I grabbed these as a lightly used demo unit for sale on Amazon. Total steal for $110, but I would've paid $150 for them.
 
I was looking for an upgrade to my SE215, and these are it. The bass is tighter and has better control, the midrange and treble are more detailed, and it doesn't get over-warm like the SE215. I actually prefer it to the SM3 personally; while its a hair behind in detail and the bass isn't quite as satisfyingly tight, it's about 95% the same sound, and doesn't get overly intimate or "weird" sounding like the SM3 did; I swear I spent so much time switching the cables around on my SM3, reading up on polarity, etc. because it just sounded WEIRD! Something about the presentation was just off. Anyhow, the SM2 doesn't do that, and although it might be just a touch behind in terms of detail and bass depth/control, overall I am fine with the sacrifice because it is much easier to listen to and sounds more realistic in general. I am really enjoying them. I find the SM2 to be a nice balance between the UM3X and SM3, although not as detailed as either: it is balanced, neutral, and easy to listen to like the UM3X, though not built nearly as well, and more spacious sounding like the SM3, though it is generally still intimate-sounding
 
Unfortunately the build quality is garbage, just like the SM3. Same uber-cheap dollar-store-toy plastic with shoddy construction; they make a weird "sproing" noise any time something taps them or when I take them in and out. It's really odd because the left side makes a lower/deeper "sproing" than the right side. So sketchy. Really wish they would just source parts from Westone or Shure and be done with it; they already good sound, and I'm sure if they switched to the new Shure-style coaxial connectors and used sturdier materials, they would rise in the market very quickly. But, having climbed their customer service ladder and spoken with someone with "director" in his title, I feel pretty certain this will never happen, because he was nothing but dismissive when I very politely brought the quality of their construction under the microscope. It's a real shame, because the sound is solid for the price.
 
Overall I am happy with them at $110, and would have grudgingly shelled out $150 or so, knowing now how they sound. I'd still prefer Westone build quality, but for $110, given the sound quality, it's acceptable.

I've been listening to a sample unit of HRT's new flagship DAC, the Music Streamer HD, for about a month now, and have been comparing it pretty extensively to the microStreamer. I began my demo by listening to the HD as soon as I got it, and I loved the sound right off the bat, but unfortunately I had a few things come up in my life and didn’t get to use the HD much in the following weeks due to travel and general lack of time. I kept using the microStreamer, as it is literally attached to my laptop, and used it for essentially all of my listening over the next 2 weeks.
 
I noticed something, though, about the uS that I had not felt before: it seemed to be lacking a bit of bass, and wasn’t as dynamic as I felt like I was used to. At first I thought it was because I was using it unamped, mostly with my HD650s, but even with the punch and body added with my Asgard, I caught myself cranking the volume knob and fiddling with EQ to get a bit of extra something. After two weeks of wondering what was wrong, life cooled down, and I was able to use the HD again. Presto! Everything I felt like I had been missing from the micro was there.
 
So, in a breath, if you have the microStreamer, and feel that it is lacking in body and dynamics, get the MS HD! Review over, right?
 
Realistically, the two have noticeably different flavors, and are definitely worth an in-depth comparison. The microStreamer is a ridiculous value at $180, but the MS HD offers more features and definitely takes the sound up a notch in more than one way. However the two are close enough in terms of overall SQ that I think a comparison is warranted to justify the differences, and help others decide which one is best for them.
 
My general listening configurations that I'll be comparing in this review are as follows:
 
Source material: foobar2000 with WASAPI event output, all FLAC files @800kbps+, 16/44.1k or better.
 
Setups:
 
foobar -> microStreamer -> HD650 / DT770 LE
foobar -> microStreamer -> Schiit Asgard I -> HD650 / DT770 LE
foobar -> Music Streamer HD -. Schiit Asgard I -> HD650 / DT770 LE
 
The uS:
 

 
The HD: 
 

 
My rig!
 

 
 
Tracks:
 
Tool - Ænema
Steppenwolf - Magic Carpet Ride
Rush - Spirit of the Radio
Amon Tobin - Horsefish
Akara - The Crystal Palace
 
Note: Unless otherwise noted, most impressions are made with the HD650; I mostly limited my use of the Beyers to electronic music for this comparison, as I felt they couldn’t quite keep up with the soundstage and general sophistication that both devices are capable of delivering well enough to aid in this kind of comparison for music that is actually recorded as opposed to produced by computer.
 
 
Tool - Ænema
 
The uS does a great job here. Tool’s music is just as dark as the HD650, with lots of up-front basslines and double bass overlapping, and vocals that almost fade into the background only to come right to the forefront of the song. The uS does this capably, rendering Maynard’s voice clearly in at least three consistently presented depths and everywhere in between, bringing it in front of all that bass and then letting it fade into the background as needed. Again I don’t find the bass quite deep enough to be really satisfying, but it does a very acceptable job, and definitely doesn’t muddy anything up. The extra bit of treble sparkle the uS boasts is really welcome here; high-hats show some distance and keep the track from sounding congested, which I would say is generally an issue with this recording that the uS helps alleviate.
 
The HD definitely adds a bit of crunch to the guitars, and makes the bass pop a bit more with added depth and tightness compared to the uS. The overall tone is darker, which actually makes some of the bass guitar sound a smidge muddier than the uS, but vocal dynamism is on a different level, with a more intimate sound when necessary and generally more present mids. If I had to compare the differences between the two, I would say it’s like switching between an Ety HF5 (uS) and the Earsonics SM3 (HD): there is no huge gap in the level of details, maybe a 9 vs 9.5 out of 10, but the spacial realism, low-end extension, and midrange weight of the HD really combine to give a much more realistic and present sound that really has to be heard to be fully understood. The HD definitely gives noticeably more presence to the sound here, most notably in the guitars and vocals.
 
Steppenwolf - Magic Carpet Ride
 
A really funky, toe-tapping track here, and the uS does it justice. The sound is very analog and fun, giving John Kay’s voice real grit and texture, bringing drums and guitar front-and-center, leaving the Hammond organ clear and appropriately distant. The cymbal is nice and clear, with a fun shimmer. Separation and placement are really well-showcased here compared to Tool, which I feel is recorded more intimately: every instrument has its own distinct place, vocals are forward without being intimate, and nothing overlaps.
 
The HD once again improves on bass depth and gives a warmer, even more analog sound. Midrange tonality is more natural, giving the cymbal a more brassy, less artificially shimmery sound; maybe not as fun sounding, but definitely less colored and more accurate. Those plucked guitar notes towards the end of the bridge REALLY pop and have a much more real feeling to them, almost like bassy water drops. The Hammond organ has a bit more air and presence; it was perhaps a little recessed on the uS in retrospect, because it feels livelier here. Midrange presence and weight is the biggest overall improvement with this track, and while the vocals are not any more impressive technically speaking, as with Tool they feel more forwards and more present, helping to remedy a bit of the HD650's tendency to sound distant.

