The FiiO M3 sounds great straight from the headphone out. Like most FiiO products may they be DAPs or AMPs, the M3 shares the same house sound. It's slightly warm yet clean and musical. Not necessarily as clear and detailed as the FiiO X3 2nd Gen, but definitely comparable to the next model - X1. The M3 sounds smoother in the highs and has a slight softness in bass texture but it doesn't sacrifice clarity or detail in the midrange. There's also a decent "airiness" in its presentation and that includes good dynamics. As a standalone player, I find the M3 to be more refined and controlled compared to the X1. I remember only using the X1 when paired to a decent amplifier because it just sounded better from the LINE OUT. I don't have the same reservation with the M3. I completely enjoy listening to this little DAP without feeling the need to hook it up to an amp. However, I did try stacking the M3 with the OPPO HA-2. The result may be favourable power-wise, but I prefer the sound coming straight from the M3. I'm not saying the HA-2 sounds worse, there's just no synergy between the two. I can attribute this to the fact that I was double-amping in that exercise. It is still possible that the M3 can benefit from other amplifiers sound wise, but if extra power is not needed, why bother! Adding an amplifier just defeats the purpose of this DAP which is portability. In terms of driving capability, I've tested the M3 with the Sony MH1, Brainwavz R3, T-PEOS Altone 200, VE Monk, FiiO EM3, Inear Stagediver 2, Noble Savant, Brainwavz HM2, Philips Fidelio X2 , VE Asura 2, and VE Zen 2 (320 Ohm). The FiiO M3 handled all of them with ease. My only gripe is the audible hiss when pairing this DAP with sensitive balanced armature IEMs, such as the Noble Savant and Inear Stagediver 2. Other pairings seem to be silent especially with full-sized headphones.
 

 

Compared to the Sandisk Clip+, the M3 can actually stand toe-to-toe and at times out match the Clip+ in some aspects such as sound quality and power. It is when the Clip+ is upgraded with RockBox firmware that the advantage can go either way. It also has the lowest noise floor between the two, making the Clip+ an excellent source for sensitive IEMs. If a fully fledged audiophile dap is preferred, a RockBoxed Clip+ is more capable due to the added customisation features. But if you're a simple individual with simple needs, the FiiO M3 can be a more desirable package. Personally, I like both of them.
 

 

So did FiiO bring us the complete audiophile starter kit? I'd say it's pretty close...
 

The FiiO M3 is an excellent portable music player that I'd be more than happy to use for outdoor activities. With the armband accessory (sold separately) the M3 becomes the perfect companion when you're hiking, jogging or working out in the gym! Sound quality is quite good for a budget DAP, better than most players in the under-$100 price range. The User Interface is not the best but certainly usable and more than enough for a budget DAP - I've seen worse user interfaces from devices five to ten times more expensive than the M3. For serious listeners this DAP may not be for you. If only the M3 features a true LINE OUT, it could've been a serious contender in the budget audiophile category.

 

 

RETAIL PRICE:           US$ 9.99 excl. shipping
DRIVER SPEC:           14.8 mm Dynamic Driver
IMPEDANCE:              47 Ohm
SENSITIVITY:              109dB/mW
FREQ RESPONSE:     20Hz – 22000Hz
TERMINATIONS:         3.5 mm gold plated L-plug
INCLUDED CABLE:    1.2 M cable; in-line microphone and remote
WHERE TO FIND:       FiiO (AliExpress) and (Amazon)
 
 

Disclaimer: This review unit was provided free of charge by FiiO.
 

 

 

 

 
 

 

The EM3 looks pretty much like your usual earbud earphones. The cable has a decent thickness from the 3.5 mm termination all the way to the Y-split. The section there after up to the earbuds may come as a concern for some, especially those who handle their earphones roughly. I've only had the EM3 for a short time, so for now, I can't determine the durability of the cable. Don't get me wrong, the cable seems to be durable but it's only through time that we can truly test its tolerance to wear and tear. The strain relief at the end of the cable is well-implemented but is absent on the Y-split and minimal on the earbud sections. I recommend that a user should provide extra care when handling the cables specifically from the Y-split up to the earbuds. Other than that, the overall build and design of the EM3 is good.
 

