. All observations and opinions here are my own, based on my experience with the product.

Package and Accessories
The FiiO BTR3 comes in a small white box with an image of the device on the front. It’s simple but practical packaging that isn’t wasteful or unnecessarily flashy so we’ll just leave it at that and jump into the actual contents. Inside the box are:

• FiiO BTR3 Bluetooth Receiver
• USB-C cable
• Lanyard
• User manual and warranty

So, just like the box, the package contents are basic but practical and contain everything you need to get your new device up and running. So how are the physical aspects of the BTR3?
Build Quality and Design
As soon as you lay your eyes or hands (whatever comes first) on the BTR3 you’ll know that it has a really nice build. It has an all-metal chassis with a 2.5D glass front. There’s an LED on the front that lights up in different colours indicating various operating states and which Bluetooth codec is being used.

All the controls are on the right side of the device and are made up of 3 buttons in total. At the top is the Power on/off button that is also used to switch between input devices (the BTR3 can be simultaneously paired to 2 devices).

The second or middle button is a multi-function button used for Reconnect/Play/Pause/Answer phone call/End call. It can also be used to force pairing mode and even to activate Siri for iPhone users.

In between the top 2 buttons is the built-in microphone which can be used for hands-free phone calls. Lastly, we have the Volume up/down, Previous track/Next track buttons.
On the bottom edge are the 3.5mm headphone jack and USB-C port. The USB port is for charging the unit and can be used to connect the BTR3 to a PC, laptop, tablet or smartphone via the included USB-C cable for use as an external DAC.

Over on the back of the device is a metal clip which can be used to attach the BTR3 to clothing or a bag etc. At the top of the clip is a through-hole which can be used to attach the included lanyard.

BLUETOOTH AND BATTERY LIFE
Bluetooth connectivity is taken care of by the Qualcomm CR8675 Bluetooth chip which promises to have a more stable signal strength compared to other competing solutions. It is a low-power chip with support for 24-bit signal transmission. During my testing, I have not experienced any dropouts or disconnects when paired with my Android phone or Sony NW-ZX300 DAP.

FiiO’s BTR3 has a rated battery life of 11 hours and this turned out to be quite accurate for me during use. Using the included USB-C cable the device can be fully charged in just 1.5 hours.

Sound
Gear used for testing includes my Samsung Galaxy Note 5 (aptX), Sony NW-ZX300 (LDAC) and Shanling M0 (LDAC) as sources. On the receiving end were the Ultrasone Performance 860, Campfire Audio Cascade and a bunch of IEMs including the BGVP DMG, HiFi Boy OS V3 and Custom Art FIBAE 2.

At the heart of the FiiO BTR3 is the AK4376A DAC which according to the AKM website is:

a higher performing solution of the AK4375A that is adopted by many portable audio products since it was launched in 2014

AKM
I have to say the BTR3 really surprised me with its audio quality, especially since my recent infatuation with the similar Radsone ES100 (comparison below). The BTR3 sounds much better than my Galaxy Note 5 and laptop’s headphone outputs as well as some of the ultra-budget wired DAPs that I have laying around.

It should be noted that the BTR3 is rated for headphones up to 100 ohms, so if you’re looking to drive something above that then you should consider an alternative such as the ES100. Don’t be one of those donkeys who buys blindly and then complains when the unit doesn’t drive their 300 ohms headphone…

Having said that, it can actually drive my 250 ohms Beyerdynamic DT990 Pro really well: certainly loud enough though not quite optimal. For the majority of IEMs and low impedance headphones, however, the BTR3 has enough juice to bring out their best.

Comparisons
FIIO BTR3 VS RADSONE EARSTUDIO ES100 ($99 USD)
This is one comparison that everybody has been asking for and understandably so, considering these are the 2 major players for Bluetooth receivers in this price segment.

First of all, let me say that they both sound fantastic and there’s very little difference in actual audio quality. To my ears the BTR3 sounds just a tad more vivid and has more note density but that could possibly be a result of stored settings from the Earstudio app (crossfeed, digital filter etc.)

The FiiO unquestionably has a more premium build with its metal chassis and 2.5D glass front. Its clip has a better grip too, making it feel more secure when attached to clothing etc. That’s not to say the ES100 doesn’t have its own charm. If I were forced to make a choice between the 2, I’d probably have to flip a coin because I genuinely love them both.

For anyone who’s not sure which device suits them best I would say this: If you need to drive high impedance earphones or headphones then the ES100 is the better choice for you (requires balanced cable). Similarly, if you’re a control freak and demand EQ functionality and a multitude of tweaks then again the ES100 is the way to go.

If you’re the type who wants a simpler plug and play experience then the FiiO BTR3 would likely be your best choice. The BTR3 arguably has a better button layout than the ES100 and it supports a couple of rarer codecs such as aptX-LL and LHDC. One more thing worth mentioning is that the FiiO costs around $30 less.

FIIO BTR3 VS AMPIO VS-1880 ($189 USD)
The VS-1880 is another great Bluetooth receive and shares many similarities with the BTR3. Both units have a similar shape and size and both have metal housings. The Ampio’s clip can be reversed or even removed which is really handy.

In terms of sound quality both are fantastic and the real differences come down to features more than sound. The BTR3 supports those rarer codecs (aptX-LL and LHDC) so if you want to use either of those it should be an easy choice for you to make.

Both units have a similar power output and are suitable for up to 100 ohms headphones or slightly higher. Battery life is almost the same: 10 hours for the VS-1880 and 11 hours for the BTR3. Both have a built-in microphone for hands-free calling and both can be used as an external DAC: the Ampio via Micro-USB and the FiiO via USB-C.

Considering the VS-1880 is more than double the price of the FiiO it’s difficult to recommend over the BTR3. The only really compelling reason I can think of is if you like to treat your gear roughly then the VS-1880 feels more robust as it doesn’t have a glass front like the BTR3.

From left to right: Ampio VS-1880, FiiO BTR3, Radsone Earstudio ES100.
Conclusion
The FiiO BTR3 is the latest in high-fidelity Bluetooth receivers, something I believe we are going to see a lot more of in coming times as more smartphone companies ditch the headphone jack from their phones.

The BTR3 is a gorgeous device that sounds great and works just as it is intended. It’s a Bluetooth receiver with the most extensive codec support, it’s an external DAC, it’s a dongle and it will only set you back $70. What’s not to like?

Purdio (Pure Audio Labs) is a subsidiary of ODOYO International Limited. Odoyo has offices in Hong Kong and California and they carry a range of products dealing mostly with lifestyle gadgets and accessories. But they also have a new line of audio products, including the Purdio Vector 8-core OCC copper cable.

Pros

• It’s resistant to tangling
• Is strong yet supple and malleable
• More affordable than many 8-core cables
• Great connector housings

Cons

• No option for a 4.4mm plug
• Very basic packaging and sparse accessories

The Vector is currently listed at $259 and is available from the Odoyo website here.

This sample was provided for the purpose of an honest review. All observations and opinions here are my own, based on my experience with the product.

Package and Accessories


The Purdio Vector arrived in a small, black box with a white cardboard sleeve. On the front of the sleeve is an image of the cable and a list of some of the features. On the back of the sleeve are some illustrations of the plug and connectors, plus some specifications. Inside the box the cable, stored in a resealable plastic bag. It’s not the most exciting unboxing experience but practical enough.

Build Quality and Design
There are several different configurations available for the Vector. For the plug, you can choose between 3.5mm stereo or a 2.5mm balanced plug. Sadly there is no option for a 4.4mm Pentaconn plug yet but it’s easy and inexpensive to get around this with a simple adapter if you need a 4.4mm connection.

For the connectors, you can choose between MMCX and 0.75mm 2-pin. I went with the 2.5mm balanced plug and 2-pin connectors.

The heart and soul of the Purdio Vector are its 8 woven 7N (99.99999%) OCC copper strands. Each core wire is covered with fluoropolymer resin (FEP) and jacketed in round woven fiber.

Visually the Vector has a salmon-like colour and sparkles like diamonds below the surface as it catches the light. It’s a fairly unassuming cable that only reveals its subtleties when you see it up close.

The Purdio Vector also comes equipped with memory wire, which I’m usually not very partial to. In this case, however, the wire portion is quite short; just enough to mould over the top of your ears. So although it is a rather stiff wire it hasn’t been bothering me at all. But for the most part, I still think of memory wire as being unnecessary and prefer pre-formed guides or nothing at all (purely personal preference).

The 8 tightly-woven cores make the Vector feel reassuringly robust and durable while at the same time being supple and smooth to the touch. With it’s tightly woven, individually sleeved cores, the Vector almost feels more like a narrow rope than an audio cable. It’s quite surprising that 8 cores of 23AWG copper can be this malleable.



PLUGS AND CONNECTORS
Possibly my favourite thing about this cable is its excellent gold-plated brass 2-pin connectors. The clear plastic housings bend 45° midway to fit naturally over your ears. What I really love about them though is the way they firmly yet effortlessly sort of snap into place when you plug them in. They really felt as if they were designed to fit specifically in every IEM that I tried. They’re also much easier to get a grip on than other smooth, cylindrical connectors, like those on the Ares II cable.

One thing that really frustrates me about the Vector is the Left and Right markings on the connectors. They’re moulded onto the side of the housings and are near impossible to see, even if you know where to look and have good light. There really should be some kind of visual indicator that’s easier to see.



The Y-split is made from a clear solid but flexible plastic. It’s very lightweight and unobtrusive and the very nature of the material it’s made from acts as its own strain relief. There’s a matching chin slider that is easy to slide up and down the cable but stays firmly in place. Finally, the Vector cable terminates in an L-shaped plug (in this case a 2.5mm balanced plug) which is made from the same tough but flexible material as the Y-split.



Sound
The Purdio Vector exhibits the inherent warmth and body of copper but also displays wonderful clarity. It has the effect of adding robustness and hint of warmth without sacrificing any transparency. In fact, with its improved treble extension, I’d venture to say that detail is improved and a little more energy in the lower treble adds some clarity.

Bass extension remains unchanged but there is more texture in bass notes, delivering wonderful and palpable definition. This also acts as a catalyst for an improved soundstage; tightening up the low frequencies ever so slightly cleans up the stage, aiding instrument separation and delivering enhanced resolution.

SELECT PAIRINGS
What surprises me most about the Vector is its effect on the higher frequencies. Pairing it with the M-Fidelity SA-50 really highlighted the difference. The SA-50 is already a very detailed IEM with amazing clarity but Paired with the Vector it takes on a more vivid and sharper characteristic. By no means do I mean that in an unpleasant way. The Vector purely enhances the SA-50’s underlying properties, making it even more impressive for its ability to be so clear and detailed but still smooth enough to listen through a couple of entire albums nonstop without causing fatigue.

I found a similar result with the Custom Art FIBAE 3, particularly in the treble where the Vector had an effect of making treble notes more solid and expressive. Unlike the SA-50, the FIBAE 3 gains a little extra fullness in the mid-bass which really helps the overall tonality and realism of this mid-centric CIEM. Listening to We Lost the Sea’s “Challenger part 1 – Flight” and “Challenger part 2 – A Swan Song” with this combination and fed by the Sony ZX300 from its balanced output was unbelievable. It was so mesmerizing that I forgot I was supposed to be doing critical listening and instead found myself sitting here with goosebumps.

The next IEM I hooked up with the Vector was the Empire Ears Bravado. I was expecting this bass-heavy and syrupy warm beast to benefit greatly from the added clarity and soundstage of the Vector and it did not disappoint. A slight reining in of the Bravado’s thundering bass increases the size and quality of the soundstage and at the same time improves separation and resolution in the midrange. What I was hoping for the most was a lift in the Bravado’s lower treble to counterbalance the aforementioned aggressive bass but this didn’t happen. The treble notes did become a hint more solid but were still very relaxed and lacked sparkle.

So how does the Vector compare with other cables? Well, sadly my cable stable is still fairly bare but I can offer a comparison with the Ares II.



EFFECT AUDIO ARES II
The Ares II is a very well known and widely adopted cable, thanks in no small part to their ties with Empire Ears. Of course, it doesn’t hurt that it’s a very high-quality cable at an affordable price point either. It has some similarities with the Purdio Vector, most notably in the bass. To me the Ares II seems to be a little more boisterous in the bass, bumping things up just a touch but certainly has just as much control and tightness.

The Ares II has great transparency and resolution in the midrange but I found the Vector to have ever so slightly better separation and space between elements, resulting in a cleaner presentation. This gives the Vector a small edge in stage size but there’s very little to separate them.

The Ares II’s upper midrange and lower treble are a little more aggressive than the Vector which has similar vibrancy and extension but is a hint smoother.

Both cables have excellent build quality. The Ares II looks more premium at a glance with its easily visible separate braided cores and darker, richer colour. However, it is stiffer and less malleable than the Vector which is less springy and easier to handle.

I much prefer the connector housings on the Vector, which as I said earlier seem to fit more snugly and effortlessly into all of the IEMs I tested. Having said that though, I would much rather the preformed moulding of the Ares II than the memory wire on the Vector!



Purdio Vector Conclusion
The Purdio Vector is an interesting addition to the increasingly competitive custom cable market. It has a build quality that’s up there with the best of them but it’s more affordable than a lot of the other 8-core cables available.

Its outstanding transparency and clarity matched with pleasing and comfortable ergonomics make this a great product for the company’s first cable release. The way it presents a smooth, transparent sound and simultaneously conjures an expansive and vivid soundstage demonstrates that Purdio is a serious new contender in the cable space.

Meet the Ampio VS-1880 headphone mini amplifier and Bluetooth receiver. This little gadget has an aluminium chassis and full Hi-Res support with LDAC and aptX HD. It doesn’t just do streaming either; you can actually connect this to a laptop, desktop PC, or smartphone via OTG and use it as an external DAC.

At the time of writing the Ampio VS-1880 is listed at $189 and is available on Amazon: https://www.amazon.com/Ampio-Hi-Res-Headphone-Amplifier-Bluetooth/dp/B07CYVC2QC

Ampio website: http://www.ampio.com.tw/

This sample was provided for the purpose of an honest review. All observations and opinions here are my own, based on my experience with the product.

Pros

• Strong and lightweight aluminium chassis
• LDAC and aptX HD for Hi-Res streaming audio
• Solid 10-hour battery life
• Excellent clean and transparent sound quality
• Ultra-portable thanks to its small size and attached clip

Cons

• No balanced output

ABOUT AMPIO
Ampio is a subsidiary of Vencer Co., Ltd., who has been making Bluetooth and audio-related products as an OEM/ODM business since its founding in 2007.

After observing the rapid adoption of Bluetooth products in the market over the past few years, they started thinking of other ways of running the business to solidify its sustainability.

Thus, in November 2017, they launched Ampio as their own brand, utilizing the technical expertise in Bluetooth and audio they had accumulated over the years.

With a mantra of “Pure sound – Pure mind”, they wanted to make products like no other in the contemporary market. So they pursued the optimal codecs of modern Bluetooth V5.0 technology by applying a hybrid of aptX HD and LDAC in their products.

So far they have 3 headphone amplifier models, which were designed at the Vencer HQ in New Taipei City, Taiwan and manufactured in their partner factories in Dongguan, China.

VS-1880 Specifications
Model Name Ampio M1 VS-1880
Bluetooth Specification Bluetooth V5.0 / Class II
Bluetooth Codec SBC、AAC、aptX、aptX HD、LDAC
Bluetooth Profile HSP、HFP、A2DP、AVRCP
Operation Range 10 meters
Operation Frequency 2.402 GHz - 2.480 GHz ISM Band
PCM Sample Rate 96kHz/24Bit
SNR 88 dB
Input Interface Bluetooth & USB
Output Interface 3.5mm Audio Line-out
Frequency Response 20Hz ~ 40kHz
Rated Input DC 5V 300 mA
Power 3.7V Rechargeable Li-Polymer Battery
Standby Time 300 hours
Continuous Music Play Time 10 hours
Charging Time 1.5~2 hours
Dimensions (L)65 x (W)22 x (H)22 mm
Weight 25 g

Packaging and Accessories
The Ampio VS-1880 comes in a small, sturdy box that has a cardboard sleeve with a clear image of the device on the front. Beneath the outer sleeve is a plain black box with the Ampio branding and slogan in gold print.

Inside, the VS-1880 is secured and presented on a black, slanted cardboard insert. Apart from that, there is little else in the box but for this kind of device, you don’t really need anything else. So you get the VS-1880 headphone mini amplifier, a Micro-USB/USB data transfer & charging cable and a user manual.

It would have been nice to see some kind of storage case or pouch in the box as well. It’s not a big deal because the VS-1880 is really small so it’s easy to find something to keep it in but considering the asking price, I think something could have been added to the package.




Build Quality and Design
With its aluminium body and buttons, the VS-1880 feels premium and durable. The great thing is it only weighs 25g so you’ll hardly even notice it’s there when it’s clipped onto your shirt, belt, pocket, hat or whatever. It’s available in two colours: blue and black.

The clip (which is removable by the way) is plastic but it feels strong and makes it super easy to clip the VS-1880 onto just about anything you could want.

On the bottom end is the Micro-USB charging port. At the other end is a 3.5mm headphone jack. On the top side, there are two LED indicators; one shows the power/charging status and the other displays the connection/pairing status. The second LED flashes different colours depending on the current connection. For example, it’s purple in pairing mode and it flashes green intermittently when connected via Bluetooth.

On one side there is an On/Off switch. This button is very secure and takes quite a bit of force to move either way. This is good, of course, because it means you won’t accidentally turn the device on or off while it’s in your pocket or bag.

The other side has 2 buttons. One is for adjusting the volume and skipping or rewinding tracks. The second button is for play/pause or answering/ending phone calls. Yes, the Ampio VS-1880 can also act as a headset so you’ll never miss a call when it’s connected to your smartphone.



MORE THAN JUST A BLUETOOTH RECEIVER
Not content with just being a good Bluetooth receiver, the Ampio VS-1880 also works as an external USB DAC. Plug this into your laptop via the included (or any) USB cable and it turns into a soundcard that is sure to sound better than your computer’s built-in solution.

It also works perfectly with desktop PCs. I plugged it into my Windows 10 desktop and Windows automatically installed the driver and it was ready to go in less than 10 seconds. With Mac OS and Linux, you get native support so it’s a plug and play device and you don’t need to worry about installing any drivers.

Next, I plugged it into my Android smartphone with a Micro-USB to Micro-USB cable and it was immediately recognized and ready to play.

CONNECTIVITY, RANGE AND BATTERY LIFE
Pairing is super easy and worked fine with all the devices I tested. These were: my Android smartphone (aptX), Sony NW-ZX300 DAP (LDAC) and Acoustic Research AR-M20 DAP (aptX). Each device took mere seconds to connect and the Ampio VS-1880 was easily visible to all of them.

The wireless range is rated at 10 meters (32.8 feet) which seems to be the norm for most current Bluetooth devices. I found these numbers to be accurate, however, I noticed the signal strength was weaker on the ZX300 and it would cut out sooner than it did on my smartphone. Whether this is caused by the LDAC codec or the signal strength of the ZX300 DAC I don’t know. Either way, for normal use i.e. with the source in my pants or shirt pocket, there were no dropouts or loss of connection at any time.

Battery life on the VS-1880 is 10 hours according to the specifications and that is about what I have been getting. That’s pretty good longevity and should get most people through the day but if you do run out of power a full charge takes 1.5~2 hours.



Sound
So how does the Ampio VS-1880 sound? I tried it with a wide variety of in-ear monitors and headphones including DUNU DK-3001, Sennheiser IE 800 S, Toneking 9 Tail, Meze 99 Classics, Acoustic Research AR-H1 and Beyerdynamic DT990 Pro.

The results were excellent. The VS-1880 delivers a great sound that is transparent with rich dynamics and excellent staging. Extension from top to bottom is fantastic and really satisfying. Playing Hi-Res files from the Sony NW-ZX300 with LDAC produced a stunning audio quality that really took me by surprise.