 
Rush - Spirit of the Radio
 
The HD...wow. Everything sounds so live. I can really tell what a great recording this is coming through the HD; the uS does it justice, sure, but the HD makes it feel almost live in comparison. The guitar caught me up right off the bat and when the transition comes at 0:34, the HD650 just takes off. That extra smidge of bass depth vs. the uS, along with the more sophisticated presentation and more accurate imagery, really bring a good recording to life. The chimes don’t just shimmer; they have an impact and weight of their own. With the uS, I never forget that I am wearing headphones, and I am never tempted to compare the sound to live sound or speakers subconsiously; the HD makes me do all of these. The decay and crunch on guitars is really great, the best I’ve heard out of my HD650 yet: it can make guitars and vocals feel real without making them overly intimate or detracting from the rest of the instruments or overall presentation.
 
I have one major problem with this combo: it gets close enough to making me forget that I’m wearing headphones to make me wish I was at the show.
 
The uS, by comparison, adds a bit of treble energy, which gives the track a nice open feel at first impression, but on closer inspection, as I’ve come to expect, the soundstage depth and dynamics fall short of the HD. Guitars have a little more energy, but also sound slightly hollow coming from the HD and just aren’t as forward; the emphasis here is definitely on the vocals. The bass still punches nicely, but bass guitar lacks the extra bit of body that made them so real, and drums don’t have the same immediacy. Chimes sound nice with added sparkle, but don’t have the same realism and weight as the HD. The transitions at 3:35 and 3:48 feel noticeably less dynamic, with less power in the tom strikes, and the “concert hall” has a bit more air to it, with more zing to the whistle and slightly crisper claps, but also feels flatter and doesn’t sound as truly convincing, an almost more electronic sound compared to the real analog feel of the HD.
 
I chose this track to throw in a comparison using the amped headphone-out of the microStreamer, since I felt like it was the track that most obviously showcased the difference between the two as sources, just to see how close the uS got on its own to a hifi-worthy setup.
 
I have to say, it holds its ground. There is nothing wrong with the sound from the hp-out, it stills drives the HD650 adequately to give them their signature presentation. Seperation is still great, and of the details are there.I would say the differences vs. the amped HD are essentially the same as the amped uS, but to a greater extent. Let me be clear, there is nothing wrong with the way it sounds: there is still great detail, very minimal distortion, and a respectably black background. But the treble has a bit more tiz, to the point where it stands out to my ears and detracts slightly from realism. Vocals are a little lackluster after the HD, still detailed but without the weight, immediacy and texture that give the HD its realism. The Asgard helps, more than anything, with the bass impact delivered by the uS, which, for my tastes, is a bit light without the full-sized amp; bass guitar lacks the same pluck and twang, and drums sound a little shy. Dynamics are also slightly lacking; it hardly sounds compressed, but layers just aren’t as distinct and there isn’t the same amount of open space to the sound. That said, considering it’s about the size of 10 sticks of gum stacked on each other vs. the hardback-novel-sized Asgard, this little guy does its job, and I think it definitely takes an obsessive ear to really isolate the differences.
 
Amon Tobin - Horsefish
 
The HD's bass response is tactile and supple, with an almost elastic quality in responding to and isolating more delicate notes. The brief background vocal near the beginning is fully out of head, and the treble renders the harp strings with incredible delicacy that is smooth, immediate, and yet without sibilance on both my DT770 LEs and HD650s. Dynamics with the HD650 are exceptional, clearly spacing vocals, synthesized tones, and instruments, and making intimacy very, very apparent in contrast to more distant sounds, lending a much more immediate texture to close sounds, while presenting distant cues in a smoother fashion; it's a pretty shockingly realistic effect. DT770s bring out the power of the HD’s bass, which is really impressive with some of AT’s rumbling tones, and while the sound is a bit echo-y for this track, the dynamism of this combo really shows off the track’s quality production.
 
The microStreamer's sound with this track is more delicate; the uS has more treble energy than the HD, which gives things a tiny bit of zing, even with the HD650s. This is actually one of my favorite aspects of the uS when paired with my HD650: even with a darker headphone, the uS's energy shines through when it needs to. The uS does not present intimacy with quite the same presence and realism; this is where the HD really earns its price, IMO. The uS is no slouch though; when guitars enter the mix, there is still very distinct spacing and separation, but not to the same degree; the midrange clarity also isn't on par with the HD, and the bass doesn't have quite the same supple feel. Liquid sounds later in the track just don't have quite the same realism; the treble colors the midrange just a smidge with the uS, which is really nice for the HD650s in general, but does take away from the true realism and immediacy offered by the HD. The uS performs really well on this track, but I can't quite FEEL the sound the same way I can with the HD.

 
Akara - The Crystal Palace
 
The microStreamer performs well here: it keeps the strings well-spaced, gives plenty of air to the woodwinds, and gives a nice full-body feeling with the HD650. Overall the sound is very liquid and vivid, words I would generally use to describe the combination which, if you hadn’t deduced it on your own, I will confess that I quite like The character of this track is best described as laid back, slightly euphoric, and seductive. The only complaint I have is that the bass isn't extremely tight and sounds a bit wooly. This (minor) problem persists with my DT770, although it is more boomy than wooly. Vocals are present but clearly not in the front seat compared to instruments and bass, which is not surprising given the DT770’s laid-back mids. The sound is a tad cold after the HD650, but I know some will prefer the added clarity and treble energy; lovers of a good zing will really enjoy the uS paired with the DT770, with or without an amp. I use the unamped combo for gaming, and it’s really a lot of fun.
 
With the HD feeding the HD650s, the sound really comes to life. Again there is much more fullness and immediacy to the vocals and synthesized tones, and the whole sound is more forward than the uS, without losing any soundstage depth. While the uS may actually have the edge on width with this combo, the HD’s soundstage is noticeably more coherent, with less “empty” space, and positioning is improved. Switching to the DT770, the woodwinds are given surprising weightiness; they still get overshadowed by strings in some places, which I attribute to the DT770’s scooped midrange, but all things considered the mids don’t really lose out much here thanks to great separation and a bit of extra warmth. Vocals are very nice, almost intimate and able to portray surprising delicacy, which is an impressive feat for the DT770.


 
When I started here at Head-Fi, my source was probably the last thing I thought or cared about when it comes to getting good sound. I owned mutiple $300+ IEMs and a few nice cans, and used them with half-decent portable sources and a FiiO E11 for two years before I stepped into a better source and started noticing the real difference it makes; upgrading my source from phones to external USB DACs was the step that prompted me to look seriously into open headphones. I have come to see that, when it comes to absolute sound quality and the ability to reproduce details and spacial presentation, a source is just as important as headphones and, contrary to what seems to be the most popular approach given what generates the most talk here on Head-Fi, seems to have more overall impact on sound than amps; after all, amps don't really interpret or reproduce the sound on either end, and ultimately their purpose is to give juice to headphones and stay out of the way as much as possible. If we’re honest from a technical perspective, an amp that affects the sound fed from a DAC can really only do so in a negative way.
 