 

There is an added feature - the in-line microphone and remote. It's a single button remote with straight-forward functionality; works perfectly for IOS and Android. I did not encounter any issues using the remote for music controls and playback on both platforms. Phone controls works as expected with no noticeable lag. The included mic is decent, not the best in isolating background noise although quite capable in clearly capturing the caller's voice.
 

The sound quality for music playback is surprisingly good! (Please note that I did not use the included foam covers because there's a noticeable effect in the high frequency. I used foam rings instead because they leave the earbud mesh grill uncovered.) The midrange is EM3's best quality, providing full and dynamic sound especially for vocals and string instruments. Imaging is focused more in the middle of the headstage and yet, there's no indication of incoherence or congestion. Treble has smooth texture and quite refined in producing high frequencies. If only there's a bit more energy in the upper treble, this would've been perfect. I guess this is a conscious tuning decision on FiiO's part because the EM3 is never fatiguing to my ears. I can listen to all kinds of genres without worrying about the volume level. The EM3 is not prone to sibilance and as a bonus, there's enough clarity and detail to satisfy even the casual audiophile. Bass has enough accentuation to keep pop listeners engaged. I'm just not sure if it's enough for bassheads who want visceral sub bass rumble and tight mid bass slam. Fortunately, the smooth midrange and treble allow easy listening even at higher volume levels. So if more bass is needed, just increase the volume. Be careful not to go overboard as loud music can cause hearing damage.
 

Comparing the EM3 to Venture Electronics' Monk, the latter has more treble energy so it sounds more airy and expansive. However, the Monk can also be fatiguing when listening to aggressive music genres. The EM3 on the other hand, retains a smoother presentation regardless of the genre. Midrange is quite similar between the two, both providing ample detail and clarity. The Monk has more boost in the lower frequency, enough to keep up with its treble energy. One doesn't necessarily best the other; since both of these earbud earphones are equally capable. It'll all come down to preference. If a neutral and smooth sound signature is on the menu, the EM3 can provide the best result.
 
---thesoundfreq
 

Similar to the Orion review, I'd like to reiterate the importance of ear tips because they substantially affect the overall sound of these IEMs. There are a few key factors in making sure your IEMs perform as they should be. The most notable ones are comfort, seal, insertion and the type of ear tips. In this review I'd like to focus on the type of ear tips. I personally prefer hybrid silicon tips over foam tips. More often than not, silicon tips don't alter the sound dramatically. Foam tips are known to attenuate the lower treble and for that reason, I rarely use them as my go-to tips despite the fact that they're the most comfortable tips ever made. Just like the Orion, I seem to prefer foam tips with the Lyra. Please note that I've paired the Lyra with Comply Tx 400 tips in this review.
 

The Lyra sounds warm and lush with a v-shaped sound signature. Using a Sine Sweep Test, there's an abundance of accentuation in the lower frequency with a laid-back midrange and then another emphasis in the lower treble. Bass texture is a bit rounded, soft with an ever-present deep rumble from the sub bass region. The specification states a frequency response starting from 8Hz! I can definitely tell that there's a lot of sub bass on these, often more than what's expected. Daft Punk's Giorgio by Moroder is a great test track for bass detail, texture and speed. The Lyra was able to provide visceral sub bass presentation. The bass decay times is longer than ideal, so there's less texture in bass guitar notes. The smooth presentation in the lower frequency can sound great with fast-paced beats but can also be the opposite for slow tempo recordings where tightness is essential. Timbre sounds natural and dynamic especially for acoustic strings; quite evident when listening to Adele's rendition of the hit Love Song. There's a lot of weight or energy in the mid bass and can overshadow the lower midrange. This is a bass-head's earphone; a cocktail of visceral and ever present bass enclosed in shiny ceramic shells.
 

 

Important thing to take note of, the Lyra's bass responds well to added power. Test track I used to determine this is Avicii's Lay Me Down. In my experience, setting the OPPO HA-2 on high gain brings more control to Lyra's bass. Decay is noticeably faster and the response is a bit tighter. These improvements are indeed audible but the overall presentation in the lower frequency is still the same. Comparing the bass response to the FLC 8S, the Lyra trails a bit in terms of speed, texture and detail. I believe that given the right genre or recording, the Lyra can provide good bass response. It's when a modern pop song is mixed with an inclination for more bass, the Lyra doesn't agree too well.
 