Even streaming from my phone with regular aptX sounds great and both formats delivered a sound that comes very close to that of a wired setup. You really don’t need to sacrifice the quality of your audio if you want to go wireless plus you still have the option of plugging in a USB cable and going wired any time you want.



OUTPUT POWER
VS-1880
1KHz
THD < 1% Load (Ω) Output
16 10mW
32 6mW
160 2mW
320 1mW
The VS-1880 was able to deliver enough power to everything I plugged into it. However, with the AR-H1 and DT990 Pro I had the volume maxed out, so there’s very little headroom for harder to drive headphones. If you want similar functionality to the VS-1880 but require more power then you should take a look at the Ampio VD-6880 (review here). The VD-6880 has a much higher power output but the tradeoff is it’s a much larger device and not nearly as portable as the VS-1880.



Ampio VS-1880 Conclusion
If there ever was a compelling reason for me to go wireless this is what it would look like. A lot of wireless headphones are not that great in sound quality but the VS-1880 can turn your existing headphones and earphones into Hi-Res wireless devices and that’s very powerful.

If you’re using headphones that have a built-in microphone then you can use the VS-1880 as a headset to make phone calls with. Keep in mind that the VS-1880 can act as a USB DAC for your computer or tablet as well and you start to get an idea of just how versatile this gadget can be.

So, if you’re ready to cut the cord the Ampio VS-1880 is a great way to go about it and I would highly recommend it.

*This review was originally posted on my blog here: https://primeaudio.org

*This review was originally posted on my blog at Prime Audio Reviews.

Y’all know the name. Beyerdynamic has been in the game for over 90 years. In fact, they’re only a stone’s throw away from making their first century. Think about that for a minute. In 1924 they developed their first loudspeakers and in the 1930’s, they developed the first dynamic headphones (Wikipedia). Fast forward to today and we’ve got the Beyerdynamic Aventho Wireless; a Bluetooth on-ear headphone with touch controls and sound personalization software. My, how times have changed…

At the time of writing, the Aventho Wireless is $449.

This product was provided for the purpose of an honest review. I’m not affiliated with the company and all observations and opinions here are my own.

Pros

• aptX HD
• Customizable sound with the MIY app
• Warm, resolving sound
• Good extension from end to end
• Fantastic battery life

Cons

• Thin earpads
• No included hard case

SPECIFICATIONS

• Transducer type………………………………….dynamic
• Operating principle………………………….. closed
• Frequency response…………………………..10 – 40,000 Hz
• Nominal impedance…………………………. 32 Ω
• Nominal SPL with jack plug cable…. 105 dB SPL (1 mW / 500 Hz)
• Nominal power handling capacity… 100 mW
• T.H.D……………………………………………………. 0.3% @ 500 Hz
• Sound coupling to the ear………………. on-ear
• Cable length and connector……………..1.2 m, detachable, 3-pole mini stereo jack (3.5 mm)
• Bluetooth version………………………………. 4.2
• Frequency range……………………………….. 2.4000 – 2.4835 GHz
• Power class…………………………………………. 2.0
• Supported profiles……………………………..HSP, HFP, A2DP, AVRCP, GAVDP
• Supported codecs…………………………….. aptX™, aptX™ HD, AAC, SBC
• Operating range……………………………….. up to 10 m
• Battery runtime…………………………………. > 30 hrs.
• Charging time……………………………………. 2 hrs.
• Battery capacity………………………………… 1050 mAh
• Charging port……………………………………. USB-C
• Operating temperature…………………… 0 – 40 °C
• Weight without cable……………………… 238 g

Package and Accessories
The Aventho Wireless arrives in a black cardboard box with an image of the headphones amongst some swirling, coloured smoke. On the back of the box is another image of the headphones and an outline of some of the features.



Here’s what you’ll find inside the box.

• Aventho wireless headphones
• Audio cable with mini-jack plug (3.5 mm)
• Charging cable USB-A to USB-C
• Soft bag
• User manual
• MIY app information brochure

It’s everything you need but feels a little underwhelming, considering the price. A rigid carry case would have been nice to see, although admittedly the soft bag is well-padded and of good quality.



Build Quality and Design
Do I really need to go over this? I mean come on – it’s Beyerdynamic we’re talking about! Alright then, let’s dive in.

The Aventho Wireless is crafted from metal and plastic. It sports a spring steel headband, covered with a plush PU leather cover. This is connected to the metal adjustment bars, which in turn, are connected to the metal brackets that hold the earcups.

All the metal parts are expertly machined and feel light yet very strong. The exposed wire connecting the two earcups add some interest to the aesthetics. A thick, dense plastic makes up the bulk of the earcups. On the exterior of each earcup is a textured metal ring for added strength and aesthetics.



The left earcup is bare apart from the Beyerdynamic logo on the outside. All the controls and ports are on the right earcup. These include a USB-C port for charging the headphones, a power/Bluetooth LED indicator, Power on/off button and 3.5mm jack.

On the outer side of the right earcup is the single touch-sensitive panel used for controlling the headphone’s functions, which I’ll cover in more detail later.



Inside each earcup is an L or R indicator for easy identification of each side. This is a feature that more and more manufacturers are adopting and I’m all for it. The earcups can be rotated 180° which is great because it’s equally as easy to lay them flat around your neck or on a flat surface like a desktop.

Finally, the earpads are quite thin but very plush and soft. They are replaceable and can be purchased separately from the Beyerdynamic website. Removing them is very simple; you can just pull them straight off and then click back into place easily.



Comfort and Isolation
Despite the earpads being quite thin, I find the Aventho Wireless to be pretty comfortable. Having said that I do get some hot spots after an hour or so and feel the need to take them off just for a couple of minutes to give my ears a rest. I would love to see an option to buy a set of slightly thicker pads.

The clamping force is a little strong for my preference but it’s likely the headband could be bent a little to relieve the pressure on your ears (I would give this a try but the sample unit I have needs to be returned…)

As for the headband, it does wrap around your head so the pressure on top of your head is spread out somewhat. The only discomfort I had was on my ears so the headband seems to be fine, at least for my anatomy

In terms of passive noise isolation, these are actually pretty darn good. With music playing at low-moderate levels I rarely get distracted by any outside noise. As such, I think the Aventho Wireless should be fine for use on public transport, noisy office areas etc.

Functionality and Battery
The Aventho Wireless is really simple to use. Its 4-directional touchpad on the right earcup is intuitive and responsive. I did have the occasional wayward swipe, resulting in skipping a track instead of adjusting the volume for example, but over time with some practice, I was getting it right nearly every time.

Pairing via the Bluetooth 4.2 is fast and painless and I had no trouble connecting the headphones to my Android smartphone or AR-M20 DAP. Of course, the Aventho Wireless also comes with a cable, so you can use it as a wired headphone if desired or if you have a depleted battery.

However, it’s pretty unlikely that you’ll find yourself without any battery power unless you’re quite careless. The Aventho Wireless’ 1050 mAh battery lasts over 30 hours on a single charge. And you can fully charge it in just 2 hours. That’s really impressive! 30 hours with aptX HD? Yeah, audiophiles can get down with that I reckon.

MIY (Make It Yours) App


The MIY app can be used to personalize the sound of the Aventho Wireless to work best with your hearing. It’s pretty easy to setup and takes about 10 minutes to complete.

Once connected to the headphones via the app, it takes you through a series of hearing tests for each ear. Once completed, your personal sound profile is uploaded to the headphones and can be enabled or disabled with the touch of a button.

I found it quite interesting and the results for me turned out pretty good. I noticed a bit more energy in the treble and upper midrange after uploading my profile. Vocals, in general, became more forward in the mix as well. However, it did take away some of that lush smoothness that I was enjoying prior to setting it up and gave it a bit of raw edginess.

*For the purpose of testing the sound qualities below, I had the headphones set to the default tuning.
Sound
What struck me from the get-go about the Aventho Wireless is how it’s so warm and inviting yet still really resolving. It’s a silky smooth presentation with plenty of mid-bass emphasis and body but at the same time is full of detail and has great instrument separation.

It’s smooth from top to bottom; perfect for an on the go portable headphone and has more of an easygoing nature than the other Beyerdynamic headphones I’ve heard in the past.

There is a definite noticeable difference between aptX and aptX HD when using a compatible device. The quality of aptX HD is fantastic and is getting very close to the quality of a wired connection. The Aventho Wireless gives you a voice prompt when paired and tells you which aptX mode is enabled.

SOURCES USED FOR TESTING

• Acoustic Research AR-M200 (atpX HD)
• PC/MusicBee > Topping DX7 (wired)
• Samsung Galaxy Note 5 (aptX)

BASS
There’s a mid-bass focus that creates an overall warm tonality. The Tesla drivers provide incredible control, sufficiently thick notes with a fast decay and no unwanted bloom or resonance. Although there is an emphasis on bass, it sits behind the vocals and midrange in general, adding to its resolving capability.

Sub-bass is not as prominent as the mid-bass. It has a fast rumble and extends well but at times leave me wanting for just a little more oomph and authority.

MIDS
The Aventhos midrange is rich and has a lovely warm, natural tonality. Vocals are dense and lifelike and are positioned slightly ahead of the mid-bass with no noticeable bass bleed. The progression from the lower to upper midrange is fairly linear, with no noticeable peaks or emphasis on any particular area apart from a small lift in the upper mids adding presence and clarity.

Male and female vocals alike sound vibrant and engaging, whether it be Lisa Gerrard in “The Host of Seraphim” or Scarface and 2Pac in their “Shine” duet, the Aventho Wireless shines (pun intended).



TREBLE
When it comes to treble, it’s crisp, clear and airy. The Aventho’s treble presentation is so very smooth – no harshness here at all but the extension is still there. It hits the right timbre but is non-fatiguing and laidback, contributing to the warm tonality of the headphones.

SOUNDSTAGE
Soundstage is very wide, reaching to the very outside of the headspace. Depth is less defined, making vocals fairly close and intimate. Vocals are positioned in front of and slightly above the listener.

Comparisons

THINKSOUND ON2
The On2 has a little less warmth, as it has a smaller mid-bass hump. Mids and vocals aren’t as dense or forward as the Aventho, which has a more tangible presence. The Aventho also has crisper treble notes with superior definition, resulting in stronger detail retrieval but makes it sound more V-shaped compared to the On2.

Being considerably lighter, the On2 has a slight advantage in comfort. The On2 is also more portable thanks to its folding design. Overall, the Aventho is more technically adept (Bluetooth aside) but it also costs around 3x the price of the On2.

JAYS U-JAYS
The midrange on the U-Jays is a touch more recessed but has increased clarity. There’s a little more authority in the U-Jays’ sub-bass and a similar mid-bass punch. Both headphones have a similarly relaxed and smooth treble. The Aventho’s sound has more body and warmth and is a bit more tonally accurate.

Both headphones are very comfortable with the U-Jays coming out slightly ahead due to its larger earcups/earpads that spread the clamping pressure over a larger contact area. Overall, the Aventho Wireless has a better sound but you’d expect that, with it being over 4x the price.



Beyerdynamic Aventho Wireless Conclusion
The Beyerdynamic Aventho Wireless is a beautifully crafted headphone that looks, feels and sounds great. The freedom of going wireless is a real boon for an on-ear headphone and with its exceptional battery life, the Aventho is a perfect travel companion.

One shouldn’t confine it just to a portable setup though – hook it up to a good desktop DAC and you have scalability as well. If you’re shopping for a high-end wireless on-ear, the Aventho Wireless is a fine headphone and I highly recommend it.

"If music be the food of love, play on."

Click to expand...

William Shakespeare

Meet the iDeaPLAY V207 Bluetooth headphone with Active Noise Cancelling. Not only does it cut out external noise but it also continues the brand’s tradition of high build quality and sound.

iDeaUSA is a brand that has consistently surprised me with their value and build quality. So when they reached out to ask if I’d be interested in checking out their new Bluetooth headphone it was a no-brainer. The iDeaPLAY V207 sports Bluetooth 4.1 with aptX and Active Noise Cancelling (ANC).

At the time of writing the iDeaPLAY V207 is listed at $79 and can be found on Amazon here: https://www.amazon.com/Cancelling-Headphones-iDeaPLAY-Bluetooth-Microphone/dp/B077TDT82G

This product was provided for the purpose of an honest review. All observations and opinions here are my own, based on my personal experience with the product.

Pros

• Good battery life
• Durable construction
• Overall value

Cons

• Clamping force a little tight

Package and Accessories

The first thing I noticed about the box is that the company has changed up the colour palette from their previous AtomicX line. Gone are the dark grey and green colours from the existing models and instead, the iDeaPLAY V207 box sports a white and blue design.

Keeping it simple and clean, the front of the box just has a clear image of the headphones. On each side, is a list of some of the headphones features and over on the back is another picture, along with a more detailed feature list.

Let’s take a look at what’s inside:

• iDeaPLAY ANC Bluetooth headphones
• Airline adapter
• Micro-USB charging cable
• 3.5mm aux cable
• Hard, zippered carry case
• 1-year warranty card
• User manual

The included carry case is something I (and I’m sure many others) love to see. It’s nice and compact and has a textured outer surface with iDeaPLAY in white text on the top. Inside is a soft fabric cover to prevent the headphones from getting scratched. There’s also a handy mesh pocket to hold all your accessories.

As with the other iDeaUSA headphones, there is also a 3.5mm cable so you can use the V207 wired if you find yourself with a flat battery.


Build Quality and Design
The iDeaPLAY V207 breaks away a little from the more conservative style of the previous models by adding a splash of colour with some vivid red highlights. I personally find the aesthetics quite pleasing; not boring and at the same time, not flashy or gaudy.

Starting at the top, there’s a spring steel headband with PU leather on the top and a padded underside with a fabric cover and stylish red stitching. At the bottom of the headband, there’s a hinge on each side which enables the headphones to be folded for portability and storage.

Further down below the hinge is a straight arm that makes up the adjustment slider, which I’ll get to in a moment. The arms are a combination of plastic and metal, so they feel very strong while still being lightweight. There is a long rectangular section on the inside that has been cut out and this is where the earcups attach to the main frame.


What’s interesting about the way the earcups are attached is that unlike most headphones where the headband is adjustable, on the V207 it’s the earcups themselves that slide up and down. The action is smooth and holds the earcups firmly in position. It’s a unique solution that I think works really well.


EARCUPS AND EARPADS
That outer part of the earcups that attaches to the frame is a solid metal plate so it should prove to be very durable. There’s a pivot that attaches the earcups to the metal plate, allowing the headphones to naturally find the right position on your ears and provide a good seal.

On the inside of the cups are an L and R marking denoting Left and Right for easy identification. A lot of headphones are adopting this feature and I’m a big fan of it.


And finally, we come to the earpads. These are a soft memory foam, covered with equally soft PU leather. The pads are removable, so they can be replaced if they become worn or if you want to swap them out with a third-party earpad.

All of the controls are located on the right earcup. On the front edge is the ANC On/Off switch, which is accompanied by a small blue LED indicator. On the back are the volume and multifunction keys, plus another LED indicator that shows Bluetooth and charging status.

Lastly, on the underside of the right earcup are the Micro-USB port, built-in microphone for voice calls and 3.5mm audio jack for a wired connection.


COMFORT AND ISOLATION
For the most part, I find the iDeaPLAY V207 to be quite comfortable. However, the clamping force is a bit tight for my head. You can alleviate this by physically bending the spring steel headband to reduce some pressure.

Another thing is that the earpads while being very soft, are also fairly thin. This could cause some discomfort if you have large ears or ears that stick out to the side. After I made some adjustments to the headband, this no longer bothered me and I can now wear the headphones for a long time easily.

Passive noise isolation is about average for a closed back headphone. You can still hear things like a television in the background but if there’s music playing you won’t hear much external noise. It’s kind of a moot point anyway, considering the V207 has ANC.

Active Noise Cancelling
The ANC works well on the V207, just like it did on the previous models. As with most ANC though, it works best on low-frequency noises, like the hum of a fan or drone of an engine. If the TV is turned up loud or there’s a spirited conversation nearby you’ll still hear noise coming through. This isn’t a fault of the ANC – it’s the norm.

What’s really great about the V207’s ANC is that there is almost no perceptible change in the sound whether it’s switched on or off. The iDeaPLAY sounds the same both ways and that’s very cool IMO.

Bluetooth
This section hardly needs a mention nowadays as it seems every Bluetooth device I have tested lately is pretty solid in this department. The technology has progressed to a point where most everything is easy to pair and has a stable connection.

I find that the ease of pairing has more to do with the source than the headphones. For example, my Android smartphone has a much stronger and more stable connection than my AR-M20 DAP.

Buuut regardless, the iDeaPLAY V207 is super easy to pair and does so with accompanying voice prompts. So it lets you know when it’s turned on or off, when it is connected to a source and when the battery is low.

Battery Life
The V207’s 500mAh battery can play up to 24h with ANC on and 27 hours with ANC off, so you can comfortably get through a whole day (and more likely several) on a single charge, The headphones also have a 250h standby which is pretty impressive.


Sound
The iDeaPLAY V207 carries the company’s familiar house sound, which has a fairly aggressive bass, relaxed treble and a warm overall tonality. There are, however, some significant differences that the V207 brings and they are positive ones.

First of all, the layering and instrument separation is much improved. This is probably due to a better-tuned bass, which I’ll cover in more detail in a moment. The soundstage is also improved, being more expansive in both width and depth. The stage is much wider than it is deep but the headphones portray a fairly large space and don’t feel closed in or confined.

Just like the other iDeaUSA headphones, the V207 has a heavy emphasis on bass. It has a lot of impact and throws its weight around but has good control and isn’t loose or boomy. It has a slower decay and is a little lacking in definition but it’s still a lot of fun and bass lovers will surely appreciate it.

The V207 is particularly good for watching videos and pretty good for gaming too and makes for great, deep, rumbling explosions. The mid-bass is a little less emphasized than the sub-bass, which has a very satisfying rumble to it.

The midrange is a little recessed thanks to that heavy bass but still sounds full and detailed. There’s good clarity and as I said above, the instrument separation is actually pretty solid. Male and female vocals sound rich and full with plenty of vibrancy and body but without any sibilance.

Fairly laid back and non-fatiguing, the treble takes a bit of a backseat when it comes to quantity. However, the quality of the treble is good; it has some airiness and nice crisp notes without any harshness or artificial-sounding artefacts.


iDeaPLAY V207 Conclusion
The V207 is the latest headphone to come from the people at iDeaUSA and I think it’s their best yet. It’s really well built and the Bluetooth connectivity and Active Noise Cancelling works perfectly.

While it won’t suit the most demanding audiophiles, it is definitely a good sounding headphone for the demographic it’s aimed at. That is people who want to listen to music and watch videos on their phone, tablet or TV and not be tied down by wires. If that sounds like you, grab yourself some of these. I’m sure you won’t regret it.

This product was provided for the purpose of an honest review. I’m not affiliated with the company and all observations and opinions here are my own.

Pros

• Small, lightweight
• aptX HD and LDAC support
• Multiple input and output options
• Solid construction

Cons

• No silicone feet/pad provided
• Could include straps for stacking with phone

Before we get into the device, I want to share a little bit of information about the brand. Ampio is a subsidiary of Vencer Co., Ltd., who has been making Bluetooth and audio-related products as an OEM/ODM business since its founding in 2007.

After observing the rapid adoption of Bluetooth products in the market over the past few years, they started thinking of other ways of running the business to solidify its sustainability.

Thus, in November 2017, they launched Ampio as their own brand, utilizing the technical expertise in Bluetooth and audio they had accumulated over the years.


With a mantra of “Pure sound – Pure mind”, they wanted to make products like no other in the contemporary market. So they pursued the optimal codecs of modern Bluetooth V5.0 technology by applying a hybrid of aptX HD and LDAC in their products.

So far they have 3 headphone amplifier models, which were designed at the Vencer HQ in New Taipei City, Taiwan and manufactured in their partner factories in Dongguan, China.