I really enjoy my microStreamer. It’s the first DAC that makes me feel like I’ve stepped into true reference sound with my full-sized cans, and has enough juice to make my HD650 sound great even without an amp. It has a fun, energetic, and realistic sound that I view as a very worthy companion to my Senns and DT770s
 
But the MS HD is definitely another level that I had not experienced yet. The laws of diminishing returns are apparent: the HD improves on my uS about as much as the uS improved on my $45 HiFiMeDIY Sabre DAC, maybe a bit more. So is it worth it? Well, it’s not 4x the price of the uS like the uS was vs. the Sabre DAC, so that’s a start. If you can afford it, and you have cans that are good enough to show the difference, I think the MS HD is absolutely worth the asking price. I’ve given a few movies a run with the HD, and I have to say, I noticed even more improvement over the uS with film scores and live-action sound than with regular old music; the soundstage is really well-showcased in action movies like the one I watched (Tomorrow Never Dies, one of my favorite Bond movies...yeah yeah I know, Brosnan isn’t as good an actor as the others, but the guy has a modern sleezy cool that Moore and Connery can’t touch). Unfortunately I don’t have the kit to take advantage of the HD’s balanced outputs, but I can only imagine that using them would take its sound to yet another level.
 
So, if you have the other equipment to support it, the MS HD is definitely a great buy. It is a true hi-fi source that has made me reassess what my HD650s are capable of. I still think the microStreamer is a better value at less than half the price, maybe the best standalone solution out there for getting a serious improvement over onboard sound cards, but those who can afford the HD will definitely get a noticeable upgrade from the uS.
 
Thanks again to HRT for the extended loan!

These were my favorite sounding universal IEMs, and my praise for their sound can be read throughout the most recent iteration of the SM3 appreciation thread, but I feel a strong need to let people know about the durability issues with Earsonics products, and the company's treatment of customers as a whole.
 
My first pair of SM3 V2s lasted about 3 months before half of the right shell came off while walking down the sidewalk. I pinched the IEM gently by the shell to pull it out of my ear, and it just came straight apart. I got in touch with Earsonics customer service, and shipped them to France for about $60 with the assurance that they would be repaired at no additional cost to me. The repair took about 3 weeks, and it was over a month before I had my SM3 back in hand, only to have them fall apart in exactly the same fashion the first time I used them. I sent them back again, and had to pay repair costs this time, because Earsonics decided it was my fault, despite being within the warranty period. Again I was patient for a month, and got them back, only to have them fall apart a THIRD time. This time I demanded a full replacement; I had to climb to the top of their sales ladder before Max, their manager, gave me a replacement, along with self-righteous admonishment that I would not receive such treatment in the future. I sold my replacement, still sealed in plastic, but the Head-Fier I sold my pair to had build issues within a few weeks of purchasing them from me, and was denied ANY kind of service despite being well within the warranty period; I had to email Max again and threaten to do exactly what I am doing at this moment in order to get my buyer a replacement. 
 
I tried other universals, but unfortunately I was addicted to the SM3s sound, so I eventually sold off my other IEMs and repurchased the SM3. Fast forward a year of using them as sparsely as possible, and almost exclusively at home to avoid any issues, and despite my highest efforts, they fell apart a FOURTH time. And then I was done.
 
If you own the SM3, just look at them, touch them, and if you forget for a moment that you paid $350 or more for this product, you will see that they are made out of the same kind of plastic as those cheap toys you get from the little machines you put a quarter in and turn the knob. iBuds and Skullcandies are made from more durable material, and, in my experience, hold up much better.
 
For those looking for alternatives, I am now in love with my UM3X and do not have, nor foresee, any durability issues; the shells are made of sturdy plastic and seem well-built, and the stock cable is more flexible with a less awkward plug. They also don't distort at higher volumes. If I could have the Earsonics house sound without distortion or hiss, a less claustrophobic presentation, and the build of Westones, I'd gladly pay $400, maybe even more, but as a complete package, the UM3X destroy the SM3 in my opinion.

I will report back for a more in-depth review of the sound, but for now suffice to say that I love the SE215 and it is my go-to beater IEM when I'm not willing to risk my UM3X. It does bass and vocals exceptionally well, which are my two biggest desires from any headphone. Durability is unparalleled, especially for the price. I take these everywhere: workouts, running, beach, etc. and never feel like I have to worry for even a moment about anything going wrong. They are isolation monsters, too; they made great commuting companions when I took the train and bus to work. They are usually my first recommendation to non-audiophiles who are sick of crappy Skullcandies giving out after a month or two of regular use, unless the person in question has small ears and/or is after a cleaner sound.
 
Overall these have my full support; if you don't have small ears, and want an IEM with great bass and awesome isolation that is built like a tank, you can't go wrong here.

My setup for this review is Foobar2000 + WASAPI Event Out -> HRT MicroStreamer -> UM3X RC with Moon Audio Silver Dragon
 
I traded for the UM3X about two weeks ago and I haven't used another IEM since.
 
Currently listening to Classic Sinatra II in FLAC. Everything is well separated, to the point that it feels about as well-differentiated as my HD598 and DT770 in terms of instruments being presented distinctly from one another and not bleeding into each others' space; obviously soundstage size is nothing to speak of by comparison, and the UM3X is on the smaller side as far as triple drivers go, but I think that makes its ability to separate sounds amost even more impressive.  Brass, strings and vocals all have appropriate body without sounding overly throaty or bloated, and of course never bleed into each other. Frank's voice really sounds like it's coming straight from one of those old-school microphones. This is a real pleasure.
 
Vivaldi's Four Seasons with Joshua Bellas first chair, also in FLAC, is next. The bass and cello notes have much more authority and power than I remember the SM3 ever having, for sure; you get that real FEELING of the instrument, whereas the SM3's more delicate sound was more about listening to the bass. This sounds much more "live" in terms of the textures and immediacy of the sound. Those rapid viola lines in Spring are not quite as crisp and distinct as I remember the SM3, but they still sound more "real," with better accuracy and timber. Violins also don't have the same exaggerated feel; they really do peak sometimes and give you that euphoria, but it's not exaggerated. The lack of the SM3's color is really appreciable here.
 
Now listening to Beethoven's Bagatelle in A Minor in FLAC. Pianos are soft and subtle, but not incredibly crisp here. A very relaxing listen.  Everything sounds fine. I've heard phones that definitely have a more atmospheric effect with a piano, which is really important when you're only working with one instruments IMO. There are no SERIOUS faults here, but it's not the UM3X's strong suit.
 
Bassnectar, however, is. Listening to Underground Communication in  FLAC,  and the bass is just right here: enough oomph to let you feel it, but never overshadowing other sounds, of course. The UM3X is great for giving bass-centric music plenty of power, but not overshadowing other elements of the music, which is a quality I sought for a long, long time; the SM3 served decently in this regard, but just never felt quite powerful enough; it was punchier than the UM3X, but didn't have the same sense of realistic decay and reverb. Treble roll-off shows a little bit, but not enough to detract from the music IMO. It will never be as sparkly as the TF10, but personally I don't mind, as I prefer a smoother, slightly sound in general. There isn't any information missing, so it sounds good to me.
 
