Brainwavz continues to step up their game. This time it's in the realm of Bluetooth! The BLU-100 is a budget-priced IEM that is very well-designed and offers very good sound for anyone that needs serious mobility without compromising sound quality. Check it.
 
 
The Breakdown 
 
Test Songs:
 
"Love on Top" - Beyonce - 4
"What About Me" - Snarky Puppy - We Like It Here
"Attaboy" - Yo Yo Ma, Stuart Duncan, Edgar Meyer, & Chris Thile - The Goat Rodeo Sessions
"Milestones" - Miles Davis - Milestones
"If You Want Me to Stay" - Sly & The Family Stone - Fresh
 
 
Source:
iPhone 5C running Spotify Premium (Streaming 320)
 
Build/Accessories: Solid. Just like every other piece of Brainwavz gear I've reviewed, there are no obvious shortcomings here. Sturdy housings, cable, and inline control box. The case is the hardside Brainwavz case that has worked really well for all their IEMs and well, that's all I've got to say about that.  

Bass: Pretty good! The mid bass is a little boosted, but for most people, that won't be an issue. It certainly does muddy anything up. For pop tunes, EDM, and/or most rock music, the low end will serve just fine - especially for the price! Beyonce's low end is very fun and the upright's sound in "Milestones" sounds very natural albeit slightly rolled up in the subbass. Most well-defined and linear bass? No. Very capable and pleasing low end for most music? Yes.

Mids: Musical. The vocals in Sly's hit sound great as do Thile's mandolin in "Attaboy." The lower mids are a little smeary when the bass is forward in the mix. Usually make the bass sound good, but in male vocals this may result in a loss of clarity.
 

Treble: Crisp and clean! Don't let their price tag fool you. The upper end is as natural and clear as I've heard in the sub $50 range. It's not the most extended treble, and sometimes it's a little harsh on electronic hi hat or active cymbal parts, but rarely enough to become a nuisance. "Love on Top's" HH work is crystal clear ad Be's voice is never sibilant. Much love to the upper end on what is usually a weakness for wireless headphones.

Soundstage/Separation: Nothing to write home about. At this price, one shouldn't expect to have divine instrument placement or separation. It's not bad, but it would be dishonest of me to sing all kinds of praises here.
 
Design: Excellent. Yes the housings are Frankenstein big, but here's the catch: no long cable to run to my DAP! The included tips seal well enough that the housings aren't tempted to fall out, so then all I've got left is roughly a foot of cable hanging down like a necklace and that's all there is to worry about. Inline controls are thoughtfully placed and easy to use. To charge, all I have to do is open the right housings and charging port is inside! An excellent thoughtful design really goes a long way in this case. Using these for the gym or active use is a no-brainer. You'll not have to worry about cable wear again! Oh and BTW, the battery life is pretty dang good. You'd get several workouts in before you'd have to worry about recharging.

Conclusion: Overall, the SQ on this budget-priced IEM is very competitive, offering a largely balanced signature with a little extra oomph in the bottom, clean midrange, and detailed, although sometimes too spicy upper end. The functionality and design of this IEM is really what should get your attention though. Read the above paragraph for why, but know that if you ask me for a pair of IEM's for your gym time (and your DAP has Bluetooth capability), the BLU-100 will surely come up in conversation!
 
***This review unit was provide free of charge by Brainwavz. I'm in no way affiliated with the company or any of it's vendors.***

Just like the Koss KSC75 and the Fiio X1, the E100 Earbell from Baldoor (and Mrice) represents a phenomenal value. This little $14 wonder has done two things for me: 1. It has renewed my faith in earbuds and 2. Has proven yet again, that top tier sound can be had for bottom tier prices - you just have to be willing to look! If you're interested in a new super-cheap piece of kit for your commute or gym-time, I cannot recommend the E100 enough.
 