They currently have distribution outlets in Taiwan, Hong Kong, South Korea (Xenics), Nordic Europe (www.sumo.se & www.cdon.com) and Germany, and will be adding more locations soon.



SPECIFICATIONS
Bluetooth Specification Bluetooth V5.0 / Class II
Bluetooth Codec SBC、AAC、aptX、aptX HD、LDAC
Bluetooth Profile A2DP
Operation Range 10 meters
Operation Frequency 2.402 GHz – 2.480 GHz ISM Band
PCM Sample Rate Up to 384kHz/32Bit
Headphone Output 90mW+90mW / 16Ω
SNR 112 dB
Input Interface Bluetooth、SPDIF、USB、3.5mm Audio Line-in
Output Interface SPDIF, 3.5mm Audio Line-out
Digital Output Sample Rate SPDIF(192kHz/24Bit)、USB(96kHz/24Bit)、
Bluetooth(96kHz/24Bit)
SPDIF Output Sample Rate SPDIF(192kHz/24Bit)
Analog Input 3.5mm Stereo Jack(40kHz)
Analog Output 3.5mm Stereo Jack(100kHz)
Frequency Response 20Hz ~ 100kHz
Rated Input DC 5V 800 mA
Power 3.7V Rechargeable Li-Polymer Battery
Standby Time 110 hours
Continuous Music Play Time 10 hours
Charging Time 2 ~ 2.5 hours
Dimensions (L)98 x (W)62 x (H)21 mm
Weight 136 g

Package and Accessories
The Ampio VD-6880 comes in a white-sleeved box. The cardboard sleeve has a clear image of the amplifier on the front and a list of features on the back.

Underneath the sleeve is a black box with the brand name and slogan in gold print. Once you open it up, you’re presented with the amplifier, which is secured on an angled cardboard insert. Looks pretty classy if you ask me.

The rest of the accessories are under the cardboard insert and include a silky fabric drawstring pouch, a Micro-USB cable, a 3.5mm audio cable and a user guide.

It would have been nice to see some silicone feet and straps included for stacking the VD-6880 with a phone or when sitting it on a desk. A mini SPDIF cable would be a welcome addition as well.



Build Quality & Design
Vencer’s experience in manufacturing is immediately apparent when looking at the Ampio VD-6880. The craftsmanship is very high quality and feels as good in the hand as it looks. A single piece of CNC machined alloy makes up the chassis, with an additional panel attached at each end. The chassis has a matte black finish that is smooth and fingerprint resistant.

There are 2 colour options for the Ampio VD-6880; matte black and champagne gold.

Weighing in at 136g, the VD-6880 feels solid and substantial in the hand without feeling heavy. On the top of the device is the familiar Hi-Res Audio sticker, and the brand name.

The front panel consists of (from left to right), an input selection dial with LED indicator, a 3.5mm headphone jack, power/charging LED and finally, the volume knob. You can see the status of the VD-6880 when plugged in VIA USB; the LED shows red when charging and during playback. The LED changes to green when it’s fully charged and not streaming music.

The select and volume knobs have good resistance to them. By that I mean they’re easy to manipulate but firm enough so as not to move unintentionally when the amplifier is in your pocket.

On the back are (from left to right), SPDIF Out, SPDIF In, Line In and USB In, all of which are clearly labelled.

Overall, the build quality is very solid. The only thing that frustrates me a little is using headphones with a right-angled plug, as it can get in the way when trying to adjust the knobs.



Internals
In charge of the decoding duty is the Texas Instruments PCM5102A DAC. The DAC supports up to 32-bit, 384kHz PCM and has an automatic power-save mode. Output power is 90mW at 16 ohms, 70mW at 32 ohms, 20mW at 160 ohms and 10mW at 320 ohms.

For Bluetooth, the VD-6880 utilizes the Qualcomm CSR8675 Bluetooth Audio SoC which supports Bluetooth 5.0.

Functionality
The Ampio VD-6880 is super easy to use. You just plug in your source, or pair with Bluetooth, select the correct input on the input selection dial and you’re off and running. The stepped volume knob is easy to manipulate and is firm enough so that you can keep it in your pocket without accidentally changing the volume.

DAC Use
When I connected the VD-6880 to my computer’s USB, Windows 10 recognized it immediately and went to work setting it up. Within less than 5 seconds (I have a beefy PC with SSD) it was ready to go and I didn’t need to press a single button. From there all I had to do was select the Ampio from my computer’s sound settings.

On my desktop computer, I use a mix of Foobar2000, MusicBee, Spotify and Tidal Master. The Ampio was recognized and performed flawlessly with each application.

It was a similar story with my Linux-based work laptop and my Android smartphone (with OTG). Just plug and play. Love the simplicity! On the laptop, I use Clementine music player or Foobar2000 and on my smartphone, I use BlackPlayer and the Onkyo HiFi Player.

Bluetooth
Pairing the Ampio VD-6880 is fast and easy. I tested the Bluetooth connection with my Android phone and with the Acoustic Research AR-M20 DAP.

The signal strength is very solid and with my phone, which has a much stronger signal than the AR-M20, I was able to reach the full 10-metre operating range. I had no problems with having either device in my pants pocket and the VD-6880 in my shirt pocket.

The VD-6880 supports aptX HD and LDAC, along with AAC and SBC. Sadly I don’t have a device to test LDAC yet but I did test aptX HD with the Acoustic Research AR-M200. I must say, aptX HD sounds fantastic and is a definite upgrade from regular aptX. It gets very close to the quality of a wired connection.

Battery life
According to the documentation, the VD-6880’s built-in 3.7V rechargeable Li-polymer battery is good for 10 hours of continuous play. During testing, I found that to be accurate and could easily get through a heavy-listening day without a problem. The battery takes 2 – 2.5 hours for a full charge.



Sound

GEAR USED FOR TESTING
Headphones:

• Acoustic Research AR-H1 Planar Magnetic
• Beyerdynamic DT990 Pro
• Beyerdynamic Aventho Wireless

Earphones / IEMs:

• DUNU DK-3001
• Sennheiser IE 800 S

DACs:

• ATC HDA-DP20
• Aune X1s

Bluetooth:

• Samsung Galaxy Note 5
• Acoustic Research AR-M20
• Acoustic Research AR-M200

Tonality and Transparency
The task of a DAC is to convert digital data into analogue audio signals. I’m sure most of you reading will know that already. There are things to take into consideration when judging the performance of a DAC, such as timing, jitter, noise floor etc. Similarly the amp section of each device has its own nuances and is arguably the bigger factor in the audio output quality.

So I’m not going to break down this section too much but instead concentrate on noise floor, distortion, and output power. If a DAC / amp combo performs as intended, it should be as neutral and transparent as possible and leave the sound shaping to the transducers connected to it.

The VD-6880 has a neutral and transparent sound overall. Essentially what you hear will be dictated by the connected source and your transducers. I couldn’t detect any hissing or background noise, even with sensitive IEMs, although my measurements did show a higher noise floor than the Acoustic Research AR-M20.

Comparisons
ATC HDA-DP20 (USB DAC MODE ON WINDOWS 10 PC)
The HDA-DP20 (review here) is a portable DAP, featuring dual Cirrus Logic WM8740 DACs. Its headphone output power is rated at 255mW@32 ohm. I found the HDA-DP20 to have slightly greater transparency and end to end extension, most notably in the sub-bass, although the difference is almost imperceptible.

The HDA-DP20 is a hint smoother, while the VD-6880 has a more energetic approach with faster transients and more definition.

It should be noted that the HDA-DP20 is not a plug and play device (on Windows 10). Installing the Windows driver is a bit of a chore and requires disabling unsigned driver protection and a reboot before you can run the setup process. Of course, you only need to do this once but it could be a real headache for someone who is not computer savvy.

Both devices were able to drive the AR-H1 and DT990 Pro headphones to levels that were uncomfortable for my ears. There’s enough volume there to satisfy, assuming you’re feeding the devices a good quality recording. Despite the HDA-DP20 having a higher noise floor, I did not hear any hissing on either device.


Crosstalk


THD


Noise levels

AUNE X1S (USB, WINDOWS 10)
The Aune X1s ( review here) is a bit more edgy with sharper notes/transients. End to end extension is slightly better, but again, the difference is very minimal. Resolution and transparency are a little better but having said that, it’s not really a fair comparison, as the X1s is a dedicated desktop unit.

Both units have an energetic and lively presentation compared to the slightly smoother HDA-DP20. Of course, the Aune X1s has way more driving power but it also does not fit in your pocket! My purpose in adding the Aune for comparison is mainly to highlight the fact that the Ampio holds its own well against it in terms of pure DAC performance.





Ampio VD-6880 Conclusion
As Bluetooth devices become more and more commonplace, it’s interesting to see the new ways that the technology is being implemented.

The Ampio VD-6880 can essentially turn any headphone or earphone with a 3.5mm jack into a wireless device. What makes it even more compelling is the versatility it offers with its various input and output options and the ability to use it as an external DAC.

Another thing that makes the VD-6880 stand out is the support for aptX HD and LDAC codecs for true Hi-Res Bluetooth. Overall, I think this is a really handy and multipurpose device. If you’re looking for a portable Bluetooth amplifier, be sure to check out the Ampio VD-6880.

*This review was originally posted on my blog. You can see all my reviews over on Prime Audio: https://primeaudio.org/

I’m way late to this party but you know what? I’m glad I came. Have you been looking for a super affordable headphone but are overwhelmed by all the choices out there? Let me simplify it for you; The Superlux HD668B is exactly what you’ve been looking for.

Superlux was started in an apartment building in Taiwan over 30 years ago. They have continued to grow and now have a huge facility in the industrial zone at Lan-Yuan port, China, where they make headphones, speakers, microphones and a bunch of other electronic gear.

At the time of writing, the Superlux HD668B is listed at $34.99 and is available at Gearbest here.

This product was provided for the purpose of an honest review. I’m not affiliated with the company and all observations and opinions here are my own.

Pros

• Punchy, articulate bass
• Clear and detailed sound
• 2 cable extensions included
• Price!

Cons

• Stock earpads are a bit thin

SPECIFICATIONS

• Drive Type: Semi Open Back
• Frequency Response: 10-30kHrz
• Sensitivity: 98 dB SPL/1mW
• Maximum Power Input 300mW
• Impedance: 56 Ohm
• Weight 7.8oz (222 grams)
• Cable: Removable 1M & 3M
• Plug Adapter: 3.5mm to 6.5mm (1/4 inch)

Package and Accessories
The Superlux HD668B comes in a large but simple box with an image of the headphones and model number on the front. On the back and sides are some features and details of the included accessories.

When you open the box you see the provided cloth carrying/storage bag. The headphones are secured in a cardboard cutout which holds them in place. It’s a simple presentation but it’s practical and the basic materials used help to keep the cost down.

Included in the box are:

• 1x Superlux HD668B headphones
• 3.5mm to 6.35mm adapter
• 1x 3 metre female to male 3.5mm cable
• 1x 1 metre female to male 3.5mm cable
• Carry bag
• Cable clip
• Instruction manual

That’s not too shabby considering the price you’re paying. Having the two cables provided is really something I wasn’t expecting but it’s very appreciated and also a very practical addition. At this point, just seeing my first glimpse of the headphones and the two cables, I was already thinking what great value this is.



Build Quality and Design
To be honest, I wasn’t expecting much in terms of build quality. I mean, heck, I consider $35 cheap for earphones but for a full-sized over-ear headphone? C’mon! As I lifted the headphones out of the box my anticipation grew.

Why, you ask? The answer is simple; Because they feel pretty good! They’re very light but not at all loose or flimsy. Everything feels pretty robust a solid.

At the heart of the build are the spring steel wires that form the headband. They run from the top of the headphones all the way down to where the earcups are attached. Partway down the wires is a plastic joint on each side which adds some rigidity and also holds an additional pair of wires that are attached to the self-adjusting “wings” that sit on the top of your head.

The earcups are large and made from a light but robust plastic. There is a series of concentric circular holes, covered with a metal grill, place around the centre of the earcups. These give the headphones their semi-open back characteristic.

The inner part of the earcups pivots slightly in and out, while the spring steel wires twist back and forth, so the headphones naturally find the right position on your ears.

Looking at the earpads, they’re quite large and easily fit right around my big ears. The pads are made from a PU leather with a foam interior. There’s also a sheet of foam covering the drivers so there’s some padding between your ears and the driver covers.

These pads are easily removable, so you can replace them if they get worn or you can get some third-party alternatives for added comfort.



Comfort and Noise Isolation
I find the Superlux HD668B extremely comfortable to wear. The clamping force is sufficient to hold the headphones securely on your head and you can move about easily without fear of them falling off.

Thanks to the large diameter of the earpads, any pressure is spread over a large surface area so they don’t cause any discomfort at all. The only thing that might be an issue is the earpads becoming quite warm, due to the firm pleather covers. I imagine if I were to upgrade to some third-party replacement pads, the HD668B would be every bit as comfortable as my Beyerdynamic DT990 Pro.

Being a semi-open back, the HD668B does not have much passive noise isolation. I can still easily hear the clacking of my mechanical keyboard as I type this, as well as the television in the background. This is normal for this type of headphone and if you’ve had open or semi-open back headphones in the past you’ll know exactly what to expect.



Cables
Finally, there is the external cable connector that differs from the usual female jack type on most headphones. The HD668B has an external 3.5mm plug, onto which you connect a female 3.5mm cable extension.

Both the 1-metre and 3-metre extensions terminate in a straight 3.5mm plug which is perfect for connecting to a mobile phone, portable DAP or computer. There’s also the included 6.35mm adapter if required to plug into a desktop amplifier.

As for the cables, they have a smooth, black rubberized sheath. They’re fairly supple and don’t have any kinks or unruly bounciness. Another bonus with the cables is that there is almost no microphonics at all, even when walking around. In fact, holding the cables in your hand you might wonder again – how can they provide all this for so little cost?



Sound
Any scepticism I had vanished as soon as I heard the first notes coming from the HD668’s transducers. These things sound ridiculously good (in the context of their price). I was greeted with a mildly V-shaped signature with a touch of warmth, along with clarity and detail.

The tonality is superb, the balance is just right – not analytically boring, nor overly fun coloured. There’s a healthy dose of bass impact, clear and intelligible midrange (albeit a touch recessed) and airy, crisp treble.

GEAR USED FOR TESTING

• ATC HDA-DP20
• Acoustic Research AR-M20
• PC/MusicBee > Topping DX7
• Samsung Galaxy Note 5

BASS
This is one of the most surprising aspects of the HD668B. The bass is well articulated, textured and doesn’t show any sign of bloat or woolliness. Mid-bass has nice impact with a fairly fast but natural decay. There’s no noticeable bleed into the midrange. I love the quantity of the bass in relation to the mids and highs. Clearly, the person who added the B (for balanced) to the model number knew what he was talking about.

Sub-bass also has a satisfying goodness. There’s a nice weight to it and a fast, controlled rumble which, similar to the mid-bass, does not intrude over the midrange. The HD668B revels in its control here, bringing the party without the associated hangover.

MIDS
The midrange has great tonality throughout. Lower mids are a hint lean but still have enough body so as not to sound hollow or too distant. The upper midrange is a little more upfront and can be a little edgy on occasion but having said that, it’s an area my ears are particularly sensitive to.

Vocals sound natural and come through with clear intelligibility. The HD668B renders voices with just enough warmth that they sound organic but maintain clarity and texture.

TREBLE
The treble is light and airy with a hint of sparkle. Detail retrieval is very good and for the most part, the treble is non-fatiguing. On brighter tracks, some sharpness can be detected but that’s mainly due to the HD668B’s transparency; it doesn’t try to smooth over the treble but rather aims to faithfully reproduce the recording.

SOUNDSTAGE
The Superlux HD668B presents a soundstage with above average width and plenty of height, accentuated by its airy characteristic. While the depth is fairly ordinary, instrument separation is still good and maintains some space between various elements.

Comparisons
BEYERDYNAMIC DT990 PRO – 250 OHMS ($160)
The DT990 Pro is more heavily V-shaped, with more accentuation in the treble. The Superlux HD668B has just a little more weight in the mid and sub-bass areas. Both share a similar width in the soundstage but the DT990 Pro has more depth and roundness to its stage.

Vocals are a touch more recessed on the DT990 Pro, however, it does have a slight edge in tonal accuracy. The DT990’s vocals are a little richer and vibrant, where the HD668B is somewhat dry. It’s really amazing how similar these headphones sound, the biggest differentiator is the treble. On the DT990 Pro, the treble has more sparkle but it’s also more strident and fatiguing.

In terms of comfort, the DT990 Pro is superior. It has slightly less clamping force and of course, has those lovely velour earpads that are thicker and softer. I’m fairly certain though, that if I were to put the Beyerdynamic pads on the Superlux, the comfort level would be near identical.

MSUR N650 ($90 – $100)
A bit of a hidden gem, the MSUR N650 has a warm and inviting sound. It’s got more mid and sub-bass than the HD668B but doesn’t have the same masterful control. Bass on the N650 carries more weight and has greater impact, giving the overall signature warmer overtones.

The N650’s midrange has denser notes, making vocals more intimate and closer to the listener, even though the N650’s midrange is more recessed.

The N650 shares a similar treble to the HD668B, which is crisp and airy. Its soundstage is not as wide but it does have more depth and superior imaging.

Comfort-wise, the N650 has softer earpads but they sit more on the ears rather than around the ears like on the HD668B. Both headphones are initially comfortable but I find my ears need a rest with either one after 1 – 2 hours.



Superlux HD668B Conclusion
The Superlux HD668B is simply brilliant for such a low-priced headphone. Even today, it still holds its own against products costing double or triple the price. The balanced, airy and transparent sound will surely surprise you and likely exceed your expectations.

In light of all this, I’m stumped as to why there are so many 4 star reviews for this headphone. Sure, that might be accurate if you were looking at it purely based on sound quality alone. But when the cost is taken into consideration it’s a no-brainer. Add to that the comfort, build quality and the fact that you get 2 cables as well, the HD668B is easily worth full points, IMO.

So, if you’ve been looking for a really inexpensive headphone to start your audiophile journey, look no further. Get yourself some of these today.

*This review was originally posted on my blog. You can see my other reviews over at Prime Audio.

Audiophiles on a budget are spoiled for choices lately, with so many new brands appearing every time you turn around. While many are still going for the generic consumer-based tuning of big bass and warmth throughout, some are targeting a more refined sound. Enter the Lypertek MEVI, the first IEM from the startup Chinese brand that aims to bring HiFi to the masses. You can find more information on the Lypertek website here.

At the time of writing, the Lypertek MEVI is priced at $29.90.

Available at Penon Audio here.


This product was provided for the purpose of an honest evaluation. All observations and opinions here are my own.

Pros

• Outstanding clarity
• Stylish and robust design
• Price

Cons

• Microphonics (cable noise)
• Lower treble peak

Package and Accessories
The Lypertek MEVI comes in a very small but stylish cardboard box. There is an image of the earphone along with some listed features. Inside is a zippered clamshell case adorned with the Lypertek logo. The case is simple but attractive and practical, offering good protection in a pocketable form factor.



The earphones and other accessories are all found inside the hard case and include the Lypertek MEVI earphone, a shirt clip and 3x pairs of silicone eartips (S, M, L). It’s a basic bundle but perfectly acceptable at this price and the included case is fantastic.



Build Quality and Design
Sporting an all-metal shell, the MEVI is a very small and stylish IEM. The flared, capsule-shaped shells have a matte black finish, giving it a premium appearance that belies its budget price. On the rear of the shells is the Lypertek logo in white.

The nozzles are straight and fairly short but they have a solid lip that holds eartips securely. There’s a protective metal mesh to keep out ear wax and debris. Just in front of the cable connection is a tiny bass vent. The two parts of the shells are joined nicely with no sign of glue residue or rough edges.

Overall, the MEVI’s build quality is excellent. Yes, it’s an extremely simple design but Lypertek has managed to give it style and a premium aesthetic.