More EDM: Juno Reactor's Pistolero in FLAC sounds great as well. Again there could be a smidge more treble energy, but I think that's being picky; those who prefer a brighter sound might disagree. Strings have good pluck and the UM3X keeps up with everything admirably, never missing a beat, and giving that psytrance bass punch just enough oomph without bloating it or sounding artificially tight; some people prefer bass that is tighter or punchier than this for faster-paced, more intricate EDM like Juno, but I think the UM3X's more full-bodied low end, which has longer than average decay for a BA, sounds like a more refined, better controlled middle ground between a "technical" sound and what you actually hear when you witness live EDM. You can't feel it thump in your chest; this is an IEM after all, but it's tactile enough that it does justice to the overall sound. And those female vocals...the UM3X makes you feel like you're right there on the stage. Loving it.
 
Anyone who says the UM3X is lacking in soundstage needs to listen to Mozar's Die Zauberflote (The Magic Flute) Scene 2 - Eine schreckliche Nacht! in FLAC or better, through a decent source, and tell me that distant rolling thunder doesn't catch you just a little off guard. This was the first combination I used to test my HRT MicroStreamer (which synergizes very well with the UM3X for anyone interested) and I literally thought there was a thunderstorm outside! Listening to excerpts from the rest of the opera, the UM3X obviously excels with vocals, and provides proper imaging to give a sense of the on-stage interaction, though not with quite the same drama as some phones with bigger soundstages.
 
I'm coming to the UM3X from the SM3 and TF10, and although I occasionally miss the SM3's speed and soundstage, the UM3x gives a less colored, more tonally accurate sound that I see as hearing the music rather than the earphone, which is something I'm coming to appreciate more and more as my taste in headphones has gradually changed from bassy/v-shaped towards neutral/balanced and slightly midcentric. The UM3X also never distorts, which was a problem I had frequently with the SM3: it would sound thin and a bit weak at higher volumes: its dynamic sound would begin to falter, bass would start to sound hollow, and the soundstage would compress when I cranked the volume, never really keeping up with what I wanted for my noisy commutes. I can push the UM3x to the limits of my hearing, and its signature and presentation remain consistent; the bass never gives an inch. And while two weeks with a used set doesn't give me much room to comment on durability, I can say without hesitation that the UM3X is made with infinitely higher quality materials just by holding it; the flimsy shells of the SM3 v2 would flex with a small pinch, whereas the UM3X feels solid as a rock by comparison.
 
Overall I definitely recommend the UM3X for anyone looking for a largely neutral sound with slightly elevated bass. It does full justice to music emphasizing strings and vocals, and performs well with electronic music if you don't have a need for laser-like treble. As a complete package, it is by far my favorite earphone I've owned to date.

I got my Silver Dragon in a trade, and am really loving it. I will probably come back to do a more in-depth explanation of the differences I hear on my UM3X between the stock EPIC cable and the SD.
 
For now, suffice to say I am definitely impressed by the construction. The cable is thick and obviously sturdy, but also very flexible and soft. All of the strain reliefs and connecting points also feel strong and are flexible where they need to be. Despite the lack of memory wire, the cable tucks snugly behind my ears and doesn't give me any problems.
 
I do hear some changes in the sound that I cant just ignore. The bass feels lighter and tighter, and treble is much more prominent. The overall sound feels less thick, and the soundstage seems noticeably wider; listening through my HRT Microstreamer, my UM3X made me believe that rumbling thunder in The Magic Flute was coming from outside; I've never experienced that before when listening with the stock cable, or any IEM, as a matter of fact.
 
Overall I'm loving the Silver Dragon and wouldn't hesitate to recommend it to other UM3X owners; I got a good deal in a trade, and, being a lowly retail drone, wouldn't have purchased it at the retail of $185, but if you have that kind of cash and want a lighter, tighter, wider sound from your UM3X, give it a shot and see what your ears tell you.

Having recently reviewed the Charm 3, I've become more aware of the actual benefits of the earbud form factor; prior to the Charm 3, I had only ever heard iBuds and the new earpods. The Charm 3 introduced me to the very real spacial benefits of the earbud form factor, which, despite the popularity of IEMs, especialy multi-armature universals and customs among earphone-oriented audiophiles, seemingly deserves more attention, especially for the "soundstage-heads" among users of in-ears.
 
Sunrise claims that the Dragon 2 is their most technical earbud to date, so I figured I would put it through its paces with some classical piano and orchestral music. Beethoven's Moonlight Sonata is handled with admirable delicacy; I would like to hear a little more midbass ideally, just to make the piano feel a little more immediate and alive, but midrange decay is very realistic nonetheless; enough so to give the sonata's more poignantly intended notes adequate emotion. The presentation is immersive enough to make me close my eyes and really feel the notes layering and blending.
 
Vivaldi's Spring - Mvt 1 Allegro has great space, letting you clearly hear violas coming from behind violins, and cellos behind them. Violins sound great here, with appropriate decay and plenty of speed to keep up with those fast strokes. The sound is definitely delicate to do full justice here to my ears. Midrange resonance is very pleasant; I've heard better from in-ears, namely the UM3x and SM3, but they ring in at nearly four times the price, so I can't hold it against the Dragon, and neither has as sweet treble as the Dragon; I would actually take the Dragon over UM3X for orchestral classical, solely for the air and vibrance it gives to the strings. The UM3X also has a tendency to make bass notes comes too far forward here, which distracts from the violins, and we all know Vivaldi is all about the violins; switching to the UM3X is nice to hear a bit more detail and fullness in the strings, but I can't help but be disappointed by the lack of air. Switching back to the Dragon is like a breath of fresh air: the sweet treble and real air to the sound definitely outweigh the UM3X's heavier bass and slightly artificial-sounding presentation. A shocking win for the Dragon here.
 
Listening to The Trial by Pink Floyd, the vocals sound remarkably realistic; not as forward or intimate as my UM3X, but with better air and almost as much detail; impressive, to say the least, considering the UM3X is nearly quadruple the price ($399 for the UM3X, $105 on ebay for the Dragon 2). Listening to The Happiest Days of Our Lives, the bass could have a bit more body; the helicopter actually sounds pretty realistic in terms of the amount of detail and texture provided, which is truly impressive for the $100 price point, which pits it against my Shure SE215, one of my favorites and easily manhandled by the Dragon 2 when it comes to realism, detail, and, of course, soundstage. Another Brick in the Wall just kicked, and the bass is just enough, more detailed and full than the Charm 3 but with a hair less impact. The sound is not as enveloping as, for example, my HD598, but that's not even close to a fair comparison; nonetheless I think the Dragon 2 holds its own when it comes to separating instruments clearly in Pink Floyd, actually doing a better job than the Sennheisers sometimes because it's lower mids are not as thick, and the sound is more neutral. The "real space" factor is not there to the same extent, but again, much moreso than the IEMs I've heard, and good enough in such a comparison that I thought to compare it to an open can.
 
Moving on to Puscifer, Tiny Monsters showcases the Dragon's impressive soundstage size and imaging right from the get-go. Kick drums have all the detail they deserve, but lack realistic reverb despite punching adequately for my tastes and showcasing excellent texture for the price range. Some of the synthesized tones sound a touch overly sharp in the upper midrange/lower treble, slightly overstepping their place and distracting from Keenan's vocal at times, but those same frequencies contribute a euphoric quality to the vocal that I'd rather not do without, so it's a worthy tradeoff. This is the only track I've heard this problem on so far, so it is not a salient or persistent shortcoming of the phone itself.  
 