Vocals take a back seat in relation to the lower and higher frequencies but the Lyra is able to project enough detail and clarity in the midrange. Female voices are slightly more emphasised than male vocals. Height and depth in vocal projection is spacious but the soundstage width is the limiting factor in making the overall presentation grander in scale. Tonality is smooth in general but there's an added edge in the upper midrange to keep things exciting and fun. These characteristics in the midrange are evident through the various instruments in Avicii's Heart Upon My Sleeve. Overdriven guitar riffs in Megadeth's Head Crusher sounds thicker than usual - this however is caused by the bass emphasis bleeding into the lower midrange. On cleaner tracks such as Bukowina by Anna Maria Jopek, the instruments in the lower midrange are projected in great detail and lushness.
 

Treble response is most likely the Lyra's best trait, comparatively just as good, if not better than the IEM hybrid FLC 8S. It's got more than enough clarity and detail in the lower treble to match with the boosted lower frequency. As a result, the Lyra doesn't sound too dark at all. As a matter of fact, there's great balance between bass and treble. Using foam tips is what I recommend after using the test track from Easy Lover from Phil Collins. There's a succession of cymbal crashes in the intro and the transition between the midrange and treble is seamless. This is why the Comply Tx 400 tips becomes significant - they attenuate just the right amount of treble energy. Cymbals' timbre sound natural with satisfying spark and shimmer. There's also enough air in the upper treble, good enough to prevent congestion in the overall presentation.
 

Although not quite as sensitive as the Orion, I still find the Lyra sensitive enough to be driven easily. However, I still recommend to pair the Lyra with powerful sources because of the substantial improvement in the bass response. Fortunately, these IEMs aren't sensitive enough to easily hiss, so pairing with an amplifier like the OPPO HA-2 won't pose a problem. The Lyra is a decent bass-head's IEM that can provide a fun experience. The synergy with different genres can be a challenge to attain; but when the right track is chosen, the Lyra sounds sublime.
 

 

The Lyra sports tuned ports which may be responsible for the overall transient response. I believe these ports hold the key to further tuning improvements specifically in its bass response. In my experience, the Lyra sounds best in outdoor settings or not-so-quiet environments. The reason being, the said scenarios can reduce the perceived bass quantity. This is purely my preference, if this is the intended use for the Lyra then I can truly understand the inspiration in its tuning. Please note that the tuned ports are positioned facing forwards. The location of the ports can make wind noise more audible than ideal, so just a point of caution when using the Lyra outdoors.
 

This is the second entry from Campfire Audio's line-up of In-ear Monitors. As a new entrant in the IEM market, they are definitely heading in the right direction. The Lyra is built from premium materials, designed to be functional and performs as advertised. These can be a bass-head's IEMs if one prefers a smooth and laid-back sound. Surprisingly, they're quite fun to listen to! I'm really looking forward to review Campfire Audio's third model - the Jupiter. Quite curious on what sets them apart from the Orion and Lyra.
 
 

For the purpose of this review, I will be using the recommended default combination. This can serve as a reference for FLC 8S users; and by using the description of the tuning accessories above, one can estimate the effect of interchanging specific tuning plugs or nozzle filters. The sound presentation for the default combination is the most “balanced” when compared to the other combos. The Gray ULF and LF plugs’ effect is a slight accentuation in bass. The Gunmetal MF/HF catheter or nozzle filters effect on tuning is a neutral midrange with a smooth upper midrange; while the treble has a slight emphasis that projects more energy and extension.