Cable
The MEVI’s cable is a black rubberized material. It’s fairly supple and sits well Above the Y-split it’s a bit thin but it has good strain reliefs so should be durable enough.

The strain reliefs at the top are colour coded; red for right and blue for left. I love this. It is so easy to distinguish left and right and adds a splash of colour to break up the otherwise all-black appearance.

On the right side is a metal single-button inline control and microphone. Although it only has a single button, the controller is multi-functional. It can be used for play, pause, answer or end calls, skip or rewind tracks and shuttle control.

The Y-split is metal and it has a decent strain relief. Finally, the cable terminates with a straight metal 3.5 mm plug.



Comfort and Isolation
With its diminutive size and lightweight shells, the MEVI is a very comfortable IEM. It practically disappears in your ears. With its smooth and rounded surface, you’ll hardly notice its there and can be worn for long sessions without any issues.

Passive noise isolation is about average and will depend mostly on the eartips and how good a seal you’re getting. It’s suitable for most everyday situations such as public transport and busy environments.

Sound
One thing the MEVI has in spades is clarity and detail retrieval, thanks to a boosted upper midrange and lower treble, as well as a very clean bass presentation. However, it doesn’t come across as overly bright; the slightly accentuated bass and linear centre midrange provide enough body to prevent it sounding thin or cold. It reminds me of the LZ A5 albeit with noticeably less bass.



SOURCES USED FOR TESTING

• Benjie T6
• ATC HDA DP-20
• Acoustic Research AR-M20

BASS
The MEVI’s bass is really exceptional for such an affordable earphone. It’s fast and punchy, with just the right balance between definition and fullness. What the MEVI does with bass is well-defined, expertly controlled and nimble.

Where the bass loses impetus is in its sub-bass. It drops off quite rapidly and is a touch lacking in impact. It does have a nice fast rumble but is a little too restrained and lacks extension. Overall though, the quality of the MEVI’s bass is well above average for a sub $30 IEM.

MIDS
The midrange is a bit of a mixed bag. On one hand, it produces brilliant clarity and retrieval of minute details but on the other, it leans towards being too bright and a little strident. The lower to centre midrange is fairly neutral and is quite forward due to the absence of colouring from the bass.

Male vocals sound a little thin and distant, playing second fiddle to the upper midrange. Female vocals have more density, vibrancy and tonal accuracy. Guitars have good texture and really pop. They come to the forefront in songs like Sieges Even’s “Mounting Castles In the Blood Red Sky”.


TREBLE
The MEVI’s lower treble peak adds to the airiness and clarity of the sound but can be a bit of a double-edged sword. Some snares and cymbals can be a bit fatiguing. While the MEVI is mostly free of sibilance, it does rear its ugly head on occasion, most notably with the T consonant.

The treble extension is very good, providing the MEVI with an abundance of harmonics for air and sparkle. However, I did find that slightly reducing the 6.5kHz peak with EQ made the sound much more pleasant to my ears.

SOUNDSTAGE
The MEVI presents a fairly intimate soundstage, having considerably more width than depth. Where it does excel is in its instrument separation, which helps to avoid feeling confined. Having said that though, when there’s a lot of cymbal action, like in The Pineapple Thief’s “Take Your Shot”, the separation takes a plunge as the cymbals dominate and everything else becomes a blur.

Comparisons
HYPERSENSE HEX02 ($25)
The HEX02 (review here) is a much warmer IEM than the Lypertek MEVI. It has a lot more bass, which is thicker and carries over into the midrange. In the sub-bass, the HEX02 has truckloads of it compared to the MEVI. The MEVI’s vocals are more articulated and intelligible, where the HEX02 concentrates on warmth and richness.

There’s more extension in the MEVI’s treble but it’s also thinner and on the dry side, whereas the HEX02 has a more relaxed and non-fatiguing approach. Overall the MEVI has a leaner and more detailed sound compared to the HEX02’s bass focused, easygoing nature.

When it comes to build quality, both IEMs are excellent for the price. The included accessories are virtually the same apart from the MEVI’s great case vs the HEX02’s fabric pouch.

TIN AUDIO T1 ($37)
The T1 (review here) has a more balanced overall presentation while the MEVI concentrates on its upper midrange focus. Bass on the T1 has more body and some extra weight behind it and more extension in the sub-bass. Male vocals have more body on the T1 and come off sounding more natural.

Vocals are denser and have more intimacy on the T1. Vocals on the MEVI tend to get pushed behind the upper reaches of the midrange with things like snares and handclaps being the most prominent instrument in the overall sound.

While the T1’s treble isn’t as airy, it does portray a more rounded and three-dimensional soundstage. There’s a greater sense of depth in its presentation and positional cues are better on the T1. Detail retrieval is superior on the MEVI, assuming there aren’t too many cymbals crashing in the music.

The build quality is great on both of these with neither having any distinct advantages over the other. However, the accessories award goes to the Lypertek MEVI, since the T1 doesn’t come with a storage case.



Lypertek MEVI Conclusion
The MEVI is an ambitious budget earphone that gets a lot of things right. I’m eager to see what they produce next. This is yet another earphone worth serious consideration if you’re shopping for something in the budget entry-level.

With its great build quality and comfort, the Lypertek MEVI is certainly good value for money. Those who cherish clarity and picking out the fine details in their music should definitely appreciate what the MEVI has to offer.

*This review was originally posted on my blog. You can see my other reviews over at Prime Audio.

Hypersense is a new Chinese brand that has joined the IEM manufacturer market recently. They’re located in Dongguan, China and are a subsidiary of LinDo Technology CO., Ltd. Today we’re looking at their first product release; the Hypersense HEX02. Should you be getting hyped about it? Let’s take a look.

At the time of writing, the Hypersense HEX02 is listed at $25 and available from Penon Audio here.

This product was provided for the purpose of an honest review. I’m not affiliated with the company and all observations and opinions here are my own.

Pros

• Clear sound with big bass
• Solid build quality with good attention to detail
• Price

Cons

• Bass will be heavy for some
• Some cable noise (microphonics)

SPECIFICATIONS

• Impendence: 16Ω
• Driver diameter: 9mm
• Diaphragm material: PET / Ti composite material
• Rated power: 10mW
• Sensitivity: ≥95dB (@ 1kHz)
• Frequency response range: 20 ~ 40kHZ
• Wire material: 1.35m environmental TPE

Package and Accessories

• Hypersense Hex02 earphone
• 3x pairs of silicone eartips (S, M, L)
• 1x pair of silicone earhooks
• Drawstring pouch

The Hypersense Hex02 comes in a small black box with blue highlights. Inside, the first thing you see is a black envelope, containing the drawstring pouch. While I don’t find these pouches all that useful, it’s still nice to see them included.

Sitting in a piece of circular black foam with cutouts is the earphone, along with the spare eartips. It’s a great looking presentation, made even more impressive by the tiny size of the box. The cable is wound around the foam which is an excellent idea, as it means there are no kinks in it when you first take it out of the box.

Under the foam is a small plastic bag containing the earhooks. Overall, it’s a really solid bundle considering the build quality (details below) and the price.



Build Quality and Design
Starting with the super-hard alloy shells, it’s immediately apparent that the HEX02 is a well-constructed IEM. The main body of the shells is a standard cylindrical shape until you get to the back, where it flares out into a flat disc shape.

On the back end of the shells is the Hypersense logo in blue, black and silver colours. And what’s interesting here is there’s a layer of crystal or glass – similar to the face of a wristwatch or glass back found on some mobile phones. It’s super smooth and looks really classy.

A black, stiff rubber band wraps around the rear of the housing and extends down to form a strain relief. The HEX02’s shells are lightweight but feel very robust and durable. On the front end, there is a straight nozzle that has a well-defined lip that holds your eartips securely in place.

There is a tiny vent near the base of the nozzle and another one near the cable entry point. They’re really small but must be effective because I did not experience any driver flex during testing. Last but not least, the nozzles have a metal mesh grill to keep out debris and earwax.



Cable
Following on from the quality of the IEM shells, the HEX02’s cable is also high quality (for the price). The black rubberized sheath is smooth, supple and free of any kinks or unruly bounciness.

On the right side of the cable is the three-button remote and microphone which is made from black plastic. The buttons have a nice tactile click and worked perfectly with my Android smartphone for adjusting volume, play/pause and skipping or rewinding tracks. The middle button is recessed, making it super easy to find the right button by feel; little details like this make a positive difference.

I would have liked to see some strain relief at either end of the inline control, as that seems the most likely point of possible failure down the road. There’s a cylindrical metal Y-split and the cable terminates with a straight metal 3.5 mm plug.



Comfort and Noise Isolation
Thanks to being lightweight and ergonomically sound, the Hypersense HEX02 is a very comfortable earphone. It’s something I could keep in my ears all day, were life to grant me that luxury. I didn’t feel any pressure buildup or discomfort at any stage during use.

These can be worn cable down or over-ear. I prefer to wear them cable down but if I’m on the move it’s great to have the option of going over-ear as it almost eliminates any microphonics (cable noise).

Passive noise isolation is above average. I often didn’t hear people talking to me, even when I was listening at a relatively low volume. The HEX02 is perfect for noisy environments and public transport etc.

Sound
Full-bodied with an emphasis on bass and mid-bass in particular, the HEX02 has a warm, V-shaped signature. A clear but slightly recessed midrange followed by upper midrange and lower treble peaks at 3.7kHz and 7kHz respectively round out the sound.



GEAR USED FOR TESTING

• Acoustic Research AR-M20
• Benjie T6
• Samsung Galaxy Note 5

The HEX02 is easy to drive, being well-suited to use with a smartphone or low-powered DAP. Due to its already warm signature, I prefer a neutral or brighter source for pairing.

BASS
Reaching towards basshead levels, the HEX02’s low end is exaggerated and somewhat dominant. Bass notes are thick with a fairly slow decay. The soft edges of kick drums result in a heavy, weighted impact. There is some bass bleed into the midrange that adds a fair amount of extra body to it.

Sub-bass sits a little behind the mid-bass and has decent extension but falls off moderately quickly below 30kHz. The 808 bass in NWA’s “She Swallowed It” has significant rumble but lacks true depth.

MIDS
Despite the heavy emphasis on bass, the HEX02’s midrange is surprisingly clear and detailed. Vocals are rich and have decent tonality but are somewhat distant in the upper registers. The HEX02’s resolving ability is quite good but you might not notice so much on bass-heavy tracks as the bass tends to overshadow the presentation. The upper midrange boost adds some much-needed clarity that helps to balance the boosted low frequencies.

TREBLE
The treble is fairly neutral and non-offensive., making the HEX02 good for extended listening. There’s no sibilance despite the 7kHz peak, plus it adds a hint of sparkle and airiness. After the 7kHz peak, it starts to fall off quite rapidly though, so it ends up sounding a little flat and sacrifices some of the finer details in favour of maintaining smoothness.

SOUNDSTAGE
The soundstage holds up well considering the amount of bass that the HEX02 delivers. It favours width more than depth, keeping vocals (in particular male vocals) fairly dense and intimate. Imaging is actually quite solid and instrument separation is admirable for a $25 IEM but things can get muddled in busy tracks.

Comparisons
LIPERTEK MEVI
What I really like about the MEVI is its bass; it’s balanced and has a nice combination of weight and texture. The MEVI has a more forward midrange that sounds more natural in the lower registers. It has a crisp treble with sharper definition but is a little unruly. Unlike the HEX02, the MEVI does get edgy in the lower treble, which at times can cause some discomfort.

Both of these IEMs have an original and unique styling and quality construction that belies their modest prices.

If I could take the bass and midrange of the MEVI and pair it with the HEX02’s treble it would be a killer IEM.

TIN AUDIO T1
The T1 (review here) is a rare beast. It’s unusual to find such a well-balanced IEM in the sub $40 range. The T1’s bass is very tame compared to the HEX02 but it has much more texture and definition. Thanks to its balanced nature, the T1’s midrange is more forward and it also doesn’t need that lower treble peak to give it clarity. The T1’s presentation is effortless where the HEX02 feels as though it’s trying to prove something with its exaggerated low end.

When it comes to build quality, both these IEMs really nailed it. They both boast metal shells that are robust and lightweight but the glass back on the HEX02 really adds a touch of class and gives it a premium feel.



Hypersense HEX02 Conclusion
The Hypersense HEX02 is a fun IEM that leans towards a fun sound rather than tonal accuracy, which is quite common for budget earphones. What I find most appealing about it is its unique styling, comfort and aesthetics.

It’s a fairly typical consumer-oriented sound that is nothing extraordinary but it’s certainly not bad, and with the high level of build quality taken into consideration, I think it offers pretty good value. So if you’re looking for a competent low-price earphone with a focus on bass, you should check out the Hypersense HEX02.

*This review was originally posted on my blog. You can see my other reviews over at Prime Audio.

Hifi Boy is a subsidiary of Chengdu Fallante Technology Co., Ltd. and is a new name in the earphone market. Recently they released their debut IEM, the Hifi Boy OSV3, a hybrid model with 2 Balanced Armature & 1 Dynamic Driver. And it’s good. Read on to find out why.

Hifi Boy website

At the time of writing, the OSV3 was listed at $159.

This product was provided for the purpose of an honest review. I’m not affiliated with the company and all observations and opinions here are my own.

Hifi Boy OSV3 on Penon Audio: https://penonaudio.com/hifi-boy-os-v3.html

SPECIFICATIONS

• Model: OS V3
• Impedance: 19 Ohm
• Sensitivity: 109 dB
• Frequency response: 20Hz-20KHz
• Cable Length: 1.2 m
• Plug: 3.5mm rhodium-plated
• Wire: 5N single crystal copper silver-plated cable
• Drivers: 2 Balanced Armature + 1 Dynamic Driver (Ultra-high frequency Balanced Armature + high frequency Balanced Armature + 7mm strong magnetic composite diaphragm Dynamic Driver )

Package and accessories


The OSV3 arrives with a black cardboard sleeve covering a black box. On the sleeve is an image of the IEM with the slogan “All we want to do is just to conquer your ears! printed at the top. In the bottom right corner is the Hifi Boy branding and logo.

Beneath the sleeve is a black box, the kind which many fans of Chinese earphones will be familiar with. It has a lightly textured surface plus the brand name in the top left corner and the company logo in the centre. The lid of the box has a magnetic seal and opens easily from the front.

Inside the box is a black foam slab with cutouts to secure the included carry case, airline adapter and 6.35 mm adapter. Inside the carry case is where you’ll find the rest of the components; the OSV3 IEM, detachable cable and 3 x pairs of silicone eartips (S, M, L).

It’s a fairly standard and basic kit but has everything you need. I would, however, like to see the inclusion of some more eartips and in particular some extra large ones.



CABLE
The included cable is silver-plated OFC. It’s very supple and flexible and feels nice to the touch. At the top end are the gold-plated 0.78 mm pins in a clear plastic block, Each side is delineated by a red or blue dot for easy identification.

Here you’ll also find the cable pre-formed with heat-shrink plastic tubing to fit over the ears. Further down is a clear rubber Y-split with matching chin slider. Finally, the cable terminates in a sturdy aluminium straight plug with a nice strain relief.

Overall, this is a high-quality cable and I like it quite a lot. The only downside is that above the Y-split the cable is quite thin and that, combined with the ear hooks is a recipe for tangles!



Build quality & design
The OSV3’s shells are made of a smooth resin and similar in shape to a custom in-ear monitor. It’s available either in black or blue and red. The top edge has a small bass vent for the dynamic driver. On the faceplates, the Hifi Boy logo is embedded in silver and gives the shells a premium appearance.

The nozzles have a dual bore design and are a good length but the lip is not very pronounced so some eartips don’t sit securely.

Each individual shell is hand-made and you can tell that a lot of care has been taken with their construction. They remind me a lot of the universal-fit sample units made by high-end custom in-ear manufacturers. The joins between faceplate and shells are flawless. Overall, the build quality is crazy good.

Comfort & isolation
The OSV3 is designed to fill the concha of your ear, similar to a custom in-ear monitor. I’m a big fan of this kind of shell but it can be a gamble for the manufacturer as people ear anatomy varies so greatly between individuals. I’m happy to say though, that these fit my ears like a glove.

This is an earphone that I can literally wear all day long. The smoothness of the shells and polished finish lend to a fit that just melts into your ear cavity.

In terms of noise isolation, the OSV3 scores highly again. Filling up the ear concha helps with this a great deal and combined with the right eartips and a proper seal, this earphone blocks out more noise than the average IEM.



Sound
The Hifi Boy OSV3 has a slightly V-shaped but still fairly balanced signature. A slightly boosted sub-bass and mid-bass are quite linear in relation to each other.

The midrange is a touch recessed with a slight dip at around 800Hz-900Hz before it begins to rise again. I was glad to see the OSV3 didn’t go for the typical aggressive upper midrange boost that’s been so common in recent times. Instead, the upper mids and lower treble are given a little lift but remain reasonably neutral. Then there is a small peak at 9kHz and another at around 12kHz in the upper treble.

These measurements may not be 100% accurate but should give a fair indication of the frequency response.


GEAR USED FOR TESTING

• Acoustic Research AR-M20
• ATC HDA-DP20
• PC > Tidal Premium > Arcam irDAC-II

I did most testing with my daily driver, the Acoustic Research AR-M20. It’s a good pairing but the Hifi Boy OSV3 also scales really well with a good source. Connected to the Arcam irDAC-II, there is a significant boost in resolution, detail retrieval and layering. This is an absolute killer combo.

The OSV3 is reasonably easy to drive but I found to really perform with some added amplification or a more powerful source. However, it still sounded great straight from my Android phone.

BASS
With it’s 7 mm on duty, the OSV3 has an excellent sub-bass that’s powerful yet reserved. It has solid extension and digs deep but retains good control throughout. Similarly, the mid-bass carries weight and authority with reasonably thick notes that deliver impact.

Thankfully there is no lingering resonance so it avoids any bloom or sloppiness and simply delivers a satisfying punch. Katatonia’s “In The White” is a great song to highlight the OSV3’s fantastic bass.

MIDRANGE
Lower mids are slightly forward, adding some warmth and body, which is great for male vocals and overall tonality. Because of the moderate thickness of the lower midrange and linear transition into the upper mids, the OSV3 doesn’t stand out as being ultra-detailed. Rather it takes on an organic and natural tonality and comes across as smooth and effortless.

Electic guitars have just enough bite to add excitement and still sound tonally accurate. ACDC’s “Let There Be Rock” seemed like a good song to test the midrange mastery and the OSV3 delivered in spades.

TREBLE
The OSV3’s lower treble dips around 5kHz-8kHz which mercifully sidesteps any sibilance or sharpness. This makes the treble smooth, inviting and ultimately non-fatiguing. The upper treble peaks around 9kHz and 12kHz, adding brilliance and airiness.

Overall, the treble is a pleasure to listen to, sacrificing a hint of treble energy for the sake of comfort and I’m perfectly fine with that approach. In fact, I prefer it that way, rather than have a brittle or piercing top end.

SOUNDSTAGE
The stage presented by the OSV3 is not particularly wide, but there is plenty of depth to it. This makes the soundstage feel fairly intimate without being congested. Vocals sit in front of the listener while other instruments are placed nearby on either side.

Imaging is about average, being neither particularly strong or weak. Think of the space more like a long hall, as opposed to a vast arena. There’s more space in front of you than there is on the sides.

Comparisons
WHIZZER A15 HAYDN PRO ($124 SINGLE DYNAMIC)
The Haydn Pro is tuned to what is commonly known as an audiophile tuning. It has a leaner presentation with thinner, faster notes, more detail and a more analytical approach. It’s quite the technical powerhouse. The soundstage is larger, in part due to its superior treble extension, with strong imaging and positional cues.

The OSV3, in comparison, offers a warmer, more inviting sound and is less fatiguing on the ears. Where the Whizzer aims to reveal everything in a track, the Hifi Boy is aimed more at emotive listening.