 
The Breakdown 
 
Test Songs (all ALAC either 16/44 or 24/96):
 
"Bloody Well Right" - Super Tramp - The Very Best of Supertramp
"What About Me" - Snarky Puppy - We Like It Here
"Hide and Seek" - Imogen Heap - Speak for Yourself
"Attaboy" - Yo Yo Ma, Stuart Duncan, Edgar Meyer, & Chris Thile - The Goat Rodeo Sessions
"Y'all Know Me" - Shad - Flying Colours
 
 
Source:
MacBook Pro > Fidelia
iPod 5.5 
 
Build/Accessories: I feel like I should mention this subcategory since it's usually the worst for cheaper gear... In a word: solid. I've taken these guys running multiple times and from the sturdy cable to the housings, no durability issues to speak of. The cable is supple and tangle-free and the housings/strain relief appear cheap (because they are) but have yet to present any issue. Also, I don't know much about earbud accessories, but you could probably guess that the EarBell's kit is pretty sparse. Two soft sleeves (for comfort or fit improvement?) and a super cheap plastic carry bag. That's it. But for $14, what could we expect?!

Bass: What a shock! The problem I've always found with true earbuds (not to be confused with in-ears) is that getting the bass right is tough! But this guy? Full and textured. Even the sub-bass is there! Kick drums in the Supertramp and the Snarky Puppy have both punch and body. Ma's cello sounds nice and natural down low. Even the lilting bass line in Shad's tune is engaging!

Mids: In a word: balanced. All of the little nuances in "Y'all Know Me" and "Bloody Well Right" are easily heard. A lot of times, the details found in the guitar and keyboard parts in high quality tracks are blurred when they come through cheap headphones. Not the case here. Several nuances were revealed to me which previously had been unheard! And vocals? Rich and deep. Check Imogen:
 

Treble: Crisp and clean! Don't let their price tag fool you. The upper end is as natural and clear as I've heard in the sub $100 range. This is another place that traditional buds fail. Usually the treble is either artificially bright or nonexistent. Luckily all of the Snarky cymbal intricacies and harmonies in "Hide and Seek" are easily heard and very much in balance with the rest of the spectrum. Loving the fact that this is the case. 

Soundstage/Separation: Surprisingly decent. Instruments are easily picked apart and even the L/R spacing is natural. Nothing feels compressed. I'm sure that this is because of the nature of an earbud's design - basically a tiny open-backed headphone that sits outside of the ear canal. In any case, this is certainly a strength of the E100, not a weakness. Check out the feeling of space here: 
 

 
Qualms: Really only one: the size/shape of the housing. For my ears, they are just big enough that over time, they work themselves away from my canals, which basically meant less bass and treble. With the little cloth sleeves attached, the situation improved, but I still had to push them back towards my ear every few minutes. I think it's mentioned in another of the reviews, but the angle these buds face also can drastically affect the sound. YMMV, but know that it may take some work to get it right. **Side note: these are earbuds. This means that they don't isolate well. For some people who'd use them for running or walking, this is probably a plus as you can hear your surroundings. But if you're someone wanting to disappear from the real world, the EarBell probably won't cut it for you. Just FYI.** 

Conclusion: Overall, the qualm I had with them pales in comparison to the excellent sound the E100 puts out. This is one of those things that anyone with any interest in earbuds should hear. If I could meet the gentleman who tuned these bad boys, I'd certainly shake his hand and buy him a drink. Rich bass, natural mids, and clean treble should cost much more than this, but luckily for us, we can get $100+ sound for under $20! (Not to mention they sound just great out of a normal iPod) If you're in the market for a beater earbud or you want to have excellent sound on the ride to work, I certainly recommend giving the EarBell a go!

Here we go again. It seems like every other review I've done lately has been on some product from this up-and-coming company that is making a name for itself. This one is however, different than all the others. It's just... better.
 
 
The Breakdown 
 
Test Songs (all ALAC either 16/44 or 24/96):
 
Whistle Past the Graveyard - Rolling Jazz Revue - rjr
What About Me - Snarky Puppy - We Like It Here
Hide and Seek - Imogen Heap - Speak for Yourself
Prelude from Cello Suite #4 - Yo Yo Ma
 
Source:
Fiio X5 


Bass: Full and textured. I've heard several of the sub $100 category from Brainwavz, including the Delta, S0, S1,and M3 and so far the low-end on the M3 is my favorite. The sub-and mid-bass are both excellent. ?uestlove's kick doesn't just sound blobbish. It sounds like a drum! Walker's upright bass in "Whistle Past the Graveyard" is very clean and textured. While the M1 has a little more impact in its low end, the M3 is like the older brother: more refined and experienced. 