While I'm on Maynard James Keenan & co, Schism is another strong track for the Charm. Keenan's vocals are great, not too intimate, maybe just a touch distant sometimes. Guitars don't have the crunch and texture that true metal fans get from their Grados and such, but some of the little riffs in this song do sound appropriately delicate, and this track does happen to showcase a good degree of the phone's dynamics. As always, instrument separation is a strong point. Intension is another track where imaging and this phone's out-of-head potential are showcased right from the get-go. Those drum hits right at the beginning really showcase this phone's ability to provide bass decay and texture despite not having the body and impact that most people looking for "good bass" lust after. This bass is soft, extended, and just a touch south of what I would deem "natural." Little hand drums sound great, with both appropriately delicate punch and airy decay. Everything stays well separated, and this is a pretty full track with plenty of layers: bass, two different types of drums, two vocals, a guitar, and a couple of synthesizers is not easy to fit into earphone headspace and maintain a natural feel. I think the Dragon 2 actually pulls it off better than my UM3X in some ways, which, despite providing technically superior separation, does so without as much a sense of air, and thus sounds unnatural at times with such music. Not the Dragon; the headstage feels very complete and well-integrated, and while there is a touch more blending, it actually aids the naturalness of the sound at times.
 
Now for a taste of some EDM. Vicious Delicious by Infected Mushroom is one of my favorite tracks; the Dragon 2 doesn't quite have the bass punch to give the song its due drama, and I wouldn't recommend it for such purposes. But this is a speedy and full track which showcases Infected's incredible production values, so I'm going to see it through. This track does manage to showcase the Dragon's speed fairly well: it has no trouble keeping up with layered synthesizers and the constantly fluctuating pace of this track. The lack of bass definitely hinders the dynamics here, but I can't help but be impressed by the midrange texture the Dragon lends to some of the synthesizers. It does feel a little empty next to my thumpety SE215, but the synths are sharper and more articulate, guitars have more crunch, Duvdev's minor vocal intrusions sound more dynamic and are placed better with in the presentation, and transients and left-right imaging are clearly superior on the Dragon. Again I really can't recommend them for EDM just due to the soft nature of the bass presentation and mids coming in significantly more forward than bass.
 
Using Distance - Out of Mind to test for subbass, I'm hearing these dig pretty darn deep, which I didn't anticipate, given the more polite signature; they don't have power at the lowest of lows, and cramming them in further to hear it makes the sound too warm, but the low bass notes are definitely there. These aren't designed for dubstep, obviously, but it's interesting to see how low they can actually go.
 
Overall the Dragon 2 is clearly an audiophile-worthy piece of kit. This was a lineup of some of my most taxing music, and the Dragon 2 knocked all of the pins down; not a strike every time, but everything is there. Bass impact is definitely on the soft side, but has better detail and texture than the Charm 3 all around and clearly extends further on both ends, despite having less punch to the bass and perhaps slightly smoother treble. There is a touch of upper mid/lower treble harshness in some tracks, but I'm convinced its simply a result of the earphones revealing faults in some reproductions. As a whole, I would easily recommend the Dragon to anyone looking for an analytical but balanced earbud, or perhaps IEM users who are fans of a more analytical signature looking to transcend the soundstage limitation of in-ears.

My setup for this review: Foobar 2k WASAPI Output ->HiFiMeDIY Sabre DAC -> FiiO E11
 
As everyone knows, Apple has new "Ear Pods" that come packaged with their new products, and seem to be pretty popular, coming from someone who sells iPhones in wireless retail. They are a bit of a hybrid IEM-Earbud style, which I find pretty cool, but the sound signature is decidedly oriented to the masses, and while they are a welcome improvement over the old iBuds in just about every way, they also pursue a decidedly thick and bassy signature, which, while not unappreciable, will not satisfy everyone, especially here at Head-Fi.
 
Enter the Sunrise Audio Charm 3.
 
The Charm 3 is an earbud designed with audiophiles and seekers of quality products in mind. The thick, flat cable and all-aluminum housing design speak of nothing but quality, as opposed to Apple's all-plastic construction which feels toy-like in comparison, and the sound signature is much more balanced and "mature" than that of the earpods. They retail for around $60, which is roughly double the cost of the earpods, but from the moment you pick them up, you will understand why. The sound is balanced and open, with exceptional space and separation for an earphone.
 
The Charm 3 does exceptionally well with some of my favorite music. With Illuminaughty by Infected Mushroom, the Charm 3 showcases great precision to the synthesized tones, and the bass comes through much tighter than the earpods, sacrificing some body for detail, and sporting decay that is shorter than what I would call natural, which means the bass misses a little bit of detail and sounds a touch unnatural when compared to the kinds of headphones most electronic music enthusiasts prefer. However it is much better defined and punchier than the earpods, and opts for more lower midrange emphasis in comparison to the midbass; listening to Shine It by Medeski, Martin and Wood, every instrument comes through very clearly with excellent separation compared to the earpods and certainly IEMs in the price range. Woodwinds and strings have a resonance and decay in the lower mids, which, along with the comparatively better sense of space, makes for a decidedly more realistic sound than the earpods with "real" music. Obviously the soundstage can't compete with my full-sized headphones, but there is a sense of air to the sound that I can only compare to the difference between open and closed cans: drums create their own sense of space, and everything is very clearly separated; separation is not as deliberate and distinct as my UM3X, and the sound is not as 3-dimensional in the sense of the placement of instruments in relation to each other, but this is to be expected given the price difference. What does surprise the sense of air is superior in the same way that a lower priced open can, like the HD558, had a more truly open sound than my  ~$300 D2000. I've never been a huge fan of earbuds, but these are the first pair I've heard that actually do justice to the inherent benefits of the form factor.
 
Moving on to some classic rock, Breathe by Pink Floyd is very enjoyable on the Charm 3, certainly moreso than the earpods, which exaggerate bass and make vocals sound relatively textureless in comparison. Drums and cymbals have a noticeably better sense of space and air, and sonic cues are thrown further and distributed more evenly than the earpods. Moving to On the Run, the relatively primitive synthesized tones do sound fuller and more pleasant with the earpods, but dynamics are better on the Charm, which levels the playing field. On Comfortably Numb, the Charm 3 portrays the slight echo and spacial characteristics of the vocal recording in an understated but tasteful manner. Drums again have less decay than I consider realistic, but the strings in the background have an excellent resonance and nothing ever sounds congested. Vocals become intimate when appropriate, like the "Ok..." close to the midpoint of the song after the first refrain, and at the beginning of every refrain, but are never intrusive, and the mids never dominate the sound the way they do in something truly mid-centric like the UM3X.
 