TONEKING NINE TAIL ($125 SINGLE DYNAMIC)
The Toneking Nine Tail (9way) with just a single dynamic driver, delivers an incredibly mature and technically adept sound. It has a natural, organicness that is filled with detail but still very musical and extremely engaging.

Female vocals are slightly more forward on the 9 tail while the OSV3 has more weight in male vocals. The bass doesn’t have the impact or weight of Hifi Boy’s IEM. The 9 tail has more perceived clarity as a result of a more accented upper midrange, where the OSV3 is more linear and thus smoother overall but more resolving. The OSV3 has a slightly more accurate tonality. These are both stellar IEM in terms of price vs performance.

DYNAMIC MOTION DM200H ($219 BULLS EYE DRIVER)
The DM200H has more of a mid-bass hump but it doesn’t carry over as much warmth into the lower midrange as the OSV3. It puts more emphasis on the upper midrange, making the overall sound a little brighter in contrast and vocals more recessed compared to the OSV3.

Both have a clear but smooth treble, with peaks at 9kHz and 12kHz. The OSV3 has a warmer tonality with slightly less clarity in the upper midrange. These are both excellent IEMs and I’d be happy to use either as a daily driver.



Hifi Boy OSV3 Conclusion
On the box, Hifi Boy said they wanted to conquer my ears and by golly, they’ve done just that. Their debut IEM marks a very strong entry into the crowded marketplace.

The OSV3 is not cheap but when taking everything into consideration provides excellent value for money, although the bundled accessories could be improved upon. The IEM itself is extremely well built, comfortable and technically proficient.

Its warm overtones provide an inviting and fatigue-free sound while retaining good resolution and detail. I can’t wait to see what Hifi Boy does next. Will they strive for the more upmarket segment or lean towards more budget oriented products? Whichever way they decide to go, I’ll be eagerly awaiting their future releases.

A Digital Audio Player (DAP) with a dual-core processor, bi-directional Bluetooth with aptX HD, class A headphone amplifier and balanced Pentaconn 4.4 mm output? Meet the Acoustic Research AR-M200.

Acoustic Research has been innovating high-end audio equipment for over 60 years. A few years ago they made a strong entry into the DAP market with their AR-M2 and AR-M20 models respectively. In an effort to keep up with the frantic pace of development in the segment they recently released a new DAP; the AR-M200. Let’s take a closer look.

At the time of writing, the AR-M200 has an MSRP of $399.

Acoustic Research website.

This product was provided for the purpose of an honest review. I’m not affiliated with the company and all observations and opinions here are my own.

Pros

• Bluetooth wireless receiver mode with aptX HD
• 4.4 mm balanced output
• Good build quality & unique design
• Fantastic sound quality with AKM AK4490EQ DAC
• Fast-charging via USB-C
• Fast boot time

Cons

• Antiquated and sluggish user interface
• No breakpoint resume
• Files on SD card not included in music database
• No gapless playback
• Average battery life

Package and Accessories



Starting off with the now familiar AR styling, the AR-M200 box comes enclosed in a black cardboard sleeve. At the top right is the company logo. At the bottom left is a list of key features and the bottom right has a stylized outline of the AR-M200 DAP.

On the back of the sleeve is a more detailed list of features and information. Inside the sleeve is a plain black box. After removing the lid, you’re presented with the AR-M200, sitting in a black foam cutout.

Below the foam slab is a small black box containing the USB-C data/charging cable and user manual. Finally, underneath the foam is a velvet carry pouch with the AR logo printed in white.



Build & Design
The front-left and back-right edges are angled, almost like a deck of cards that have been pushed to the right. As a result, it sits much better in your left hand than it does in the right. The aluminium chassis feels sturdy in the hand and the unit is lightweight but still feels solid in your hand. The unit’s dimensions & weight are as follows: 2.32W x 4.72H x 0.61D In / 4.3 oz.

On the front of the device is the 2.4 inch 240×320 IPS LCD Screen. Below that there are 6 buttons on the front of the device, as follows:

• Home/back
• Play/pause/enter
• Up/previous
• Down/next
• Volume up
• Volume down

On the right side are the power button and a MicroSD card slot for external storage.

The bottom panel has (from left to right), Pentaconn 4.4 mm TRRRS output, 3.5 mm stereo TRS output, MEMS Digital Microphone and Micro USB port.

The back panel has a textured faux leather coating which feels great to touch and prevents the unit from getting scratched. This is a huge improvement over the previous models which have a glossy back that is a fingerprint magnet and gets scratched very easily.

Overall the build quality is really nice, just as I would expect with anything from Acoustic Research.



Internals
The AR-M200 has some impressive hardware under the hood. At the heart of the system is an AKM AK4490EQ DAC. This is paired with a Class A (2Vrms) headphone amplifier with a BURR-BROWN OPA2134 pre-amp for an excellent signal to noise ratio and dynamic range.

With this hardware, you can play a wide range of Hi-Res Audio Files (FLAC/ALAC/WAV/DSD), up to 24-bit 192kHz; DSD64 and DSD128.

Powering the device is a 1700 mAh battery, providing up to 7.5 hours use on a single charge. The AR-M200 has 32GB on onboard memory and a MicroSD card slot for up to 256GB of external memory.

User Interface (UI) & Functionality



Ah, where do I start with the UI? Okay. The home screen consists of a white bar with 4 icons at the bottom. Those icons are (from left to right): Music, Bluetooth Audio Receiver, File Explorer and Settings. Let’s take a look at these individually:

MUSIC

• Now Playing
• All songs
• Artists
• Albums
• Genres
• Folder
• My Favorite
• Music Settings

This is basically where you can browse through your music files by all songs, artists, albums, genres and folder. However, all of those options except folder will only work with the onboard memory. If you want to browse or play music from a MicroSD card, you’ll need to navigate the files manually.

When you do browse files on an external memory card, the folders are sorted in chronological order, meaning that they follow the order in which they were added to the card, rather than being sorted alphanumerically. In order to make sense of your files, you’ll need to use a third party application on your computer. I use DriveSort which can be downloaded for free. The program is easy to use but in my opinion, with a $400 DAP, nobody should need to resort to this!

When browsing the music files on both the onboard and external storage there is significant input lag (about half a second between button press and response).
In the Music Settings submenu are:

• Play Mode
• Sleep Timer
• Equalizer
• Bluetooth Output
• Screen

Note that for the Bluetooth receive and transmit settings, you’ll need to go to separate menus to configure them. I would have preferred to see these placed on the same menu screen to avoid confusion.

The five-band equalizer has 5 presets plus an additional custom setting.

BLUETOOTH AUDIO RECEIVER



When you enter this menu the device will ask to turn Bluetooth on. After you click Yes, you’ll come to another submenu:

• Now Playing
• Connect / Disconnect
• Status
• Bluetooth Settings

This function is great if you want to play wireless music from your smartphone/tablet or laptop. However, if you have the Bluetooth receiver turned on, trying to play any files from the DAP results in the system crashing.

On top of that, there’s no option to turn the Bluetooth Receive function off again from the Bluetooth Receive menu; in order to do that, you need to go to the Settings > Bluetooth screen (in the ‘Settings’ menu mind you, not the other Bluetooth options in ‘Music Settings’) and turn off Bluetooth there. Confused yet? I am.

FILE EXPLORER



This menu appears exactly the same as the Music > Folder screen but the only thing that you can do here is delete individual files (not folders). Hardly deserving of a Home screen icon if you ask me!

SETTINGS

• Standby timer
• Language
• Screen
• Bluetooth (again!)
• Reset all settings
• Format
• About Device

Most of these items are self-explanatory but if you’ve been concentrating you’ll notice that this is the third location where we find Bluetooth options. Why weren’t they all bundled into a single menu?

*Side note: there are also 3 duplicate ‘Screen’ options in various menu locations.

During my testing, I did a firmware update for the AR-M200 and I have to say that it was by far the easiest update I’ve ever done on a DAP. You simply connect the DAP to your computer, copy the new firmware onto the device and then press the Home button twice. Done!

General Use



In day to day use, the AR-M200 can be frustrating but it’s not all bad. First of all, let’s look at using it as a standalone DAP.

When navigating the music library there is significant input lag. The AR-M200 isn’t unique in having this but it’s more often found in entry-level or ultra-budget DAPs. One of the first things I noticed when playing music files was that the album art often does not display. The M200 is very picky when it comes to album art and unless you have the right type, size and location for your images it simply won’t work.

Other aspects of the Now Playing display are fine. You can see the album, artist and track name, along with volume level, file type, bitrate, play mode and EQ setting.

There is no shortcut back to the Home screen. So if you’re on the Now Playing screen, you’ll need to press the back button up to six times (depending on how you got there) to get to the Home screen. Even most budget DAPs have a long press function that does this with a single click.

Some of the basic features I expect from any DAP are missing on the M200. There is no gapless playback. Now, this won’t bother some people. But the way I see it, the AR-M200 is targeted at audiophiles first and foremost and gapless playback is something they generally expect or demand. Granted, most smartphones support the feature so you can actually get gapless playback but only in Bluetooth Receiver mode.

The next feature that I sorely miss on this DAP is breakpoint resume. Not having this drives me up the wall! I have $25 players that support breakpoint resume so I can’t see any reason why it shouldn’t be present on this one.

Using Bluetooth
This is an area where the M200 stands out. There are currently not many DAPs with support for aptX HD (see a list of supported devices here). It definitely makes a difference, when paired with a streaming device or headphones that also support the aptX HD codec.

Another great feature is the ability to answer phone calls in Bluetooth Receive mode and the M200 has a built-in microphone that allows you to talk through the device.

Pairing is simple, assuming you’ve found the right Bluetooth menu in the settings. It’s worth noting that you can’t send and receive simultaneously.

Sound
As always, describing a DAPs sound signature is very difficult, as it’s largely dependant on the transducers you connect to it. However, pairing with several different headphones and IEMs will usually let you distinguish a player’s characteristics to a certain extent.

Overall, the AR-M200 is a neutral sounding DAP that doesn’t add colour or shape but transparently reproduces what you feed to or from it. The player has excellent dynamics that really reveal the full colour of the sound with vivid openness.

One thing that stands out, in particular, is that the M200 delivers an expansive soundstage. Its sound is very clean with a black background and no electrical hiss or interference, which lends to great definition and instrument, as well as detail retrieval. The EQ presets and custom mode make a very noticeable difference in sound and you can tailor it with ease (although I never use EQ myself).



Pairing

ACOUSTIC RESEARCH AR-H1
I usually prefer to pair this planar magnetic headphone with a warmer source but it’s a great match for the AR-M200. The soundstage is very large in width and depth. Sound is balanced with no emphasis on any particular frequency range. Bass is lean and punchy with oodles of texture and definition.

Vocals can be a little on the dry side but the mids have very good layering and separation. Treble notes are crisp and tight with no sign of sibilance or harshness. The H1 requires a fair amount of power despite its low impedance but the M200 has no trouble driving it whatsoever.

CAMPFIRE AUDIO CASCADE
Bass is still huge (it is the Cascade!) but it’s well controlled and textured. Sub-bass extends really well and mid-bass punches with authority. Soundstage is large for a closed-back headphone with good depth.Mids are a little recessed as they sit behind the bass but separation is good and there’s still a good amount of detail. Treble is crisp and well-defined with fantastic, accurate tonality.

MEZE 99 CLASSICS
Fairly wide soundstage with average depth. Bass sounds less loose and more controlled than with other DAPs. Sub-bass is deep and mid-bass slightly elevated. Midrange is rich, smooth and sounds less congested than it does with some other pairings. Treble is smooth and airy with good extension and a nice sheen on cymbal hits.

SENNHEISER IE 800 S
Very wide soundstage with average depth. Sound is balanced from top to bottom. Sub-bass has good extension, while mid-bass has a nice punch. The midrange has excellent separation and detail with forward vocals. Treble is airy and buttery smooth with good extension though not much sparkle. The DAPs excellent dynamic range adds a bit more life to the IE 800 S which at times can sound a little flat with other pairings.

EMPIRE EARS BRAVADO
This dual driver hybrid has a fairly large soundstage with good layering and average imaging. Sub-bass is massive, with a deep and satisfying rumble. Mid-bass also has a lot of impact and is a little on the slow side. The midrange is warm, smooth and a bit subdued by the big bass and is slightly recessed. Treble is very relaxed and sits behind the midrange and bass and can at times lack definition.

M-FIDELITY SA-50
The SA-50 is a 5 BA with 4 crossovers CIEM. Its soundstage is wide and deep, with an expansive space. Sub-bass extends really well with a nice rumble. Mid-bass has a good punch but is balanced with the midrange and highs. The midrange is very smooth with wonderful clarity and layering. Vocals are forward, rich and smooth but also textured. Treble is clear and has a nice sparkle and airiness but is still smooth. The SA-50 shines with a powerful source and the M200 pairs very nicely with it.



Comparisons

ACOUSTIC RESEARCH AR-M20
The M20 has more body and a fuller sound. It has a warmer and smoother presentation than the M200. The M200 is slightly more resolving because of its cleaner and more transparent presentation but the M20 still has amazing layering and separation despite its extra warmth. The M200 does portray a wider soundstage but the M20 has more depth, giving more of a 360° stage and strong imaging capability.

When it comes to the UI, the M20’s Android-based interface is leagues ahead of the M200. It’s no competition again concerning battery life, where the M20 doubles the lifespan of the M200 on a single charge. In terms of pure sonic performance these two DAPs are very closely matched but overall the M20 comes out in front.

ATC HDA-DP20
Bass is a little more controlled on the M200. Mids and vocals are just a touch more forward on the M200. The DP20 has a little more energy in the treble which gives it a slightly wider soundstage. Most other aspects of the sound are very similar between these two DAPs.

The UI is far better on the DP20. It has a larger, brighter screen and better support for album art. Its control wheel makes navigating faster and the operating system is much more responsive overall. Battery life is around 9 hours on the DP20 compared to 7-8 hours for the M200.

Acoustic Research AR-M200 Conclusion
So, there you have it, the Acoustic Research AR-M200 DAP. It had a lot of promise but ultimately I feel it could have been a lot better.

Although it sounds great, I think in the current market it takes more than good sound to be competitive. In this age of Smartphones and Android-based DAPs, such a dated user interface is just janky for a new model. I could actually live with it but it’s the missing functions that I can’t do without.

Gapless playback and breakpoint resume (particularly the latter) are two things I expect on any player that costs over $100. I also want the files on my external memory card to be included in the music database. I want support for a wider array of album art formats. The UI is a train wreck! Could it be improved with firmware updates? Quite possibly and I certainly hope to see that in the future.

However, all is not lost. The M200 does do some things really well. First of all, it sounds amazing. It sounds better than several other DAPs I’ve tested in the same price range. The balanced 4.4 mm output is awesome and it also has aptX HD which is undoubtedly superior to regular aptX.

So who is the M200 for? Well, if you’re looking for an everyday DAP to use with wired headphones or IEMs, then there are better options out there. I wouldn’t recommend this player for you (save up and get the M20 instead!). BUT if you want something to use primarily for Bluetooth and in particular as a Bluetooth receiver, you should definitely check this out.

*This review was originally posted on my blog. You can see my other reviews over at Prime Audio.

There has been a somewhat limited number of choices lately when it comes to high-quality portable, closed back headphones. The Campfire Audio Cascade looks to fill that gap and that is what we’ll be looking at today.

Anyone who has an interest in high-end earphones surely knows the Campfire Audio name. Heck, even those who don’t own any TOTL IEMs are likely familiar with it. In almost all earphone discussions from the budget entry-level to the pinnacle products, you’ll see the brand mentioned again and again. People are always asking how X, Y, Z compares to something from Campfire Audio’s lineup.

Mention things like Andromeda, Vega and Lyra in any conversation among audio enthusiasts and people know exactly what you’re talking about. Anyway, enough with the preamble. Let’s get into the review.

Campfire Audio website.

This product was provided for the purpose of an honest review. I’m not affiliated with the company and all observations and opinions here are my own.

Pros

• Rich and engaging, full-bodied sound
• Impeccable build quality
• Detachable cable
• Filter tuning system
• Compact, foldable, portable

Cons

• Not for those seeking neutrality
• Cable connectors badly positioned for laying the headphones flat and may, over time cause damage to the cable

SPECIFICATIONS
5Hz–33 kHz Frequency Response (attn -26dB)

100 dB SPL/mW Sensitivity

38 Ohms @ 1kHz Impedance

13.5 oz (without cable) or approximately 383 g

Earpad Dimensions Outside OD approx – 2.75-inch wide x 4 inches tall

Inside ID is approx – 1.5-inch wide x 2.5 inch

FEATURES
42 mm Beryllium PVD diaphragm dynamic driver

Sheep Leather Detachable Headphone Pads

Circular ‘Push-Pull’ Connections

Cast + Machined Aluminum Cup and Hanger Arms

Steel headband, pivot and joints

Litz Cable – Silver Plated Copper with Cloth Jacket (4′)



Package and accessories
The Cascade comes in a tasteful cardboard box with the familiar Campfire Audio styling. It’s predominantly green and speckled with stars, while the top and front sides have a swirling grey and white pattern. On the top you can see the model clearly printed, along with a brief description and some of the key features. The front flap has a small image of the headphones with some branding and a barcode.

What struck me at first sight of the box was its small size. I knew the Cascade was dubbed as a portable headphone but seeing the box made me think they must be quite small, like a cross between supra-aural and full-size. However, that is not the case, as you will see in just a bit.



Opening up the outer cardboard box reveals a semi-hard faux leather, zippered carry case with a carrying strap. It’s quite compact; easily small enough to carry around in a backpack or travel bag. On the top side, the Campfire Audio branding is embossed onto the lid.

When you open the carry case you’re presented front and centre with the gorgeous headphones, nestled snugly into a sheepskin-like padded interior. The case’s lining feels soft and luxurious and it’s a really nice change from the usual foam padding we see so often. Apart from the headphones, there are only two black envelopes which contain the accessories. Here’s what you get:

• Cascade headphone
• Faux leather carry case
• 4 x sets of tuning filters
• Acoustic Dampener tuning guide
• Use and care instructions
• Detachable Litz Cable with Cloth Jacket
• Warranty card
• Campfire Audio pin

Cable
The supplied cable is a Litz silver-plated cable with circular push-pull connectors and special cloth jacket which reduces microphonics and adds durability. Only time will tell about the durability but it does look and feel very sturdy so should not be a problem.

As far as microphonics go; there’s practically none whatsoever. This is a very, very quiet cable, in fact, one of the quietest I’ve ever (not) heard. The cable feels strong but at the same time, it has just the right amount of suppleness, so it sits and rolls up really nicely. I’m usually not fond of fabric covered cables but this one is excellent.

I’m also really pleased that CA went with the HD800 connectors. The cable plugs in really securely and firmly, so there’s no fear of it coming loose or falling out, yet it’s extremely easy to connect and disconnect from the headphones with very little effort or force. And of course, it also means that should you wish to use a third party at some time, there are plenty of options to choose from.

The connectors are colour coded for easy identification and have very good rubber strain reliefs. At the Y-split is a hard rubber strain relief embossed with the CA logo. It’s small and unobtrusive but works perfectly well and adds to the overall satisfaction I get from this cable. Finally, the cable terminates in a 45° angled 3.5 mm, Gold-plated plug with another solid strain relief.



Build
A quick glance at the Cascade or even a picture of the Cascade gives you an immediate impression of solid build quality. Once you get the Cascade in your hands any lingering doubts will be swept away as it is clear that this headphone is built to last.

Constructed from stainless steel and lightweight aluminium, the headphone is unquestionably premium in materials and engineering. Those robust materials do add some extra weight to the headphone but not enough to be a burden in any sense.



The headband consists of spring steel, covered with black pleather. On the top side, the Campfire Audio branding is embossed into the pleather in a subtle and tasteful manner. Beneath the pleather cover is a layer of foam for comfort.