Most people seek a great bass response before anything else in the frequency spectrum. The same holds true for Hybrid IEM fans, the bass performance holds a massive influence on the buyer’s decision. Fortunately, the FLC 8S holds its own when it comes to bass control, texture, and layering. The test track used for this section was Giorgio By Moroder by Daft Punk. The details come through clearly with every bass guitar line and drum beat. Sub bass rumble is sufficiently felt. Timbre is quite organic and natural sounding, so differentiating various instruments is not a hard task with this IEM. The transition from bass to midrange is seamless, another testimony on the FLC 8S’ competence in keeping the midrange clear of bass bleed. While not the best in the market, the FLC 8S is competitive enough in its price range. Since this is a review, I’m going to nit pick and determine key areas for improvement. The bass decay times seem a tad bit slower than other high end IEMs. Bass tightness could also be improved to uplift its sense of urgency. Really minor nit picks but these shortcomings are noticeable when listening to fast bass lines or drum blasts. Pantera’s Domination from their debut album is an excellent track to demonstrate bass speed or decay times.

Midrange is akin to the meat in a burger. It’s the main focus of the entire experience and the FLC 8S is as tasty as good burgers can get. Instruments and vocals sound naturally life-like. What impresses me is its ability to smoothen the upper midrange to relieve poorly mixed tracks of potential harshness. Sia’s all-time famous Chandelier is a track I use to test upper midrange control. Too much boost in this area and it’ll sound harsh, edgy and fatiguing. The FLC 8S manages to keep a more pleasing presentation, devoid of potential harshness. On the other hand, clean sounding tracks with piano or female vocals as a centrepiece might leave you wanting for more presence. Jewel’s rendition of the classic – Somewhere Over The Rainbow, presents an intimate vocal performance but clarity and definition seem to take a back seat when listening through the FLC 8S. Not quite noticeable but something to take note of if you’re a critical listener. Overall midrange balance is good and quite enjoyable for most modern music.

I prefer the treble response to have ample energy, airiness and extension. Well, I’m happy to report that the FLC 8S passes with flying colours although with a caveat. There’s a slight over-emphasis in the treble response making the presentation a bit brighter than intended. Scratchiness and sibilance can be an issue at high listening volumes or brightly mixed recordings. Take Daft Punk’s Random Access Memories as an example. The entire album was intricately mixed and mastered that sibilance is non-existent even on the FLC 8S. Put in some early 90’s rock tracks and you’ll immediately hear the exaggerated SSS’s and cymbal crashes. As long as you’re particular with song selection and stick with quality recordings, the FLC 8S will continue to impress.

Overall sound presentation from the FLC 8S is effortlessly grand in scale; more on the width of the soundstage rather than depth. Spacing between instruments or musical cues is above average, better than most IEMs in this price range that I’ve tried. Imaging could’ve been better if there was more depth but at least it’s good enough to maintain a cohesive presentation. The recommended default configuration has a nice, balanced sound signature. The low end frequency response is slightly on the warmer side of neutral. The mild accentuation in the treble region complements the low end warmth and helps maintain the overall balance. Listening to Seductive Souls – How It Feels, was quite a euphonic experience.

The FLC 8S is a well featured high end hybrid IEM, thanks to its tuning capability. I don’t expect anyone with the FLC 8S to be changing combinations regularly, but it’s a good option to have when you feel the need. I would recommend the FLC 8S to those who are planning to upgrade from a beginner’s setup but unsure of their sound preference. Having the option to customise the sound to your liking is the safest way to avoid regrets in portable audio purchases. It is also a great solution for people who have hearing loss or sensitivity in specific areas of the frequency response. The FLC 8S is flexible enough to attenuate or accentuate certain frequencies that can help improve the user's listening experience. So it is important to try all the tuning combinations to find the sound variation that's perfect for you. I surely hope that FLC Technology will continue to innovate and produce wonderful products. They are already on the right track with the FLC 8S and a few more minor tweaks to the sound will move this product forward to top-of-the-line status.

NOTE: The ratings meter above is inaccurate. It should be:

Based on what I can remember from all my experiences with IEMs, the Orion is one of the most "reference" sounding of the bunch. The popular Etymotic ER4s is the standard bearer of "reference" for most audiophiles and yet, I don't have a problem putting the Orion next to them. I had the pleasure of borrowing the ER4s from uncle H20 and used them for a good few weeks. Based on my memory of that experience, the Orion is more linear in bass response, equally if not better in the midrange, while the ER4s extends better in the highs. Altogether, I feel the Orion can pose as a serious competitor in the "reference" class of IEMs. This is only my humble opinion and have no objective data to support this claim. So please take this with a grain of salt.