Mids: From my M1 review "Usually with single dynamic IEM's, especially in the lower price brackets, bass is easy enough to manufacture, and let's face it, a little extra juice in the upper end typically pleases the masses. The midrange however, is the coin toss. Either its way behind the frequency extremes, or so far forward that you can forget about any appreciable low end texture or upper end smoothness." Luckily for us, the mids here are arguably this guy's strength. They aren't RE 2*2 good or SM64 rich, but vocals sound like someone is singing in my ear! Have a listen to Imogen sing her single from back in the day. Just killer!
 


Treble: Crisp and clean! Don't let their price tag fool you. The upper end is as natural and clear as I've heard in the sub $100 range. The air and separation here is much better than any of the other Brainwavz IEM's I've heard. Intricate cymbal work on the Snarky Puppy tune is easy to hear and the breath in the above video is real enough to make you look left and right. This treble beats the RE400 upper end for realism if you ask me...

Soundstage/Separation: Where this was a weakness in the M3's little brother, I'm happy to note that the village elder has improved here! Accuracy is spot one with regards to L/R placement. There's even an appreciable amount of soundstage depth and width. On some quick classical listenings, I can pick out almost anything I want to at any given moment. Check it.
 


Qualms: Nothing major. The shape of the housing is a little awkward. Doesn't affect fit, just look. I wouldn't consider myself good-looking, so wearing things that enhance my likeness to some sort of martian are less than appealing. Also, still no chin slider! When will IEM maker's realize that this tiny piece of plastic is a must!?

Conclusion: Copy and paste from my M1 review: I've heard a lot of IEMs in the sub $100 category. From the SE215 to the RE400 and everything lesser known from the likes of Soundmagic, JVC, and Brainwavz, this price bracket is being overrun by offerings diesigned to bring the discerning listener more bang for his buck. I'll tell you straight up that the M3 from Brainwavz will be one of the first I recommend to anyone looking for great sound for less than a hundred. They're pleasantly detailed, natural, and very easy to listen to. Overall, an excellent IEM that deserves a look from anyone looking for an all-rounder in this price range.

***disclaimer: this review model was provided to me by Brainwavz via MP4nation. I'm in no way affiliated with Brainwavz or their distributors.***

Here we go again. It seems like every other review I've done lately has been on some product from this up-and-coming company that is making a name for itself. Luckily for us, this IEM from Brainwavz is just like many of its brethren: a force to be reckoned with.

Sound

Bass: Just plain good. I've heard several of the sub $100 category from Brainwavz, including the Delta, S0, and S1. So far the low-end on the M1 is my favorite. The sub-bass is there (something not usually found in IEMs running under $100) and surprisingly capable. Macklemore's "A Wake" has some nice thump, but here's the kicker: no bleed! Would I classify these as basshead cans? Heck no. But, they reach deep enough for these ears and retain some excellent texture to boot. League's electric bass in "Lingus" is very clean and rich, and the low-end of Ma's cello in the fourth cello suite is surprisingly life like. I tip my imaginary cap the gentleman overseas who tuned the low-end on this little guy.

Mids Usually with single dynamic IEM's, especially in the lower price brackets, bass is easy enough to manufacture, and let's face it, a little extra juice in the upper end typically pleases the masses. The midrange however, is the coin toss. Either its way behind the frequency extremes, or so far forward that you can forget about any appreciable low end texture or upper end smoothness. I'm here to tell you gentlemen, that this simply isn't the case here. The Mids are very in line with their surroundings. Ed Sheerans vocals and amplified acoustic guitar on "Thinking Out Loud" sound just great. Very organic and easy to listen to. I will add however, that in busier jazz fusion and thickly-layered vocal tracks, the mids can be a little congested. At no point though, have I been offended by what the M1 had to offer with regards to the midrange.