Overall, the Charm 3's strongest points are definitely its balance, neutrality and presentation. The sound is very spacious and open to my ears compared to the earpods and other earbuds I've heard, and sounds much more natural in its presentation than any IEM I've heard to date; while cues might not be thrown as deliberately far as top-tier multi-driver monitors, they definitely have more space of their own.. It is certainly more neutral and less colored than the earpods, and the bass, while having a pleasantly soft but present impact, never gets in the way of the midrange and treble. It performs well with both electric and acoustic guitars, and overall sounds very relaxing, pleasant, and natural. These would be an easy recommendation for anybody who prefers the earbud style, or wants a more natural sound than IEMs, and wants a refreshing, laid-back break from the intrusively bass-heavy sound signatures present in the earpods and other similarly consumer-oriented products.

My chain: FLAC/320kbps MP3 -> Foobar 2k WASAPI Output-> HiFiMeDIY Sabre DAC -> E11 -> HD598
 
My first taste of the Sennheiser house sound came in the form of the HD439, which I purchased while looking for a balanced all-rounder for casual listening on the go and in coffee shops while writing. I enjoyed the signature, so when it came time to look for an open headphone, the first place I looked was Sennheiser.
 
I usually favor phones that have slightly elevated bass and are a bit darker, and after reading reviews saying that the HD5x8 series shared the same drivers, I decided that the HD558 was likely the best way to go, assuming it wouldn't sacrifice anything to the HD598 in terms of technical ability. While I enjoyed the HD558 (my review can be found here: http://www.head-fi.org/products/sennheiser-hd-558/reviews/8544), they didn't quite feel like a keeper; the bass felt a bit loose and tended to bleed into the mids, and I felt that the highs were lacking. I returned the 558s and found a good deal on the 598s, and here we are.
 
For those deciding between the two models, my best advice would be to try them; failing that, it would mostly come down to preferred sound signature and choice of genres. While the 558s and 598s share the same drivers, they are obviously tuned with different listening styles in mind. Both maintain the Sennheiser house sound, and everything that goes with it: a well-layered but cohesive presentation, fantastic mids with a tasteful but not overdone lushness, slightly elevated bass, and smooth treble. They share a very similar midrange presentation and level of detail, but the HD598 has a slightly more open and euphoric sound given the added treble emphasis, whereas the HD558 is more seductive and enveloping. Personally I find the bass on both to lack some control, but noticeably moreso in the case of the HD558; the 598 isn't what I'd call tight either, but has less tonal emphasis while maintaining similar impact and extension. The HD558 is definitely what I would call a dark sounding can; the HD598 is brighter but not bright, still warm, and feels more balanced and natural to my ears. It essentially takes everything the HD558 does right, and refines it.
 
But let's forget about the HD558. Right now I'm listening to The Rain Song and the intro sounds smooth and subdued, just like it should, with just enough crunch in the acoustic guitar to separate it from the rest of the music nicely. Vocals are top-notch; if I was a female I would be swooning, I feel like Robert Plant is wooing me right here in my living room...but seriously, acoustic guitars sound great here, I can't see how I might prefer them any other way  These probably wouldn't satisfy a metal head who needs real crunch and punchy bass for electrics and kick drums, but for me they do just fine.  Over the Hills and Far Away is another track that these really do well, the touch of warmth again makes acoustic guitars sound positively seductive, while keeping them appropriately separated. There could be a bit more pluck to them, but only some of the time; that would be my only complaint, if anything.
 
Speaking of metal, moving on to Aerials by System of a Down. The intro is given sufficient drama; when the guitars drop, you really feel the sound come from all around you. Very impressive. Not as dynamic as it sounds on my D2k, but the vocals have even more emotion, less harshness, and are much more intimate. Guitars, as expected, don't sound as immediate and textured, likely due to the "Sennheiser veil" consisting of a dip in the upper midrange/lower treble. Moving on to Sugar, it becomes more obvious that drums aren't quite what they should be; they are there, but not with the realistic weight/pound of the D2k, or the punch the DT770 LE give them. They're there, just there. Not bad, but not great.
 
Now for Infected Mushroom. The soundstage on the HD598s does wonders for these guys: they are world-class producers and all of the dynamic and spacial elements they've tweaked in there are very clearly audible. Listening to Sa'eed, and again the bass could use a little more punch to be realistic. It's not underwhelming, but not noteworthy either. The dynamics needed for this song are here, but the thickness in the lower midrange makes it feel not quite as lively as it does with some other phones, like the DT770 LEs, which are faster and have slightly tighter bass. Moving to Change the Formality, the bass feels better suited here. Also the synthesized textures and tiny nuances are really there and alive, the superior treble and resulting increase in the precision of imaging is noticeable here vs. what I remember with the HD558; still a bit thick at times, but noticeably more energetic. Vocals are great, of course. On to I Wish, again those little synthesized textures are really audible here. The vocals are a little closer than I would like with a euphoric and minimalistic track like this, I'd ideally like a slightly more open feel with slightly less chesty vocals and tighter bass. Still this is all nitpicking; overall the sound signature works well here, with the bass being appropriately tactile, the midrange doing full justice to vocals and synths, and the treble coming out just enough to give the appropriate euphony and compliment the warmth. This track doesn't need warmth, but it doesn't hurt either. Bust a Move sound great too, the acoustic at the beginning sounds just right to me ears, not too much crunch, not too warm, just right. Bass is tactile enough to be felt, just barely. The warmth of the HD598 does impede the dark energy of this track ever so slightly, but still, everything is there, it sounds good, just not amazing.
 
As for Medeski Martin & Wood, well, this is where these cans shine brightest so far out of anything I've listened to. The slight warmth works with the jazz feel, and polite nature of the 598's bass keeps it out of the way on Anonymous Skulls, which has lower bass tones that can be a bit overbearing with my DT770s and, to a lesser extent, the D2000s. This is one of my favorite songs of all time, probably in the top 20, and the 598s do both instruments and synthesized tones full justice to my ear. On End of the World Party, I would like a little more subbass coming through on...whatever the hell that instrument is! It still sounds great, but just doesn't quite have that full throatiness my D2000s and DT770 can give them. I love MMW, they do stuff nobody else is doing, at least that I've heard; if you like them, these cans do them justice: they still sound jazzy and light, but don't miss out on the fullness that the electronic elements add.
 
Ott is another band that the 598s are really doing full justice to. Queen of All Everything has this great laid back but euphoric sound, all of the natural textures come through with full realism and even a certain crispness. The bass feels just right here; if it was any tighter, it would actually distract from the soft nature of the track. This is a real pleasure to listen to. Rogue Bagel is coming through nicely too, everything is well-layered, bass isn't getting in the way of vocals or strings but still has a nice heft to it that is appropriate for the reggae-psydub sound. Everything sounds much more alive and 3-dimensional than either of my closed cans.
 
Overall I have to say I really do recommend the HD598. I had a harder time saying as much about the 558s, just because they were too dark to be all-rounders and had sloppy upper bass that held it back from excelling with my more vocal-centric music. The HD598 is a definite step up, not necessarily in detail, but definitely in presentation and overall refinement, balance, and realism. If you are looking for a solid open can with a smooth sound sig, tasteful warmth, and a great soundstage, look no further.
 