I'm not saying the Orion is the perfect reference IEM. It does deviate a bit by slightly accentuating the lower treble and then rolling off much earlier than it should. As a result a cymbal's timbre is ever so slightly thinner than normal. I've tested this using the track from Phil Collins - Easy Lover, the intro is a succession of cymbal crashes and the Orion (with silicon tips) didn't sound as natural as the ER4s in this scenario. This is where the Comply Tx 400 becomes significant because it successfully tamed the lower treble emphasis by a considerable margin. Thus, a cymbal's timbre sounded nearly as natural as the ER4s. I also mentioned the upper treble roll off and yes, airiness and soundstage take a slight hit. Noticeable when listening to well master complex track like Sultans of Swing by the Dire Straits. Other than that, the rest of the frequency bandwidth is spot on - "reference".

Midrange is where the unexpected magic happens. Unlike most single-BA IEMs I've tried, vocals on the Orion has a powerful presence. Intricate details from the singer's voice and breathing are equally projected in terms of depth. Tonality is spot on, producing excellent impressions on various instruments like the cello, acoustic guitar, piano, and alike. Avicii's Heart Upon My Sleeve is an instrumental and the Orion demonstrates its prowess in producing the right tonality, imaging, and depth between the various instruments. However, one must take notice of volume level with the Orion; the exceptional clarity and detail in the upper midrange can be quite fatiguing with aggressive music such as Nirvana's Lithium. Quite a transparent IEM overall, worthy of the title "reference" in my books.

The Orion is a very sensitive IEM, so choosing the right source is important. The iPod touch 5th Gen can easily drive this IEM. I can't even get passed 40% volume because it's too bloody loud!  The pairing is almost dead silent with minute audible background noises. However, the opposite holds true when paired with the OPPO HA-2 DAC/AMP. The Orion hisses substantially on the HA-2 and it's unfortunate because there is a noticeable improvement in bass texture and speed. The Orion's is a great performer for the most part. It is even good at imaging - placing instrumental cues on the right spots, but the spacing is a little bit narrow. Possibly caused by the early roll off in the upper treble. Fortunately, it doesn't sound congested in most of the tracks I've tested. An improvement on airiness and soundstage width are potential benefits should the Orion be tweaked to reverse the treble roll off. Once realised, that simple tweak can bring the Orion a lot closer to perfection.

Considering this is Campfire Audio's first attempt at building In-ear Monitors, I am quite impressed with what they have achieved. Seldom have I encountered an emerging manufacturer do so well on their first try, but Campfire Audio has exceeded my expectations. The Orion is the first to arrive at my review table and right off the bat it has gained my respect. This is a "reference" sounding IEM perfect for critical listeners who don't want a coloured sound signature. If you're after a neutral yet musical sound experience, the Orion may not be for you unless you are willing to toggle that bass boost on your DAP or AMP. I've tested the Orion's tolerance to bass boost and it can definitely handle the accentuation with no audible distortion. Comparing the Orion to one of my favourite single balanced armature IEMs - Final Audio Design Heaven V, I find the Orion better at bass control, detail, and layering. Overall, the Orion has better clarity and more natural tonality while the Heaven V is warmer and laid back in comparison. I can't wait for the next Campfire Audio IEM to hit my desk. It'll be interesting to see the contrasting difference between the three siblings.

 

 

The BLU-100 is a bluetooth headset and I will rate it based on my needs/uses from these types of earphones. The build quality is impressive just like any other Brainwavz product I've used. The cable connecting the two earphones is light, supple, and durable; perfect for the active lifestyle. I'm not saying its perfect because like any other product, there is always room for improvement. When not in use, one can conveniently hang the earphones around the neck. Unfortunately the weight of the in-line mic/remote causes imbalance and so the right earpiece always hangs lower than the left earpiece. Honestly it's not a serious problem but the OCD in me just bothers me to no end. This can be a easily improved hopefully in the next BLU model.