Inside the headband is a steel adjustment slider that clicks into place at your selected extension. This connects to the steel joint. As you can probably guess, the joint is what enables the headphones to be folded.

Next is the pivot, which allows the earcups to oscillate in both directions. This serves to provide a better fit on your head and also lets you lay the headphones flat around your neck or on a surface. This pivot connects to the arm that attaches to the earcups. At the bottom is another pivot that provides roll and pitch movement of the earcups.



The Cascade’s lightweight, machined, aluminium earcups have an anodized finish with the CA logo embossed in silver just above the cable jack. Speaking of the jack, this is the only fault I can find in the Cascade’s physical design: If you want to lay the headphones flat around your neck or on a surface, the connectors meet end to end. This can put a lot of stress on the cable just below the strain reliefs as it basically bends the cable at a 90° angle. It probably won’t be an issue but it’s worth consideration IMO.



Finally, we have the soft, sheepskin earpads. They’re attached via magnets which is by far my favourite method because it makes removing and attaching them so quick and easy. The earpads are angled to give you a better fit and seal on the side of your head. These are really lush and luxurious and the sheepskin leather feels divine.\

Comfort & Isolation
I personally find the Cascade to be a very comfortable headphone. The headband does stretch out quite wide, so only a small area rests on the top of your head but this doesn’t really bother me unless I’m wearing the headphones for a long time.

As for the earpads, they are just fantastic. They’re super soft and deep enough to prevent my ears from touching the driver cover inside the earcups. Some people have complained that they’re too narrow but I have no issues with that at all, even though I have fairly large ears.

When it comes to isolation, the Cascade performs fairly well but doesn’t eliminate as much external noise as you might expect. This isn’t really a negative though because once the music starts playing you’ll barely hear anything else.

What the closed backs do extremely well, however, is prevent noise leakage, making the Cascade perfect for public transport or use in an office environment. You would need to play your music at ear-damaging levels before it would bother anyone else nearby.



The Campfire Audio Cascade Sound
For the majority of my testing, I was using the 4T / HD15 filters (more info on the filters below). This tamed the bass a little bit which was more fitting to my preference. Although the midrange did lose a hint of richness in the process, this was my preferred setup.
As recommended by Ken Ball from CA, the Cascade was given over 150 hours of burn-in before I started any critical listening. All testing was done using the stock cable.
The Campfire Audio Cascade gives a first impression of being unabashedly bold and boisterous. It’s rich, full-bodied and energetic. You’ll notice its powerful bass right off the bat but the more you listen, the more you’ll come to appreciate its other subtleties.

Having said that, the bass is always the star of the show, regardless of which tuning filters are applied or how many hundreds of hours of burn-in you’ve administered. In short, if you don’t like a heavily accentuated low end, the Cascade is probably not for you.

BASS
As I alluded to above, the Cascade’s bass is pretty huge. It’s definitely leaning towards the realm of the basshead and overshadows the overall presentation. That might sound like a condemnation but I assure you that is not the case. What makes the Cascade outstanding is its ability to have that massive bass but retain clarity, resolution, separation and a natural tonality throughout the rest of the spectrum.

The sub-bass digs deep. Really deep. Deep enough to make you think that Godzilla is stomping around your backyard. But again, the magic is that the overall tonality is still very accurate, making the Cascade a rare beast.

With the HD15 filters in place, even Trevor Morris’ The Vikings (OST) did not sound too bassy. In fact, that entire album has never sounded so good to my ears. Listening to “Journey to Kattegat” with the Cascade, it’s not difficult to imagine yourself setting out across the sea in a Viking ship under a blue sky or traversing the cascading (see what I did there?), rocky hillsides around Denmark.

MIDS
As we get into the midrange the Cascade flexes its muscles once again. Despite the bassy overtones that are always present the mids remain clear and detailed with a very natural tonality. Naturally, the low midrange carries over some warmth from the bass and this fills the sound with a natural amount of body and richness.

Another surprise is how resolving the Cascade is and its ability for layering and instrument separation. Vocals are rich and smooth and tracks like Lalah Hathaway’s mid-focused “Forever, For Always, For Love (Live)” highlight the Cascade’s mastery of the midrange. Her sweet vocals simply ooze forth with a lush density, while the guitars sound clean and uncoloured. They are incredibly textured and have a physicality, almost as if you could reach out and touch them.

TREBLE
Although the Cascade’s treble is fairly relaxed in its presentation, achieved by sitting further back than the bass and mids. It has very good extension and wonderful, crisp notes. This is an important factor, as it gives the sound airiness, retains a hint of sparkle and is non-fatiguing at the same time.

Just like the rest of the Cascade’s presentation, the treble notes have good tonal accuracy. It is linear in its transition from the lower to high treble without any noticeable peaks or dips. Despite its laidback nature, the treble doesn’t struggle to keep up with the bass or midrange thanks to that great extension and definition.

SOUNDSTAGE
While the soundstage is not particularly wide, it’s still good for a closed headphone. Fortunately, the Cascade provides a good amount of depth as well and this greatly enhances its layering and instrument separation. While the bass notes are decidedly thick, those in the midrange and treble are not, so the stage maintains space and doesn’t become congested or adversely affect the dimensions too much.

Vocals are positioned quite forward and intimately but there is sufficient space between them and other instruments to keep the stage from feeling crowded. With its solid mids and treble definition, the Cascade has a solid grasp of imaging and positioning.

Filter system
I’m just going to touch briefly on the filter system here. The changes in sound between various filters are fairly minor so doesn’t drastically change the overall presentation. It is always nice to be able to customize a headphones signature more to your preference though, without having to resort to modding it yourself.

There are 4 sets of tuning filters provided, and they’re basically just little fabric pieces with different pore sizes ranging from 7 microns to 15 microns. The filters are named 1T, 2T, 3T and 4T. In a nutshell, the higher the number, the more the bass and to a lesser extent, the midrange are slightly attenuated.

Changing the filters is really simple. You just remove the earpads (super easy with the magnet system) and place the chosen filters in the space provided above the driver. That’s all there is to it.



Sources
Although the Cascade is described as a portable headphone, I’m sure there will be many people who, like myself, use them primarily at home or with a desktop setup. For that reason, I’ve added some desktop DACs for comparison.

AUNE X1S 10TH ANNIVERSARY EDITION
The X1S has an energetic, transparent signature that works well with the Cascade but demands a lot of your attention. Its 32bit Sabre DAC provides excellent resolution and instrument separation. The soundstage has good depth and imaging is great. Despite being a more affordable DAC, the X1S performs really well, with a clean, dark background and excellent sense of timing and lack of jitter.

ARCAM IRDAC-II
With the irDAC-II, the Cascade’s soundstage is wide and spacious. Layering and separation are superb, as is the timbre and sense of rhythm. Strangely, this DACs smooth presentation doesn’t dull the Cascade’s sound or further ‘thicken’ the bass. Great dynamics and extension at both ends round up the presentation, making this an awesome DAC to pair with the Cascade.

TOPPING DX7
The DX7 brings out a fuller bass and less sparkly treble. Smaller soundstage and less instrument separation. This was surprising as the DX7 is generally lean and resolving but this matchup was pretty ordinary. It might be due to an impedance mismatch or something else causing the lack of synergy.

ACOUSTIC RESEARCH AR-M200
AR’s newest DAP has a neutral and airy sound that brings out the best in the Cascade. It has a very wide soundstage and excellent layering and definition. Bass notes are faster and leaner but still have lots of impact, making this one of my favourite pairings.

ACOUSTIC RESEARCH AR-M20
Excellent definition and imaging. Lots of depth in the soundstage. Vocals have extra density and instrument separation is really strong. Treble notes have a bit less sparkle. The layering and imaging are what stands out to me most with this DAP, along with the clean, black background and potent driving power.

ATC HDA-DP20
This little DAP is a bit of an unsung hero, in my opinion. Although its feature set is basic and the battery life average, it has a great sound. Soundstage is very large and maintains good layering throughout. It’s a linear and transparent sound that works really well with the Cascade. The bass feels less dominant and more in balance and there’s an added airiness that makes the Cascade sound a little less in your face.

Comparisons
ULTRASONE PERFORMANCE 860
The Performance 860 is vastly different in sound to the Cascade but they do share some similar physical traits. For example, they both have rotating earcups so the headphones can be laid flat around your neck or on a desk. They both also have a similar size and shape and are meticulously crafted, though the Ultrasone is primarily plastic compared to the Cascade’s metal construction.

The Performance 860 has a much more linear presentation in comparison to the Cascade. Its bass is close to neutral but has very good extension and is able to dig deep without significant roll-off. The midrange is leaner with less richness, which at times can make the upper midrange a little aggressive but female vocals tend to have more prominence.

Both have a relaxed treble but the 860’s is slightly more forward. In regards to resolution, the Cascade holds up really well considering the fullness of its bass. The 860 has a wider soundstage with less density in midrange instruments and vocals.

MEZE 99 NEO
Meze Audio’s Neo has a similar sound signature but there are some key differences. It has a comparable amount of bass but with less weight and impact. The midrange has less density, making vocals less rich but gives them an airier feel. This makes the stage feel a bit more open, at the expense of some resolution and layering. It’s in the treble where these two headphones sound most similar to me, both being laidback but with nice, clean edges and good extension.

If you like the sound of the Meze 99 Neo or 99 Classics, you’re sure to like what the Cascade has to offer. On the other hand, if the Cascade is out of your price range, the Meze headphones are a very solid and more affordable alternative.



Campfire Audio Cascade Conclusion
In recent times it seems like Campfire Audio can’t put a foot wrong, and the Cascade looks to continue that trend.

Something to keep in mind is that this is CA’s first attempt at a full-sized headphone. When a first attempt is this good, it more often than not points to good things to come in the future and I can’t wait to see what they do next.

There can be no doubt about the Cascade’s solid construction. You’ll know this as soon as you touch it.

The Campfire Audio Cascade has a bold, energetic sound, defined (on the surface) by its dominant bass. But it’s bass done right. A resolving midrange and clear but relaxed treble seal the deal. Currently, there simply aren’t many other closed-back headphones in its price range that can compete.

*This review was originally posted on my blog over at Prime Audio.

Wireless earphones are all the rage right now and we’re seeing more of them all the time. Not only that, there are also more that are offering Active Noise Cancelling (ANC). In the past, these features together were reserved for higher-end models with prices to match. But what if you want wireless and ANC but you’re on a budget? The Linner NC50 wireless earphones with Bluetooth 4.1 and ANC could be exactly what you need.

Coming in at $69 these earbuds have 13 hours of music or talk time, an IPX4 sweat-proof rating and they actually sound pretty great. That’s your TLDR right there, but if you want the details then let’s get into it.

Specifications
Noise Reduction: Up to 28dB
Monitor Mode: Ambient Sound
Weight: 35.2g
Frequency Range: 20Hz~20KHz
Charging Port: Micro USB
Charging Time: 2 Hours
Standby Time: 400 Hours
Sweat Proof: IPX4
Bluetooth Version: V4.1
Bluetooth Profiles: HFP V1.6, HSP V1.2, A2DP V1.2, AVRCP V1.4
Operating Distance: approx. 33ft/10m

Package and accessories
The NC50 comes in a simple white box with a diagram of the earbuds on the front. Over on the back of the box, there is a list of features and specifications.



Once the box is open, you’ll see the NC50 earphones presented in a moulded plastic tray. Under the tray are all the accessories. Let’s see what you get:

• Linner NC50 Wireless Bluetooth ANC earphone
• Soft fabric carry pouch
• User manual & warranty card
• USB cable for charging
• 3x ear hooks (S, M, L)
• 3x silicone eartips (S, M, L)

There’s a separate box inside with a foam cutout that holds the ear hooks and eartips. The fabric carrying pouch is simple but effective enough and provides some additional protection for the earphones when storing them or carrying them in a bag.

So there’s everything you need to get started right away. Out of the box the earphones I received already had fully charged batteries so I was able to start listening right away.



Build & design
NECKBAND
Starting with the neckband, it’s very soft and supple so it sits well around your neck. Not only that, but it’s very comfortable and in most cases, you’ll forget it’s even there. On each end of the neckband, there’s a solid plastic piece. The outer side of the left piece has the Linner branding on it but is otherwise bare.

The plastic section on the right side has the Micro USB charging port, On/Off button, LED power indicator and the ANC monitor button.



Pressing the monitor button activates the monitoring mode, which does two things: It lowers the music playback volume and amplifies ambient noise. This is really handy when someone is talking to you, or for whatever reason, you need to be able to hear what’s going on around you, for example, if you need to hear an announcement when you’re riding on a train or plane.

The NC50’s monitor button also serves another function, which is switching between ‘normal’ and active noise cancelling modes. It’s a clever system and the button is located in a position that is easy to find and use.

The earphone cables are attached to each end of the neckband. On the right side cable is a three-button inline control and microphone. This performs standard Bluetooth earbud functions, such as play/pause, volume adjustment, skipping and rewinding tracks and answering or ending phone calls. The buttons feel good to use. They’re not mushy and have a satisfying tactile click.



The earphones also have a magnet on each side, so you can join them together behind your neck to keep them secure when you’re not listening to them. What I like even more about this though, is that it prevents the cable from getting tangled when it’s in a pocket or bag.



HOUSINGS
Lastly, we come to the earbud shells, which have the common shape and style that is currently very popular with Bluetooth earphones. Starting with a cylindrical housing with a flat back, where you can see the Linner branding and logo. The shells taper outwards to a conical-shaped front end with an angled nozzle.

The nozzle shape is my only real gripe with the NC50; the nozzles are sort of flattened, as in not circular. This is fine if you’re using the default eartips but if you want to use anything else you’ll be a little restricted somewhat due to the shape and narrow width of the nozzles.



Comfort & isolation
I found the Linner NC50 to be very comfortable. The soft and flexible neckband wraps around your neck naturally and after a short time, you’ll forget it’s even there.

As for the actual earphones, their tried and tested form factor were bound to be comfortable, and that’s exactly how they are. There are no sharp edges or awkward ridges and coupled with the light weight of the shells, I can easily wear these for hours on end.

Passive noise isolation isn’t great but that’s kind of a moot point, considering that the earphones have ANC. Once the noise cancelling is activated, the external noise drops to a minimum and you can get on with enjoying your music, movies or podcasts. More on the ANC in the next section.

Noise Cancelling
ANC is a big selling point of the Linner NC50 so it needs to be pretty decent. And it is. Here’s my experience with it thus far.

The recent CanJam event in Singapore was a perfect chance for me to test the NC50’s ANC during my flight over and it did not disappoint. Once we were soaring above the clouds I connected via the Bluetooth 4.1 (super easy by the way), pressed the ANC button and Boom! Right away the roar of the jet engines all but disappeared.

When there were any announcements during the flight, I could simply press the Monitor button. In monitor mode, the music level would drop right down and the ambient noise was slightly amplified. This is such a great feature and one that I will expect on any ANC earphones I test in the future

For a less than $100 earphone the noise cancelling works really well. Obviously, it’s not quite up to the standard of some of the more expensive options out there (Sony & Bose for example) but for the asking price, it’s really effective.

Battery life
Linner claims a 13-hour battery life for talking or music playback and I found that to be accurate. However, with ANC turned on it is a little less, at around 10-11 hours. That’s still a very solid performance and should be enough to satisfy most people.

The standby time for the battery is also excellent. If you’re only using the earphones a couple hours a day you can get around a weeks use of the NC50 before needing a recharge. Even so, the charge time is only 1.5-2 hours which is great.

Bluetooth
The NC50 has Bluetooth 4.1 and is extremely easy to pair with other devices. I found the signal strength to be excellent and did not experience any dropouts or disconnects. The range is also very good. I was able to walk all around inside my house and maintain a solid connection. Call quality is really good too and according to people on the other end of the line, my voice was coming through very clearly.



Sound
For testing, I paired the NC50 with my Android smartphone, the Acoustic Research AR-M200 and Windows laptop.

Normally when testing an ANC earphone in this price range I would be pretty sceptical about the sound quality. That’s simply because it’s not easy to provide good build quality, effective ANC AND good sound at such a low price.

However, recently I reviewed the DECOKA DK100 which is actually a subsidiary of Linner. Because I had such a positive experience with that earphone (apart from the large ANC/battery unit), I was quietly confident that the Linner NC50 would be solid. In a nutshell; I was right.

The NC50 and DK100 share a lot in common when it comes to their sound presentation. The overall signature is quite balanced with no emphasis on any particular area in the frequency range.

BASS
It’s so refreshing when a budget earphone doesn’t try to wow you with its massive, powerful bass. When reviewing cheaper IEMs, one of the first things I expect to hear is a bloated, booming mid-bass. The NC50 doesn’t do that.

It’s boosted enough to give the sound body without being dominant or intrusive. There’s a nice amount of punch and impact that fills out the low end without bleeding into the midrange, although it does carry a little extra weight over to give fullness to the sound.

MIDS
The midrange is quite forward for a consumer based earphone and has a good balance between richness and clarity. Albums such as Anathema’s Weather Systems sound great with the NC50. Its smooth presentation offers a fatigue-free listening experience that is also quite forgiving when listening to poorly mastered tracks.

I found the NC50 was also great for watching videos on a smartphone or laptop; the Bluetooth 4.1 worked really well and the sound remained perfectly in sync with what was happening on the screen.

TREBLE
The NC50’s treble is fairly relaxed and sits behind the bass and midrange but at the same time is light and clear. There was no stridency or harshness present which adds to its non-fatiguing presentation. The treble and overall sound quality are really quite surprising for an ANC earphone at this price. I have found that some cheaper ANC earphones have an artificial or metallic treble but that’s not the case here.



Linner NC50 Conclusion
So there you have it. The Linner NC50 is another surprisingly good ANC earphone. The build quality is excellent and the earphones feel very durable. They’re comfortable in your ears and suitable for long listening sessions.

As a bonus, the IPX4 rating means they are sweatproof so you can take these to the gym or go running and they’re even fine in light rain. The battery life is good too, giving you up to 13 hours of talk time or music and the ANC also works well.

When it comes to sound the NC50 holds its own really well against even non-ANC earphones in the same price range and that is quite an achievement. For around $69 you’ll be hard-pressed to find a better deal than this.

*This review was originally posted on my blog. You can see my other reviews over at Prime Audio.

What is a juggernaut? According to the Oxford dictionary, it's "a huge, powerful, and overwhelming force or institution." When I think of Sennheiser, that's one word that comes to mind. So welcome folks, to my review of the Sennheiser IE 800 S. Recently Sennheiser released an upgrade to their venerable IE 800 in-ear monitor and that is what we're looking at today.

For a long time, Sennheiser has indisputably been one of the top names in the audio world and that doesn't look to be changing anytime soon. From entry-level to top of the line, they have earphones and headphones (amongst other things) to suit every budget and need.

Just a short time ago, they released a new closed-back headphone, the Sennheiser HD 820, which contains some very interesting new technologies. So it's great to see that Sennheiser are still actively researching and innovating in the audio space, which is one of the reasons they're still leaders in the industry.

The IE 800 S can be purchased from the Sennheiser website and Amazon.

IE 800 S specifications

• Impedance 16 Ω
• Frequency response (Headphones) 5 to 46,500 Hz
• Frequency response diffuse-field equalized
• Max. sound pressure level 125 dB at 1 Vrms
• THD, total harmonic distortion < 0.06% (1 kHz, 94 dB)
• Weight approx. 8 g (without cable)
• Attenuation -26 dB

Price $999

Package & Accessories


The Sennheiser IE 800 S box comes wrapped in an outer cardboard sleeve. The sleeve is predominantly black, with a large image of the IEM on the front. On the rear of the box, the usual features and extra marketing speak are strangely absent, leaving it mostly bare.

Underneath the outer sleeve is a dark grey box that has a nicely textured surface. Unlike the sleeve, the inner box looks and feels premium and has a lovely, soft texture. It's unmarked except for a single Sennheiser logo on the top.