 
Music used for this review:
 
Infected Mushroom:
Poquito Mas
Sa'eed
Change the Formality
Bust a Move
I Wish
 
Led Zeppelin:
No Quarter
The Rain Song
Over the Hills and Far Away
 
System of a Down:
Aerials
Sugar
 
Medeski Martin & Wood:
Anonymous Skulls
End of the World Party
 
Ott:
The Queen of All Everything
Rogue Bagel

Got these babies open box from ebay for a hundred smackers, can't beat it.
 
The bass is AWESOME. Notes go waaaay down low, not the tightest I've heard from subwoofers but still sounds great with plenty of subbass grunt to make anything with lots of bass sound  .
 
Overall the sound is bass-slanted as one would expect from a 2.1 system with a sub this size, but the mids and treble do not suffer. Treble seems to extend plenty far enough and the mids are only occasionally overshadowed by the bass; the main low-end emphasis seems to come in mostly below 200hz so there isn't tons of midbass bleed, more just occasionally excessive boom.
 
I think these speakers sound great, they are perfect for movies and they handle all of my genres about as well as I could ask, better than I would have thought I would ever find for $100, and surprisingly the bass doesn't usually interfere with its musicality, despite the quantity; my only complaint is that it can only be turned down so much and at the volume I like the mids, the bass probably still disturbs my neighbors O_O
 
Overall, great sound, simple setup, and good deals on them all over the place; can't go wrong here.

My chain: Lossless -> Foobar 2k -> HifimeDIY Sabre DAC -> E11
 
The HD558 are doing it for me right now. I was not blown away, but they really don't do anything wrong. The bass is not boomy but does bleed a tad, not ideal for classical but it's not hugely problematic.
 
The mids are nice. Never overly resonant, just enough bite to give realism but not intrusive. Imaging is very nice, but transients are a little weak.
 
Having started my hifi game at IEMs and gone far enough to see the kind of soundstage they are capable of (TF10, SM3), and opting for my first real can to be closed yet with a good stage (DT770), I feel like I can really discern the elements of sound presentation that are unique to open headphones, and they are well-present in the 558s. The sound is not necessarily much "bigger" than my DT770 in terms of the size of the stage or how far away certain sounds are; the DT770 actually wins out on this in some cases, especially with certain types of electronic music (psytrance in particular). However the benefit of the open sound is literally the dimensionality of the sound: the individual "sounds" themselves actually have distinct dimensionality and spacial presence of their own, rather than simply being placed at relative distances to each other. It improves the actual realism of the sound and makes it sound more speaker-like or even "live" sounding. 
 
Timbre and decay are both superior to any phones I have owned; the warmth is obvious, and I can hear the "Sennheiser veil," but it doesn't really interfere with detail or realism when you listen closely. It is more noticeable with some music than others; it makes violins and pianos sound a bit veiled, meaning these are not the BEST cans for classical, but they are VERY far from the worst; again better than anything else I own.
 
These guys really show their strengths with music that combines synthesized and analog sounds, like Lindsey Sterling and Massive Attack. They give a very pleasant fullness to instruments and never let synthesized bass drown out real instruments, isolating everything neatly without giving that slightly artificial separation that some multi-BA earphones can showcase.
 
I will say that I personally I wish I had thrown in the extra $80 and gone with the HD598; I would like a little more upper midrange presence out of these guys, and the bass could be tighter. However that doesn't detract from the fact that these are definitely quality cans, they make a great compliment to my DT770 for when I want a more laid-back listen. Overall the sound is laid back yet involving, almost seductive; it doesn't have tons of punch in the bass, so some electronic like Justice or other dubsteppy-like stuff is underwhelming (my DT770s are better suited there) but more intricate, atmospheric stuff like psychill, Lindsey Sterling, later Simon Posford stuff (Shpongle, Younger Brother) is very involving. Even deeper house like Deadmau5 and Jackbeats is good. It can't quite keep up with some of the faster, super-intricate Shpongle tracks (I found the album Nothing Lasts...but Nothing is Lost more problematic than the rest), but then the only thing I've yet heard that can is the SM3, which handled anything I ever threw at it.
 
Overall I am happy with my purchase, these make a great compliment to my LEs; now to complete my mid-fi conquest I am going after something fast and aggressive with tight, extended bass, maybe a Grado? Perhaps HD25-i-II...any recommendations? ^_^

Great little piece of kit! Just bought this bad boy to upgrade from my ELE DAC, which served its purpose but was too bright with my DT770s, and overall just couldn't really do justice to either the Beyers or my HD558.
 
Compared to my other sources (Voodoo'd Samsung Infuse w/ Wolfson WM8740, ELE DAC), it is definitely a step up in terms of overall performance. The highs are not quite as sharp as the ELE, and the overall tone is clearly warmer with more bass. With my DT770, I get noticeably thumpier, slightly tighter bass, and more forward mids. With my HD558, the sound fills out nicely, with a darkish, authoritative sound that is great for a lot of my music: Tool/APC, Infected Mushroom. When I throw my E11 into the mix, the soundstage gets bigger and everything is pretty nicely spaced.
 
Overall I would not hesitate for a second to recommend this unit to anyone who wants to upgrade from their PC/laptop sound card. I think I would choose a more neutral amp than my E11 to go with it due to the fact that it is a bit warm on its own, but overall it is a very noticeable upgrade over my onboard sound, and I imagine it will be for most budget PC users as well.

Really liking these so far. The LEs are not quite fully powered by my Nexus 4, but my Samsung Infuse with Voodoo Sound does them justice well below full volume. The soundstage is really impressive for a closed can, it seems almost as big as my friend's DT880s, albeit not quite as deep and natural; however the vocals are not as noticeably recessed as the 880/990 which seem to place vocals further from the listener as an artifact of having more depth.
 
Big, dynamic, but clear sound, no portion of the spectrum noticeably colors the rest. The midrange is mostly neutral but does have a little bit of that "Hifi sheen" that makes vocals sound just a tad bright, but not so much that it compromises its accuracy or hinders detail. The bass has a boomy quality to it, seems like around 100 hz, which looks consistent with DT770 graphs. It doesn't particularly bother me, and with a little EQ in the upper lows and lower mids (250-500hz range) it seems less out of place, but it can be a bit distracting just depending on the type of music: these phones sound great with classical, but the bass just seems a little out of place sometimes. The treble can be a touch splashy/muddy, and covers some of the midrange in espcially busy tracks (think more complex psytrance like Infected Mushroom, Shpongle, some orchestral music), but it definitely isn't piercing or sibilant, which surprises me considering its overall emphasized quantity. The soundstage is larger than any closed headphone I've heard, and actually in some cases will throw cues that seem more distant than my HD558, albeit not in as natural a fashion.
 
For $250 I am satisfied, especially considering they can be driven well without an amp. They sound nice and detailed, albeit a bit more treble-tilted and not quite fully powered judging by the slightly hollow quality to the bass, out of my ELE EL-D01 USB DAC with no amp, but sound very full and dynamic from the HiFiMeDIY Sabre DAC + E11 combo. The warmth from the E11 makes it sound a tad bloated in the bass at times, but nothing to complain about. My Samsung Infuse with Voodoo Sound drives them well for a portable, better than the ELE in terms of power, but not quite as well as the Sabre + E11 combo, as the Infuse retains just a little bit of the same bass hollowness as with the ELE, albeit to a lesser extent. The sound from the infuse has slightly more upper midrange presence than either the Sabre or ELE, making it better for vocals.
 