 

The earphones are quite big and I understand this is inevitable because they need to fit a few added goodies comprising a bluetooth headset (drivers, bluetooth, micro usb port, battery). Inspite the size, they fit my ears comfortably and are surprisingly light! The barrel design IEMs were able to stay snug and secure in my tiny ears, another plus that I didn't expect from these types of earphones. Physical activities such as running, exercises, walks, and other day-to-day duties were no hindrance to music enjoyment that the BLU-100 delivers. There's a mild cable noise when running but that's about it. Wind noise can be an issue but it didn't annoy me much as long as I kept a perfect seal and set the volume at reasonably loud levels.

 

Bluetooth connection between devices worked as expected. I didn't have any pairing issues with the Sony Xperia Z3 Compact and iPhone 5s. As for the stability of the connection, it's been pretty solid 90% of the time. Just like any other small bluetooth devices, there are intermittent interferences depending on your environment and/or situation. I didn't find any serious connection issues that could affect my rating for this bluetooth headset. It definitely worked as expected and for that I'm thankful. I spent 5 hours at IKEA with the BLU-100 and rarely did I get interference. Music through Spotify sounded great! My only gripe is the maximum distance required to keep a stable connection - not as good as the specifications of 10 meters. Real world applications at least in my experience was limited to 3-5 meters, again depending on the environment/situation. Otherwise, keeping the phone/source in my pocket is the ideal scenario for the BLU-100.

 

Phone call controls and mic are well implemented and I found them easy to use. Testing a phone call, voices are clear and quite loud. The person I talked to also confirmed that he can hear me clearly which is really good. There are added features as well such as multiple pairing, voice dial, and last number dial. As for Music controls, they are a breeze to use; well implemented for both Android and IOS phones.

 

Battery duration is well above specifications (4 hrs); a couple of tests I ran reached durations of 4 hours 37 mins and 4 hours 25 mins. This is good as per declared specification but I'd be lying if I said it's enough for travelling. It's definitely enough for day-to-day use but if long travel is the itinerary, make sure to bring a battery pack.

 

 

 

 

 

 

The SOUND SIGNATURE of the BLU-100 is ideal for outdoor usage, bassy with great mids and smooth highs. Not necessarily the best but definitely a lot better than most IEMs in the $100 price range that I’ve heard. That even includes non-bluetooth IEMs!

BASS has good slam and impact but can be a bit too emphasised in the mid-bass region for some genres such as rock. There’s a significant boost in the entire bass frequency which I feel is ideal when you're out in a noisy environment. Fortunately, it seldom bleeds too much in the mids and mostly just enough to be negligible when you're out and about. At certain times the bass texture is a bit thick which really benefits most popular music nowadays. Bass quality is actually good enough for the intended purpose of this headset. When you're out doing physical activities, accuracy is not the priority. Music enjoyment to set the mood is ideal and the BLU-100 has the bass kicks to keep you engaged to whatever music you listen to as long as it's not classical music. Decay/speed, detail, and texture are good enough; even better than the S5 if memory serves me right. As a result, other genres such as RnB, Hip-hop, Pop, and Ballads are excellent on the BLU-100.

MIDRANGE is impressive with its clear and detailed presentation which I really appreciate considering the price. Vocals are upfront for both male and female singers; projecting the right emotion when listening to the songs. Guitar sounds natural and edgy… thanks to the slight emphasis in the upper midrange. Clarity is again worth mentioning because it is quite capable for a $100 IEM intended for on-the-go usage. 

TREBLE is quite smooth with this bluetooth headset, this is achieved when using wide bore tips such as the Dunu 1000 silicone tips. Lower treble is quite detailed and transparent which is good for synthesizers in electronic music. There’s a recession in the upper treble which smoothens the entire presentation. This allows loud volume listening because there is no sibilance and it's not fatiguing. Unfortunately, this is not good for serious listening because it lacks the required airy presentation. Despite this limitation, I truly feel the smooth treble tuning was intended to allow listening at higher volumes in noisy environments. Please make sure that you're in a safe environment when doing this because you have to be aware of your surroundings if situated in busy environments where there are vehicles or other potential hazards.