Treble Once again: very easy to listen to. Don't let their price tag fool you. The upper end is as natural and clear as I've heard in the sub $100 range. Clean and natural with decent extension. Only on treble-heavy tracks did I hear any sort of sibilance and even then it was minimal. There are probably some hills and valleys in its upper end graph, but at times I've been pleasantly reminded of the RE400s treble response. Now, is the M1 going to win any awards for super-extension or instrumental separation? No. But when I put it through the gauntlet that is my 'New Cans' playlist, it played quite nicely with everything from classical to rock to jazz to hip hop to vocal-centric tracks.

Soundstage/Separation If I have to identify a weakness of this IEM, it's probably this one. That's not to say it's lacking or poor, but compared to the capabilities of the frequency range, the soundstage falls lowest on the proverbial totem pole. Because the upper end isn't exactly hyper-detailed, there isn't a lot of air or separation up top, so soundstage depth or width is pretty lackluster. Accuracy is just fine, but these guys certainly won't be tricking anyone into thinking that they're in a concert hall anytime soon.

Qualms in the interest of being thorough with and IEM that I've taken a liking to, I had to include a blurb about some things that I have found myself wanting. Before you read on, know that none of the following has to do with sound - just aesthetic and accessory preferences. From an aesthetic standpoint, the black plastic and faux silver housing feels cheap. Let's face it, no one enjoys something that performs well, but doesn't have the looks to match. Unfortunately, that's the case here. I understand of this sort of thing helps keep costs low, but a man's allowed to have opinions! (And while we're on the topic, why no cable slider?!) Also, the tip selection is pretty minimal. Including some of the red-core or foam tips that are standard with the newer Brainwavz fare would certainly make me a happier camper.

Conclusion: I've heard a lot of IEMs in the sub $100 category. From the SE215 to the RE400 and everything lesser known from the likes of Soundmagic, JVC, and Brainwavz, this price bracket is being overrun by offerings diesigned to bring the discerning listener more bang for his buck. I'll tell you straight up that the M1 from Brainwavz will be one of the first I recommend to anyone looking for great sound for less than a hundred. They're pleasantly detailed, natural, and very easy to listen to. Overall, an excellent IEM that deserves a look from anyone looking for an all-rounder in this price range.

***disclaimer: this review model was provided to me by Brainwavz via MP4nation. I'm in no way affiliated with Brainwavz or their distributors.***

Well here's the long and the short of it: the new 'e' version of the Grado SR325 is the best one yet. And, IMHO it's the best Grado for the money. Here's why:
 
I've listened to a lot of headphones. A lot a lot. More than anyone should. And as such, I've developed some preferences. To keep this from dragging on... Grado is where it's at if you want lifelike reproduction. Back when I reviewed my RS1i, I mentioned that it was the first and only headphone (to that date) I'd heard that made me feel like I was listening to actual instruments. After further investigation (a few meets and lots of forum discussion) I've learned that a large number of Grado-heads are actual gigging musicians. Coincidence? I think not.
 
The 325e is the second can since the RS1i that has made me feel like this again (HE500 is the other [the Grado of planars]).
 
From the bottom up...
 
Bass:
Punchy, very textured, and dynamic. Kick drums don't sound like blobs of bass. They sound like actual drums with an initiation, sustain, and decay of sound. Electric bass through a tube amp sounds like electric bass though a tube amp, not enveloping, room-shaking bass or amorphous blobs of low frequencies. Check out what I mean in this Snarky Puppy tune.
 

 
Mids:
Vocals, guitars, and horns sound just... right. The 'e' iteration has smoothed the mids from the 'i' version and because the upper end is a little less hot, the mids are much more natural to these ears. They're rich and refined. Nothing recessed or in your face, just Grado mids doing Grado mids. Check out Joss singing "People Get Ready." All of the nuances in the organ and electric guitar are rich and detailed. Not to mention the command Joss has over her voice in this live performance. Great stuff.
 