Overall I am very satisfied with the LEs: they are my go-to option when I want to be on the go and still have top-notch sound; I prefer the SM3 for relaxing or writing at my local coffee shop, just because of IEM isolation and the more relaxed signature (the DT770s beg you to listen actively; the SM3 is immersive but not overly analytical), but they are fragile and so I forgo them in favor of the LEs or my SE215 for actual on-the-go listening. They also do great for gaming: I use them for Star Wars: The Old Republic and they do everything I want. Positioning is good for hearing where enemies are firing on me from, and the sense of large but closed space that they create is really fitting for a lot of the caves, buildings, and other large indoor settings encountered in SWTOR.
 
I have recommended the LEs to a few friends who were not even interested in hifi before, just because I think they are a better all-rounder than the other DT770 80 ohm, and I see them as being a big enough leap in SQ over "normal" headphones that even a total newb would be impressed, despite the tonality and presentation being so different from what most people are used to. I don't think they are for everyone, but if you like an accurate, neutral tonality with a V-shaped response, these make a great closed can with no serious faults that I have found. The bass is not quite as tight and controlled as I would like IDEALLY (the DT880 does a better job in this regard), but it's hard for me to consider that a serious fault as most people prefer a bit of extra bass, and aren't used to super-tight, detailed hifi bass anyways. All in all, it's an easy phone to recommend: between the overall solid SQ, enhanced bass, crisp and detailed treble, shorter-but-not-too-short (5') cable, good isolation, easy-to-drive 32 ohm impedance without sacrificing the ability to scale with an amp, sturdy design, and user-friendliness coupled with a hifi sound that remains accessible, it beats out everything else I've seen for a do-it-all headphone, and should be a popular recommendation for budding audiophiles and everyday listeners alike.
 
 
 
Updated 3/7/2013

 
I bought the WOWee One to have a speaker that gave decent bass for when my girlfriend and I go busking with our glow poi and glow hoop, so we could have something portable with a rechargeable battery that would give enough bass for us to have a beat and for people to hear in subway stations. I had an idea of what I wanted, but thought it was a pretty ridiculous idea/expectation until I saw reviews on this little sucker. It was $39.99 from Amazon.com.
 
I have to say, the WOWee definitely delivers for what it is intended for. Bass impact, rumble, and  is truly impressive for something so small; better in quantity and quality than my girlfriend's medium-sized Phillips consumer stereo system. Extension isn't impressive, though; the low lows are there when used on a good surface, but are totally absent without one and are never balanced with the rest of the spectrum. Still not bad for the size, though. Likewise treble extension suffers very noticeably. Clarity and detail are decent for the size but not the best; both are still noticeably better than my Altec Lansing "SRS Premium Sound" laptop speakers in every way. There are some notes in the mids that actually sound very nice; a wooden flute just caught my ear rather pleasingly on a track by Distance. Nothing special, but it was nice; impressive for the size, considering I prefer headphones with rich and forward mids.
 
The overall sound is decidedly warm and dark; terms like "soundstaging" and "transparency" don't really apply here. It suffers from the typical "wall of sound" effect that most lower-end portable or laptop speakers possess, but the dynamics actually aren't bad, all things considered. The sound is heavily dependent on the surface the WOWee is set on or fixed to, ranging from thin and dark with no surface, to full, thick, and warm on my memory foam mattress pad. Even on the mattress pad, however, the bass is not ridiculously overpowering; it is clearly emphasized and colors the midrange noticeably, but does not overshadow the mids or what little treble is there. Drums are powerful and surprisingly dynamic, but don't drown out/overshadow vocals and other instruments as they often do at smaller live venues or in headphones with emphasized midbass like the Westone 3.
 
I've been testing the WOWee on different surfaces, and strangely enough it performs best on my memory foam mattress pad o.O It sounds good at lower volumes on flat wood surfaces, and the bass has good impact and decent enough control with a more balanced sound, but the speaker begins to shake and rattle when the volume gets turned up. On memory foam, the bass becomes noticeably more emphasized and the overall sound becomes warmer and more dynamic, a bit like Bose headphones. I think the combination of density and some give on the memory foam is what makes it ideal for emphasizing the bass and controlling the rattle it can have at high volumes: enough mass to give the gel something to vibrate against, but not so firm that it causes the speaker to start shaking with the bass power. Note that this will definitely happen, and you may think you are blowing your WOWee out. You aren't. My laptop can barely distort the bass on full volume. When laying down I can, no joke, feel the bass vibrate on my bed in my legs at less than half volume from my laptop with the speaker at the head of the bed; at full volume, I can feel the bass guitar plucks and kick drums. When I play it at about half volume on my bedside table, it shakes the water in my Nalgene. This little thing has THUMP! 
 
Gotta say though, this puppy really isn't for the rock 'n' roll lovers. It's not terrible, better than anything its size I've heard just on the sheer weight of its overall SQ, and guitars don't sound bad, but they are recessed due to lack of treble, and its just too warm and dark to really do justice to Led Zeppelin at all. Red Hot Chili Peppers is a bit underwhelming and not sufficiently emotional; same goes for Tortoise and Explosions in the Sky. Pink Floyd actually doesn't fare too badly and manages to sound almost spacious with the right surface. Modest Mouse sounds congested and the bass gives too much color and doesn't do the kick drum justice without bass guitar to distract from the poor decay. The Doors still manage to be fun.
 
Also not for classical.
 
Hip hop, most electronic music, 
 
The bottom line: The little WOWee One is really versatile. The gel bottom can stick to many surfaces, including the side of my finished wood bedside table, the screen of my smartphone, and probably anything with a smooth surface including glass. This thing puts out really impressive sound for its size overall, especially the bass; combine that with the rechargeable battery, and the WOWee is absolutely without competition from any portable speaker I have seen or heard of in the price range. I would recommend the WOWee One without hesitation to anyone who wants a portable speaker with decent bass, dynamics, and acceptable sound quality at a reasonable price.
 
A small warning note: when I first plugged the WOWee in, it made a violent buzzing noise and I thought for certain I had received a lemon. This disappeared once it was fully charged and had been played on a firm surface, so don't be discouraged if this happens to you for the first few minutes.
 
Test Tracks (ratings between * and ***** on relative track compatibility):
 
The Roots - Make My *****
The Roots - One Time *****
Pink Floyd - Time *****
Pink Floyd - Great Gig in the Sky ***
Pink Floyd - Money ***
Pink Floyd - Us and Them ****
Flux Pavillion - Air Raid *****
Distance - Out of Mind ****
Marilyn Manson - Beautiful People ****
Infected Mushroom - The Legend of the Black Shawarma ****
Tortoise - By Dawn *
Explosions in the Sky - The Birth and Death of the Day *
Damien Marley - Confrontation *****
Led Zeppelin - Friends *
Portishead - Cowboys ***
The Doors - Break On Through ***
The Doors - Soul Kitchen ***