IMAGING AND SOUNDSTAGE: Soundstage width is only average but the presentation is not congested because of the well tuned midrange. It is a bit intimate in its overall projection but good imaging and instrument separation contribute in its cohesiveness. 

 

 
 
 
CONCLUSION: The BLU-100 is a capable bluetooth headset that is affordable and easy to use. It provides convenience to people who are active and in need of a companion that can deliver good quality music and effective handsfree phone controls. I could've given it 4.5 stars if not for the inconsistency in the maximum distance of its bluetooth connectivity. Other than that, truly an excellent entry for Brainwavz in the bluetooth headset category. Highly Recommended!
 
Special thanks to Brainwavz for the BLU-100 review unit.

              System of a Down - B.Y.O.B

              Anna Maria Jopek - Bukowina

              Sam Smith - Not In That Way

 
 

 
 

BASS: I'm a huge fan of T-PEOS bass tuning and the Altone 350 does not disappoint. It has good texture and detail without lingering too long in its decay. Slam and punch is a bit harder than the Altone 200, and the sub-bass more so. It is definitely more than capable in providing fun and excitement whether I listen to EDM or Metal. Overall, I'm quite happy with the Altone 350's bass performance. My only reservation is the fact that the previous flagship H300 still stands as the best bass performer in the entire T-PEOS line-up. The Altone 350 is just a little bit behind in detail, texture, speed, and most of all in quantity. I can understand if bass heads would prefer the previous flagship over this newcomer. Please note that this observation was attained by pairing the Altone 350 with the JDS Labs C5D dac/amp; I find the Altone 350 bass performance highly dependent on power. When paired directly to an iPod, iPhone, or even the FiiO X3 2nd Gen the bass seems to lag behind the findings above most especially in speed and detail. So I highly recommend the use of an amp or a powerful DAP to reach the Altone 350's full potential.

 

 

MIDS: I really like how the midrange is presented with the Altone 350; it may sit a bit lower than bass and treble frequencies but the detail and clarity is retained no matter what genre I listen to. I'm happy to report it doesn't sound veiled nor muddy. Vocals are presented very well, quite accurate and detailed. Most instruments including the Piano sounds natural with excellent timbre. Overall, the midrange presence is quite good thanks to its excellent imaging and instrument separation. The H200 was more upfront for female vocals and guitars which made it sound more edgy in general. Personally, I'd prefer the H200 for guitar driven songs but I'm more happy with the Altone 350's for multi-genre listening.

 

 

HIGHS: I am quite surprised to hear a smoother treble presentation on the Altone 350. Looking at the frequency graph I initially thought this was going to be more sibilant than the H200 but using the right tips (jvc spiral-dot or comply foam) rewards you with the best treble tuning T-PEOS has ever done. It sits just along the thin line between sibilance and smooth treble. So in most cases, treble quality will highly depend on how the music was originally mixed/mastered. Well mastered recordings sound excellent on the Altone 350. If I were to nit-pick, I'd say the Altone 350's timbre in the treble region is a bit off. The Cymbals do sound thinner and lacks the natural ringing or china timbre. Also I personally think that it lacks just a bit of air although it's not really bad for most genres. This affects the soundstage width a bit; not as wide as H300 but definitely on par with the H200.

 

 

 
 
 
CONCLUSION: The Altone 350 reminds me more of the H200 than H300... the H300 to me had more sub bass rumble, slam and punch, the mids is excellent for female vocals, unfortunately the treble was just too hot. From memory, the H300 is still the best T-PEOS IEM in bass performance: excellent depth due to layering and texture plus control is great for a bass heavy tuning. Overall, I would describe the Altone 350 sound as a warmer, smoother, refined H200 tuning... not bad at all. H200 was on the analytical side; the Altone 350 is on the musical side.
 
I remember stating in my T-PEOS H-300 review: "It could’ve been one of THE BEST out there if not for the peaky treble. T-PEOS is getting there and hopefully will close the gap to perfection when they release their next flagship: H-400 maybe? For now I’m happy with the H300 but not rejoicing... not just yet." Well, since this is not the H-400, I can let the Altone 350 go for not being one of the best out there. Let's hope there's a H-400 in the near future with the tuning and performance we've all been waiting for.