Opening the box gives you your first glimpse of the earphones within, along with the carry case. Both the earphones and the case are seated in a sheet of soft black foam. The first impression is a simple one but it's quite effective in conveying the premium status of the IEM.

Lifting out the top foam layer reveals another one beneath, which has 4 recessed compartments that hold the rest of the accessories. Here comes the list:

• IE 800 S earphones
• PU leather carry case
• 3 x pairs of silicone eartips (S, M, L)
• 3 x pairs of Comply™ eartips (S, M, L)
• Shirt clip
• 2.5mm cable extension
• 3.5mm cable extension
• 4.4mm cable extension
• User manual
• Microfibre cloth

Eartips
Because the IE 800 S uses proprietary eartips, I was a bit concerned that none of them would fit in my bigger than average ear canals. Luckily, with the shape, size and angled nozzles of these earphones, the large tips turned out to be a perfect fit.

The eartips have a metal mesh built in which acts as a wax guard. Interestingly, there's also one in the nozzle itself, so effectively you get a double layer protective mesh. This should ensure that no debris finds its way into the shells so the drivers will be protected.



Carry Case
The provided premium leather case is a great addition and a welcome one. After all, with an earphone costing this much you really want to have somewhere safe to store them when not in use. The front flap is held in place magnetically and on the inside of this flap is a metal plate with a serial number.

There's a foam spool with a cutout section to hold the IEMs in place and a channel to lead the cable down to the outer spool. Wrapping the cable around the spool is easy and on each side, there are several holes cut in the foam where you can secure the plug.

The case is roughly the size of an average men's wallet. it's perfect for keeping the earphones safe when you're on the go.



Cable
The cable has a black, rubberized sheath and is very smooth and supple. It doesn't have kinks or memory so it sits nicely without any bounciness. It is a little on the thin side but feels robust and durable, which is important considering the top part of the cable is non-detachable. While it would have been great to see a fully detachable cable, I don't think it was possible for Sennheiser to implement one because of the very small shell size.



It's a modular design, meaning that while the top section is secured to the IEM shells, the bottom part can be switched out for use with different plug types. On the top secured section, there are coloured strain reliefs (red for right, black for left).

Versatile connection options
Along with the standard 3.5 mm jack, the IE 800 S also comes with a 2.5 mm and 4.4 mm Pentaconn balanced plugs. These interchangeable extensions connect to the cable just below the Y-split. The main cable has a 2.5 mm termination and the cable extensions connect to this via a 2.5 mm socket.

All 3 of the extension cables terminate in an L-shaped or right-angled plug. These plugs have a rubberized coating that matches the material on the cable. Each of the variants has a good rubber strain relief.



I actually like this cable a lot. It's very similar (albeit thinner) to the one that came with the DUNU DK-3001. There is one major drawback though, and that is the excessive cable noise (microphonics). It's likely caused by the shells being so small and I wish that Sennheiser had been able to lessen it somehow.

Perhaps if the strain reliefs were softer and more flexible the microphonics could have been reduced but of course, that might mean less durability of the cable itself. Bit of a catch 22 there. However, using the included shirt clip greatly reduces the cable noise so I would strongly recommend using it. I have tried wearing the cable over-ear style but it's not quite long enough for me to be worn that way comfortably.

Build & Design


Made from a matte black scratch-resistant ceramic housing, the IE 800 S has a minuscule but very attractive design. The build quality is sterling, as you would expect. Within the tiny housings are Sennheisers proprietary Extra Wide Band (XWB) 7 mm transducers.

Along with the XWB drivers, Sennheiser has incorporated their patented dual-chamber absorber (D2CA) system which they claim:

"overcomes the "masking effect", where low-volume components of a sound are obscured by much louder sounds in a lower frequency range occurring at the same time."

They say the D2CA also helps to create a superior soundstage. I'll cover this later in the sound section.

The shells are very lightweight and taper down towards the back; a bit like a fish' tail. At the back are two acoustic vents which, fortunately, don't seem to have much impact on noise isolation.

On each side of the earphones, the Sennheiser 'S' logo has been tastefully etched into the shells but is only noticeable on close inspection. There is beauty in the simplicity of the housings' exterior and I think they look great.

Overall the design of the IE 800 S is excellent and the build quality of the shells is unquestionably good. My only concern would be the durability of the fixed cable. While it seems solid now, only time will tell how it holds up to prolonged use.



Comfort & Isolation
With the diminutive shell size and angled nozzles, the IE 800 S is an extremely comfortable IEM. The housings practically disappear into your ears and I have worn them for several hours at a time without any discomfort whatsoever.

While I can think of a couple others I have that are as comfortable, I cannot think of anything that surpasses this one in that regard.

Noise isolation is actually quite good for such a small IEM. The two acoustic vents don't seem to let any extra external noise in and even when playing music very loudly there is hardly any sound leakage at all. So these are great for just about any situation, whether it be in noisy public transport or in a quiet office environment.

Sound
The IE 800 S has a stately, transparent signature that is fairly linear in its presentation. One of the things that immediately stands out is the natural tonality and coherency produced by the single dynamic driver.

Unlike some hybrid models, the IE 800 S exhibits a sound that comes across unquestionably as a united entity. What I mean by that is the separate elements (lows, mids and highs) blend naturally, rather than sounding like separate objects that have been stitched together. It's obvious that the D2CA system is working as intended.

However, the dual-chamber absorber system might, at times work a little too well; The dynamic range feels a little restricted which can lead to a lack of enthusiasm and excitement on certain tracks.

There's a touch of warmth and weight in the bass, a fairly neutral midrange and a smooth but clear treble. The resulting effect is a sound that's reasonably light and non-fatiguing but never lacks substance or body. It also means that these in-ear monitors exude detail without having to resort to the common trick of simply boosting the upper midrange or lower treble.

Bass
Here lies one of the IE 800 S' greatest strengths. The bass has all the healthy characteristics that I look for in a quality earphone. It delivers a sensation of impact and authority without coming across as being intrusive or dominating. It's nimble with a reasonably fast attack and well-defined edge that provides punch but has a natural decay, giving it a tangible overall body.

Sub bass reaches deep and even manages to cause some resonance in the solid ceramic shells. The IE 800 S maintains a masterful control here, again bringing authority to the low end. It doesn't need to raise its voice but delivers a menacing utterance which is truly enjoyable.

If there was any doubt about the 7 mm drivers being able to 'bring it' in the bass department, a listen to Daft Punk's "Lose Yourself to Dance" will let you know these little guys are more than up to the task.

Mids
The midrange on the IE 800 S is near neutral but with a little extra body that carries over from the bass. It's enough to add some natural weight and richness to the lower mids and keeps them from being too dry. As a result, the tonality remains very accurate but still has plenty of organic warmth.

Getting in the mood with "Spend My Life With You" by Eric Benét (feat. Tamia), the IE 800 S handles the vocals of Eric and Tamia masterfully in their buttery smooth duet.

There's a slight dip in the frequency response around 300 Hz - 600 Hz before it starts to rise again, peaking around 1.5 kHz. This allows it to avoid those edgy peaks and stay true to the tonal accuracy. Male and female vocals both get the same generous treatment as well, neither gets preference over the other and both sound fantastic.

Treble
When doing casual listening, the IE 800 S' treble might seem unremarkable. However, upon close inspection, the fact that it doesn't draw attention to itself is actually what makes it so remarkable. The IE 800 S provides pristine, clear treble notes that have a wonderful extension but are buttery smooth.

Due to the overall fairly lean nature of this IEM, the treble doesn't need to be shouty to be heard. There's no harshness or sibilance present and it's like smooth sailing over a crystal clear, deep blue ocean on a sunny day.

In Blackfield's "This Killer" from the Blackfield II album, the IE 800 S does an exquisite job on the cymbal throughout the song. It's just so clean with a wonderful, natural sheen. As far as my ears are concerned, this is treble done right.

Soundstage
The soundstage is very wide indeed and these earphones present a large space. There's more width than depth, so it doesn't create the most immersive 3D staging but is still impressive for single drivers in such a small housing. Positional cues are well defined from left to right but less so in terms of depth. Overall, the positioning is fairly precise with excellent instrument separation.

Pairing
The IE 800 S is easy to drive but I found that it scales really well with a good source. While a simple smartphone won't have any problems, a great DAC or DAP will certainly bring out the best in this earphone.

Arcam irDAC-II
This is a killer combo. It's powerful, so detailed and delivers extra richness and liquidity to the sound. Add to this a wide soundstage. The irDAC-II fills out the bass a little more adding some extra body. This pairing not only shows what the IE 800 S is capable of but also highlights just how good the irDAC-II is which becomes more evident when used in conjunction with an IEM that scales this well.

Acoustic Research AR-M20
Not a great match. This combo comes across a bit flat with limited dynamic range. It's quite strange because I haven't come across this with the AR-M20 and it's usually my goto DAP for IEMs. However, for some reason, the synergy with the IE 800 S isn't ideal. Soundstage remains wide but loses some of its depth. Overall sound loses some of its engagement and sounds a bit dull, perhaps due to a less forward upper midrange.

ATC HDA-DP20
There's a great synergy here and the IE 800 S finds a great partner in the ATC HDA-DP20. Soundstage is large and immersive. Dynamic range is improved, bringing more engagement and excitement. Dreamy, clear treble notes add airiness and space. Excellent layering and instrument separation. Fantastic weight in the mid and sub-bass adds some fullness. The upper mids gain a boost as well, giving them a more tangible presence and breathing extra life into the IEM.

Aune X1S
Wonderful detail retrieval. Transparent and resolving. Improved soundstage depth and imaging. Instrument separation and layering are very impressive. Vocals are a bit more intimate. Deep, rumbling sub-bass and punchy, clean and relatively fast mid-bass. Crisp and airy treble notes. The upper midrange has noticeably more bite (where'd that smoothness go?) The Aune X1S is definitely a good matchup, particularly for getting the utmost in detail retrieval from the IE 800 S.



Sennheiser IE 800 S Conclusion
After hearing praise of the original IE 800 for so long I was really curious to know how the new Sennheiser IE 800 S would perform. Needless to say, I was not disappointed. This single dynamic driver earphone delivers a resolving, coherent and smooth/non-fatiguing sound that is sure to please.

The ceramic shells are extremely rugged and durable, yet they're delicate and minuscule in your ears, promising hours of comfort and enjoyment. For some, the fixed cable could be a negative point; I would think the cable noise certainly is but, of course, using the shirt clip greatly mitigates that issue.

Sure, the IE 800 S doesn't come cheap, and only dedicated audio enthusiasts will be willing to pay that kind of price for an IEM. Having said that, however, it's not difficult to find other flagship earphones that cost as much as double the price. Not only that, but Sennheiser is a name that people are familiar with and can trust; none can dispute their contribution in the audio space.

So, if you're looking for the best of the best in-ear headphones then you should definitely consider the Sennheiser IE 800 S. Even more so if you demand the organic nature and cohesiveness of sound that only a single dynamic driver can provide.

*This review was originally posted on my blog. You can see my other reviews at Prime Audio.

I like peaches. Is that relevant here? Maybe, maybe not. And what does that have to do with the Phatlab Phantom Pure Class-A Full-Balanced Tube Headphone Amplifier? Let's jump into the review and I'll tell you about it.

Every now and then something turns up on my doorstep that presents a real challenge. The Phatlab Phantom is one of those things. I didn't really know what to expect from it in a sonic sense but boy oh boy, physically it was quite a first impression. It's safe to say that I have never reviewed anything like this before.

When I learned I would be testing this headphone amplifier, I naturally jumped onto the Phatlab website to check it out. My first thought upon seeing it was "Tubes. Sweet!" I had no idea what I was in for. Pictures cannot do the Phantom justice. In short, this thing is a behemoth. But I'm getting ahead of myself...

Previously I reviewed and subsequently fell in love with Phatlab's Sassy II. It is still one of my favourite audio devices to this day. The Sassy II is a portable amplifier and can be held easily in one hand. Not so with the Phantom. You can see the full Phatlab Sassy II review for more info on that.

Phatlab website



Phatlab Phantom Features

• Fully balanced pure class-A operation
• Zero tolerance, high precision, and lowest distortion volume control
• Selected and matched directly heated vacuum tubes
• Chassis integrated tube suspension to minimize microphonics
• High power wide bandwidth output transformers with multiple secondary windings
• High capacity low noise power transformer
• Military and audio grade passive components
• High-quality PCB (2.4mm base) and extra thick copper layers
• Output impedance switch for appropriate headphone damping
• High/Low gain switch
• Balanced and single-ended headphone output
• Balanced and single-ended line input

Specifications

• Frequency Response: 5 Hz – 50 kHz (-3dB)
• Output power: 2000 mW + 2000 mW (30 ohm)
• Headphone impedance: 16 ohm – 600 ohm
• Max. Input Voltage: 2V(RMS)
• Inputs: 1 x RCA: 1 x XLR
• Outputs: 1 x 1/4" TRS; 1 x 4-PIN XLR
• Power supply: AC 115/230
• Dimensions: 275 mm x 405 mm x 170 mm
• Net weight: 12 Kg

Price $4000

Build & appearance



My initial reaction when I opened the box was one of surprise. This thing is HUGE. Pictures can't do it justice and don't really portray the full scale of the device. I like to think of its dimensions as roughly the size of a briefcase. Putting it in more scientific terms, the dimensions are as follows: 275 mm x 405 mm x 170 mm.

Built like the proverbial tank
Not only is the Phantom large, it's also heavy. You'll need a good, solid desk or table to put this amp on. The net weight is a whopping 12kg (26.4555 pounds)! So why is it so heavy? Well, that's because the chassis is constructed from 10 mm solid aluminium and the faceplate is 20 mm thick.

The reasons for such a heavy-duty chassis are for rigidity and precision. Phatlab wanted to mimic the single aluminium brick that they used to craft their portable Phantasy model but were unable to duplicate it due to its excessive size. So instead, they have used the solid plates and connected them seamlessly to achieve a similar result.

Another reason for the weight are the three custom-made transformers (one power and two output), which are over-rated compared with their mere 2 to 4-watt output power.

Aesthetics
To say the Phantom has striking appearance would be an understatement. It begins with its sheer girth, making it immediately stand out. The solid black chassis has an industrial aesthetic and gives an impression of one serious piece of kit.

The silver faceplate is designed to be simple and intuitive and has the same industrial yet elegant feel of the chassis. It's dominated by the large volume knob in the centre which is black in contrast to the silver colour of the faceplate. I'll cover the switches and functions of the faceplate in the next section.

On the top of the Phantom are, of course, the four 3Q4 (DL95) directly heated tubes (DHT). When the unit is powered on the 3Q4 tubes glow a brilliant, rich peach colour and are just gorgeous to look at. These are surrounded by clear acrylic tubes which can be easily removed if desired.

"The glow of one warm thought is to me worth more than money." Thomas Jefferson

Click to expand...

Front panel



On the front panel are (from left to right):

• Input selection switch (XLR/balanced or RCA/single-ended)
• Amplifier gain switch (high/17dB and low/10dB)
• Output impedance switch (Hi-Z or Lo-Z)
• Volume knob
• 4-pin XLR balanced headphone output
• Output selection switch (balanced or unbalanced)
• Power switch and LED indicator (top)
• 1/4”(6.3mm) unbalanced headphone output (bottom)

The volume knob feels great in the hand and has a nice smooth action allowing for precise adjustments.

Here is where I found my only real gripe with the Phantom. The laser etched text is white which makes it extremely difficult to read on the silver surface of the front panel.



Back panel



The back panel contains (from left to right):

• AC power female socket
• Chassis ground connector
• Unbalanced (RCA) stereo input
• Balanced (XLR) stereo input

Internals



Unlike some amplifiers that do a balanced to single-ended conversion at the input and a single-ended to balanced conversion at the output, the Phantom was designed from the ground up to be truly balanced. Phatlab applied a four-amplifier scheme for a truly balanced stereo solution.

Even at very low volume, there is no channel imbalance thanks to the four 10-bit R-2R resistor ladders implemented before each amplifier module for unit control. So effectively what you have is a true analogue signal path with a digital interface.

Even the transformers were carefully selected for optimal audio performance:

"Phantom is integrated with high-quality output transformers. Thanks to the roomy enclosure, we have plenty of space to house high power iron cores without compromise. The model used in Phantom is newly developed especially for its output stages and driven by two amplifiers in a push-pull style to minimize distortion and noise."

Click to expand...

Dem tubes



A unique and interesting feature that has implemented is the independently suspended tube module. The four specially designed pillars supporting the tube assembly have a spring suspension in order to dampen any vibration to the directly heated tubes.

Phatlab is a true believer in the Directly Heated Tube because of their intimacy and lifelike soundstage compared to non-filament type valves. Another benefit of DHT is that they immediately warm up to working condition, although the company does suggest that optimum sound quality comes after a short warm-up period.

The 3Q4 vacuum tube is a low voltage device, which is another reason they were specifically selected. It makes no sense to waste lots of energy in a high voltage supply while only using one-tenth of its voltage swing.

If you're a tube roller, the Phantom has you covered. Other seven pin tubes such as the DL95 and CV818 are also compatible.

For more detailed technical information see the manufacturer's website: http://www.phatlabaudio.com/



Sound, Pairing and matchability
The Phantom is ideal for powering hard to drive headphones. It has been tweaked to increase the output wattage, in particular for some of the popular planar headphones on the market. Due to the nature of this powerful amplifier, it doesn't pair particularly well with some low-impedance gear. But if you've got some phones that require some real grunt then the Phantom has it in spades.

My test setup
I used the Shinrico D3S as my source, connected to the Topping DX7 via optical cable, which was then connected to the Phatlab Phantom via balanced XLR.

Headphones
Acoustic Research AR-H1 (Balanced XLR + Low gain, Low-Z)
The AR-H1 planar magnetic is rather unusual in regards to driving power. At just 33 ohms you might think it can be driven by almost anything but that isn't the case.

When it comes to DAPs, most of the ones I tried with it didn't quite have the gusto to make the AR-H1 perform it's best. The AR-M20 does a fine job, however, and matches with it really well. When I connected it to the Phatlab Phantom, I expected a good deal of background noise and hum but actually, it's almost imperceptible. When there's music playing I didn't notice any noise at all.

With this combination, the AR-H1 sheds some of its leanness and gains more body in the vocals and midrange. Bass also earns some extra body and an increase in decay, which fills out the sound more. In GoGo Penguins "So It Begins" I was quite surprised at the fullness of the bass and overall presentation. The AR-H1 sheds some of its clinical precision and delivers a more analogue experience when plugged into the Phantom, adding some smoothness to note edges without compromising their definition.

The treble has noticeably more harmonics and sounds more 'live' for lack of a better term. There are more sparkle and shimmer present without making the H1's treble become edgy. The extension is great and there's definitely more liveliness in the treble when paired with the Phantom.

This is a magical combination for listening to classical, jazz and rock music, though it's certainly not confined to these genres alone. The soundstage sees an improvement in width and layering plus resolution are superb.



Beyerdynamic DT990 Pro (SE + Low gain, Low-Z)
In Low-Z the DT990's 250-ohm impedance is enough to stifle any of the background hum. When switched to Hi-Z however, a bit of background noise starts to creep in.

In "Talk to Me" by Run the Jewels the DT990 bass is deliciously textured and weighted, again with that extra organic touch delivered by the Phantom.

Thankfully the already bright top end of the DT990 doesn't become brittle but like the AR-H1 delivers extra airiness and extension. That's quite a feat but hey - tubes do special things with their rich 2nd harmonics and that's arguably their biggest appeal.

The somewhat thin midrange of the DT990 Pro gets a bit more volume and by that, I don't mean loudness but mass. Phantom's influence fills in some of the space in vocals and instruments with more body while maintaining speed and precision.

Campfire Audio Cascade (SE + Low gain, Low-Z)
Of the various headphones I tested, the Cascade was the least compatible with the Phantom. It's not surprising really, as the Cascade is designed as a portable headphone and therefore is sensitive and easy to drive. As soon as it's plugged in the Cascade hums like crazy and is pretty much unusable with this pairing.

That's not necessarily a negative for either component; the Phantom can be a little picky about matching and the Cascade with its 38-ohm impedance simply doesn't need extra amplification (although it does scale well with a quality DAC).

Meze 99 Classics
This is another headphone that doesn't pair well. While there's not as much electrical noise as with the Cascade, the 99 Classics have enough hum to be distracting. Not only that but all of the extra driving power from the Phantom seems to overwhelm this headphone and the bass becomes a bloated, sloppy mess.

Again, I'm not criticizing the headphone or the amplifier here. It just highlights the fact that you need the right elements to create synergy.

IEMs
I tested several in-ear monitors and the results were mixed. The DUNU DK-3001 handled the power well, as far as background noise goes (surprising at just 13-ohms!) but did lose some of its control in the bass. However, it was still very much listenable.

The Trinity Master, with my favoured green nozzle filters, actually worked quite well. With its push-pull dynamic driver configuration, the Master's bass is always very well controlled and it was able to maintain that control in this situation. If anything the dynamic driver seemed to revel in the extra power being driven through it.

I also tested the HE 150Pro earbuds and these sounded amazing with the Phantom, likely due to their 150-ohm impedance which seems to be a sweet spot for this amp. The overall sound, in general, is full and meaty with this matchup and the synergy is surprisingly good.

The Phantom is obviously overkill for IEMs in general but I thought it would be interesting to see what happened when I tested some with it. What I learned is that with high impedance gear it's a viable coupling but otherwise, there are better options out there.



Phatlab Phantom Conclusion
Well, the Phantom is certainly an exceptional piece of gear. It's extremely powerful, meticulously crafted and reproduces music with transparency and clarity plus that hard to quantify tube magic. As a bonus, you get that captivating peach-coloured glow of the 3Q4 tubes. So that's the peaches but you might be wondering where's the cream? In case you haven't guessed already; the cream is in the sound.

One thing I've learned about Phatlab is that they don't follow popular industry trends. Instead, they choose a product and build it to be the very best that it can be. Rather than regularly releasing products just for the sake of having something new, they wait until they develop or invent something that can surpass the performance of their existing lineup.

If you're looking for something extraordinary to pair with your headphone collection then the Phatlab Phantom should be given serious consideration. Granted it doesn't come cheap but this hand-crafted beauty is truly something special. If you're attending CanJam in Singapore this year (2018) the Phantom will be there for audition, so be sure to stop by the Jaben booth and check it out.

*This review was originally posted on my blog. You can see my other reviews at Prime Audio.

If you haven't heard of iFi Audio yet, then you're probably fairly new to the world of personal audio. Either that or you've been living under a rock for the last couple of years. There's nothing wrong with that though; I'm just alluding to the large presence the company has fostered within the community over the last couple of years. In today's review, we'll be taking a look at the nano iOne DAC to see and hear what it's all about. Let dive in.

iFi's products usually pack loads of features into a fairly small form factor (hence the 'micro' & 'nano' monikers). The nano iOne DAC is no different. This little Bluetooth DAC can add a breath of fresh modernity into an existing home system or computer rig and is a great way to upgrade a basic audio setup.

Disclaimer
This sample was provided for the purpose of an honest review. I'm not affiliated with the company and all observations and opinions here are my own, based on my experience with the product.


What exactly is the iOne?
First and foremost it's a DAC (Digital to Analogue Converter). How the iOne differentiates itself is with the addition of aptX Bluetooth, making it quite versatile. Now, it's not the only Bluetooth DAC out there; there are a few others and some have been around for quite some time. However, the iOne makes itself unique with its very small physical footprint plus some little touches, which we'll get to in a bit.

Package & accessories
Similar to what we saw with the nano iDSD Black Label DAC, the nano iOne comes in a white box, covered in a white, cardboard sleeve with the usual iFi styling. There's an image of the DAC on the front and some technical information on the back.

Beneath the outer sleeve is the white box, which is bare except for the ifi branding. Inside this box is the nano iOne DAC, a USB cable, 5V power adapter, an optical SPDIF adaptor, an RCA interconnect cable and some little silicone feet.




Build & functionality
The nano iOne DAC is presented in classic iFi styling; a brick-shaped chassis with a topside that tapers towards the edges. It's a sort of gunmetal grey colour, with ivory white, plastic front and back plates. This thing is really small and will literally fit in the palm of your hand.



On the faceplate are (from left to right):

• Bluetooth pairing button
• Input switch (Bluetooth/USB/SPDIF)
• Filter switch (Listen/Measure)

The switches feel sturdy and have a really nice tactile click when changing the selection. Similar to other devices in iFi's lineup, the iOne offers two filter settings: Listen and Measure. The Listen setting adds a little shaping to the sound to make it more engaging, while Measure gives a flatter response.

When it comes to the input switch, I think that's pretty self-explanatory. You can quickly and easily flick between input methods this way.

Personality
One feature I really enjoy is the little backlit iFi logo on the front panel. It changes colours depending on the source selected and file format being played. The Audinst HUD-MX2 has a similar feature but iFi took it a step further by making the display large and personalized while the Audinst DAC has a regular LED indicator.



On the rear panel are (from left to right):

• RCA outputs
• SPDIF In/Out
• USB input

That might not look like much but it opens up a lot of options for connectivity.

Whether you use Nvidia Shield, Google Chromecast or a 4K television, hook your system up to a gaming console such as the XBox One, PlayStation 4 or simply enjoy music through your smartphone, tablet or computer, the iOne is the one for you. Add it to your audiophile rig to push the boundaries of high-quality sound to a whole new level.

Click to expand...

So, as you can see, the iOne can act as a catalyst to upgrade your existing products, or simply make them easier to use, especially when employing the Bluetooth function.




How I used the nano iOne DA converter
Audioengine HD3 desktop speakers: First of all, I hooked up the iOne to my computer via the USB connection and then to the HD3 speakers. But the HD3 already has USB and Bluetooth?! So why would I do this? The answer is simple really: Because I can!

In all seriousness though, the HD3's onboard DAC only supports up to 16-bit native audio, then it upsamples the digital signal to 24-bit. Not only that, but the iOne has native DSD playback in its arsenal. Due to the nature of the little HD3 speakers, the difference in sound was minimal but it was an interesting experiment nonetheless.

Wharfedale Diamond Active A1: Next, I paired up the iOne with the Wharfedale Diamond Active A1 via the RCA output. These are some pretty serious speakers and it was interesting to hear them being driven by the iOne. iFi's little pocket rocket did a fine job of feeding a good quality audio signal to the A1's wireless HUB.

Arcam irDAC-II: For the next test, the iOne was hooked up to the Arcam irDAC-II via a coaxial cable so I was able to use the irDAC-II's excellent headphone amplifier. This was quite amusing as the two devices have a lot in common but they also vary greatly overall.

What these have in common are Bluetooth connectivity and SPDIF input but the irDAC-II has a host of other input and output options, plus a built-in headphone amplifier. It's also much larger and more expensive. While the iOne can't quite match the sound quality of the Arcam it is still a very capable DAC.

Smarphone: Lastly, I tested the Bluetooth with my Android phone. Pairing is a breeze and happens very quickly. This is a great way to play tracks from your phone into your home system, without the hassle of hooking it up with wires.

Sound
At the heart of the iOne is a Burr-Brown chipset:

The Burr-Brown True Native chipset is a MultiBit DAC which represents the ‘best of the best’ chipset design. This chipset handles PCM and DSD natively, so the music signal stays in its original format all the way through.

Click to expand...

The iOne's overall sound is one of neutrality and transparency. If anything it's a touch on the lean side. While it might lack warmth and subtlety, it has oodles of bursting at the seams energy and comes across as very lively.

One of the real strengths of the iOne is its excellent sense of timing, thanks to its Femto precision clock system which stomps out any jitter from the source by "creating a new stable clock de-linked from the source clock." This is really great for albums like GoGo Penguin's A Humdrum Star and in particular the more upbeat tracks like Bardot where the iOne shows its mastery of rhythm.

Detail retrieval is excellent and the soundstage is none too shabby either. The nano iOne doesn't try to win you over with elegance but instead, it's more like jumping up on the table and shouting "Let's get it on mutha screw**!" Having said that, however, the iOne has no issues at all with slowing things down, and in tracks like Window, it again surpasses our expectations with its ability to shift with ease from the melodic downbeats to the busy crescendo.



Conclusion
iFi's nano iOne DAC is a technical marvel. There's a lot of sophisticated engineering packed into this tiny device and while most people probably won't be aware of that, they will surely enjoy the resulting sound.

It may not be able to go toe-to-toe with higher end DACs but at $199 you'd be hard-pressed to find anything that sounds better. The iOnes strengths lie in its versatility and ease of use, especially the inclusion of aptX Bluetooth. Support for high-resolution files (32-bit/DSD/DXD) is icing on the cake at this point.

So, if you're looking to upgrade your existing system or simply want to add the convenience of high-quality Bluetooth, then the nano iOne would be an excellent choice.

*This review was originally published on my blog. Hop on over to see more like this.

M-Fidelity SA-50 introduction
Hi there PA fam, and welcome to another review. Today I'm looking at the M-Fidelity SA-50 custom in-ear monitor. This custom in-ear monitor has an organic, smooth sound that is still resolving and detailed. The SA-50 was released recently and is the newest flagship offering from M-Fidelity.

These monitors contain 5 high-quality balanced armature drivers and a 4 way, hard-wired, passive crossover system. The SA-50 is one of the more affordable TOTL customs available but is definitely still competitive with pricier alternatives.

M-Fidelity is a company based in the picturesque town of Jørpeland in Rogaland county, on the western coast of Norway. They make a variety of custom in-ear monitors for musicians and audiophiles alike, providing noise isolation and hearing protection. There are even CEP (Communication Ear Protection) options for pilots and ground crew available.

Disclaimer: This sample was provided for the purpose of an honest review. All observations and opinions here are my own, based on my experience with the product.

Specifications
* 5 balanced armature drivers, 4-way system, Highest quality hard-wired passive crossovers
* Frequency response: 22-24000 Hz
* Sensitivity: 102 dB/mW
* Impedance: 30 ohms
* Cord: Twisted, hardwired or detachable, 125 cm (49″), gold-plated stereo 3,5 mm (1/8″) jack
Price: $1032

Package and accessories



M-Fidelity's CIEMs come in a high-quality large, black travel case with a carbon fibre pattern and the company's branding stamped on the front in gold lettering. The case is too large for a pocket but perfect for keeping in your bag. Fortunately, there's also another smaller carrying case inside but I'll get to that in a moment. Let's take a look at everything inside.

• SA-50 CIEM
• Detachable 3-wire OFC, 2-pin cable
• 8 x spare wax filters
• Wax cleaning tool & brush
• Shirt clip
• Semi-rigid carrying case
• User manual
• Instructions for replacing wax filters

As you can see, that's a pretty decent kit and includes everything you need. It's great to see the addition of the pocket-sized carrying case as well. All the components are high-quality and the overall unboxing experience is a good one.

Build, customization & comfort



Build & customization
There are several shell colours and faceplate options to choose from, all of which you can see on the website. While not as extensive as what some other companies offer, you should be able to find something that suits your personal tastes.

The model I have is decked out with clear shells and carbon fibre faceplates. Build quality is very good. There are no bubbles visible in the shells and the faceplates are joined to them seamlessly.

Unlike a lot of other CIEMs, the SA-50 has only 2 tubes leading into the ear canal. The top one carries the lows and mids, while the bottom one is for the mids and highs. Partway down each tube is an acoustic filter and at the end of each tube is a removable/replaceable wax filter.



Comfort & isolation
Comfort will depend a lot on sending a good set of ear impressions. So make sure that if you're ordering CIEMs, that you visit a good audiologist and let them know the exact requirements needed from the manufacturer.

It's always a good idea to read the information regarding impressions on the website because sometimes the requirements for ear impressions can vary between different manufacturers.

When I first received my SA-50 there was an issue with the left earpiece that was causing some discomfort. After speaking with Alf (the man in charge of operations), I decided to send them back in for some modifications. Within a very short time, the adjustments had been made and the monitors were on their way back to me. I should mention here that Alf was very responsive and helpful throughout the process. Overall, I found the customer service to be excellent.

Now, onto the comfort: Once the adjustments had been made to the left side, I had no issues with the fit and I find the SA-50 to be extremely comfortable. I can easily wear these for hours on end, which turns out to be a good thing because it's hard to stop listening, but more on that later.

The seal with these is very good and is maintained while talking or singing along to the music (yes, these will make you do that too!) Like most custom in-ear monitors, if the fit is good then so is the noise isolation.

Put the SA-50 in your ears and you can easily get lost in your own little universe as all but the loudest of external noises are cut off.



Sound
The M-Fidelity SA-50 is smooth yet resolving in nature. It immediately strikes you with its clarity, which it manages to maintain regardless of its warm nature. Its warmth lies in the lower frequencies, which add body without any noticeable colourization or bloat.

The SA-50 sounds very natural and organic; coherency is one of its mainstays. Its 5 BA drivers and their passive crossovers create a perfectly unified blend. Although the SA-50 is not neutral, it is linear and balanced. The way it can render sounds with such clarity and detail without ruining the upper midrange or lower treble is another thing I like about this CIEM.

Sources used for testing

• Acoustic Research AR-M20
• ATC HDA-DP20
• PC MusicBee/Tidal (Master) > Topping DX7

Bass
The SA-50's bass is slightly boosted, giving the overall signature its warmth and fullness. The mid and sub-bass are fairly linear, with neither being given preference over the other. While the quantity is ample, it's the quality that gives SA-50's bass life.

It's authoritative; given the right tracks it can come out to play in force but in a way that is considerate of the overall sound. It never becomes overbearing or intrusive but at times has the impact and punch similar to a dynamic driver.

Playing Katatonia's Dead End Kings album with its heavy kick drums you could be forgiven for thinking you were listening to a large dynamic transducer. The sub-bass doesn't have quite the same authority as the mid-bass but it never sounds lacking.

The attack is reasonably fast, as is the decay, so it avoids coming across as lethargic or clumsy. Instead, it's lithe and extremely well-controlled. Sub-bass notes reach deep but the quantity is quite reserved and coupled with the fast decay it maintains that sense of control.

Mids
Fairly neutral and transparent with a hint of extra body, the SA-50's midrange really complements the weight of the bass. Vocals and instruments alike are presented with clarity and layering. With its generously sized soundstage, it adds space in between the elements to give that desired separation.

Electric guitars have a good crunch to them, making albums like It All Starts From Pieces by Distant Dream sound exceptionally good from start to finish. The SA-50 strives for natural tonality, rather than absolute accuracy; the extra body and smooth presentation means it is on the musical side of the scale (just where I like it).

Vocals are presented just slightly forward, with a small increase in the upper midrange. In "ARIEL" from Anathema's Distant Satellites, the haunting vocals at the beginning of the track are reproduced equally as well as the energetic ones towards the end of the track. The SA-50 conveys the raw emotion of the recording and simply draws you in.

A track I often use for testing is "Embers" by Helen Jane Long. The combination of piano, plus the violins and cellos are great for checking tonality and resonance, and here the SA-50 again flexes its muscles. With its mixture of natural tones and touch of warmth, the SA-50 overall has an above average midrange.

Treble
The SA-50 stays true to its linear and accurate presentation in the treble. There's a slight peak in the lower treble at around 6KHz to add some bite and then it's attenuated to keep things on the smooth side. This is followed up by another peak at 11KHz to increase the harmonics.

Just like the rest of the spectrum, the treble is crisp and clear. The definition is very good, as is the extension, lending an airiness that defies its sometimes deceptively relaxed nature. The 11KHz peak though, can at times, sound a little abrasive, for me personally.

Soundstage
Portraying an average width in its presentation, the SA-50 has a well-defined soundstage that finds strength in its depth and imagery. Vocals take up a space that's fairly intimate while instruments are positioned behind and to the sides, adding to the overall dimensions.

Due to the midrange's mostly neutral nature, space between elements is easy to determine. The well-controlled bass also adds to the openness of the SA-50's signature. Positional cues are good, accurately pointing out the location of separate elements. Add to that the peak around 11KHz which adds an additional airiness and you have a very competent soundstage.



Sources & compatibility
Even though the M-Fidelity SA-50 has a fairly low impedance (30 ohms) and high sensitivity (102 dB/mW) I found it needs some solid power behind it to sound its best. While it can be driven easily by my Galaxy Note 5, it lacks some body and definition.

For best results, this CIEM deserves a solid DAP or DAC/amp. While it sounds good with the Topping DX7, I found the treble to be a little on the thin side.

The ATC HDA-DP20 proved to be a really good partner for the SA-50 with a wide soundstage and punchy bass. Transparency and resolution are fantastic. The treble also sounds superb with this combo.

Pairing with the Acoustic Research AR-M20 resulted in a bit more warmth and body overall. The soundstage is wide with good depth. Treble is energetic but smoother than the DX7.

Comparisons
Inearz Audio Fusion ($725 USD)
The Inearz Fusion has six BA driver per side and is characterized by its mid-bass hump and smooth treble. It aims at a more fun and coloured tuning, in contrast to the SA-50s accuracy and linearity.

The Fusion has more body in the sub and mid-bass. Its mid-bass is more hollow sounding in comparison to the SA-50's tighter and more impactful mid-bass. It's the sub-bass where the Fusion excels, having more quantity than the SA-50, but with the same fast decay and control.

In the midrange, the Fusion is more diffuse, which results in less defined imaging and a tendency to sound more congested; not in the sense of a closed-in soundstage but instead, more of the elements melding together into a single mass of sound and lacking separation.

Both have a similar treble, which is closer to neutral and a shade relaxed. This results in a smooth and non-fatiguing experience and one that rewards you for turning up the volume, without fear of it becoming strident. The SA-50, however, is more accurate in its decay and has the greater extension.

Inearz' Fusion has a similarly wide soundstage but can't compete with the SA-50's stronger imaging. It doesn't have the clean slate that the SA-50 presents or the same amount of transparency, although the detail is there.

Custom Art FIBAE 2 ($557 USD)
The FIBAE 2 is a cracker of a CIEM and possibly one of the best value entry-level monitor currently available. With its forward midrange, weighted bass and lively treble it's a real blast to listen to. The FIBAE 2 is more coloured than the SA-50, which has a more linear and mature tuning.

Surprisingly, the 2-driver FIBAE 2 has a hint more oomph in the sub-bass region. It tends to let the bass shake and rumble a bit more where the SA-50 has a faster decay and more control. When it comes to the mid-bass, these 2 monitors are closer in quantity but again the SA-50 keeps a tighter rein on things which keeps the overall presentation sounding cleaner.

The FIBAE 2 has less resolution and layering in the midrange, caused by its more W-shaped signature. Vocals are more forward and have more body which can lessen the definition of some other midrange elements. The SA-50, in contrast, is more linear in its approach allowing those extra details to be heard. Additionally, the SA-50 has more tonal accuracy in the mids while the FIBAE 2 goes for a more "fun" tuning.

Both of these in-ear monitors have great treble. The FIBAE 2's treble, however, is more upfront and energetic. It has an addictive liveliness and sparkle, while the SA-50 has a smoother and more relaxed treble. Once more, the SA-50 is more tonally accurate and controlled with natural sounding harmonics and sheen.



Conclusion
The M-Fidelity SA-50 is a CIEM that sounds impressive from the start but doesn't reveal all its cards on the first listen. Initially, I was struck by its clarity, followed by its meaty, full-bodied but controlled bass. As I continued listening I found that not only is the sound clear, but it's also very resolving, yet still musical.

Thankfully the clarity and detail are not achieved by simply boosting the upper midrange or lower treble and that's one of the things that separates this monitor from some of the more mediocre ones out there. The fact that there's enough warmth to give the midrange body and musicality, yet still have that resolution and balance is a testament to its technical prowess.

M-Fidelity website

*This review was originally posted on my blog at Prime Audio. Drop by anytime to see more like this.