 
Treble:
Here's the biggest improvement since the 'i' series. The 325i was a little treble hot to me. Not offensive, but very unforgiving and at times uncomfortable. Now most Grado fans agree that the treble is what makes the crunch of electric guitar so addicting with these headphones and I would agree. However, thanks to the improvements in the 325e, the treble is a touch less hot, smoother, and more refined. Intricate cymbal work is crisp and clear as is the upper harmonics in guitars and the air in raspier vocals. See Esperanza:
 

 
Soundstage/Imaging/Separation/WhateverYouWantToCallIt:
A lot of folks have issues with the intimate presentation that Grados have. I do not. That's because music in real life rarely sound like it's in a cavern. Most of the time if you're at a venue where there is a roof, you're trying to sit near the front anyway, where you wouldn't hear the effects of a reverb in a giant space nearly as much as if you were sitting in the back row. That being said, the soundstage is no longer unnaturally congested like the previous 325. This one has a bit more width and depth, which makes pinpointing relational space between instruments easier and more life-like. Not to mention that throwing some G cush pads on these bad boys will cure most of your soundstage woes. 
 
Mods: 
I couldn't write this review without mentioning at least two. 1. Tape mod: a layer of scotch or electrical tape around the stock L cushes does wonders for those of you who want some extra bass. Nice thing about this mod is that it's easy, unobtrusive, cheap, and doesn't really affect anything besides bass impact. 2. Pad rolling: not a mod per se, but it bears mentioning that changing pads basically yields different headphones. Between the taped L and stock G cush pads, I'm totally set with these bad boys. 
 
Qualms:
Still not the most comfortable cans I've ever worn although the wider headband does help. The new cable is supposedly improved with regards to conductor count and strain relief, but bottom line: still a snake of a cable. 
 
Final thoughts:
All in all, the 325e from Grado is a huge value. It reminds me very much of the RS1i, a headphone that cost more than twice the 325. The 'e' version has a deeper-reaching bass, more refined midrange, as well as more refined and smoother upper end. The sense of space is more accurate than previous iterations and the slightly wider headband has made them a bit more comfortable as well. For those of you weirdos that don't like the Grado sound , the 325e isn't a total departure from the house sound, but it is an improvement over previous generations. This can represents the best value out of the lineup to these ears. Better than any 'i' version and without the higher 3- and 4-digit price tag of the upper end offerings. 
 
 
***Gear Used: MBP > Fidelia > Pan Am Stack with Telefunken 6AK5s***

The HM5 Velours are quite simply, an uber-comfortable pad for HM5/Shure/Beyer/ATH/(most large circumaural headphones). I was offered a review sample from Brainwavz and have the following to say regarding these and their stock counterparts:
 
1. Comfort: Both the pleather and velour pads are exceptionally comfortable. The memory foam is quite soft and pliable and distributes weight very well. Even though the Brainwavz HM5 is a bit of a clamper, the lightweight and soft design of the pads alleviates most of the discomfort making these great for long listening sessions.
 
2. Sound: 

1. Velours: Compared to the pleathers, the sound is a touch more neutral. This may be a weird statement as I consider the HM5 a pretty neutral can as is. Here's the reasoning: A little bass impact is lost coming from the stock pad, but that's to be expected as velour is gonna be more porous than pleather. On the Snarky Puppy and Amy Winehouse tunes, the kick drum loses a little slam, but certainly nothing drastic enough to cause any dislike or feeling of bass lack. It also bears mentioning in the same way, the velours can take a little more volume to achieve the same levels as the pleathers. Once again, a little more sound leak is the culprit. 
2. Pleathers: As aforementioned, the most noticeable difference coming from velours to pleathers is bass quantity and sound leak. Pleathers seal a little better and therefore don't have to volume up as much, and retain a little more bass impact. Upon second listening, I also venture the idea that the pleathers have a slightly smaller soundstage than the velours. Maybe for the same reasons? 

 
3. Adaptability: As you can see in these pads' review section title, they fit a ton of over-ear headphones. Even those that don't natively have the same cup shape as the HM5 (i.e. HE500, DT880, MDR V6, even Grados!) are being fitted all over head-fi with mixed results. The only variation I'm able to try is on the Sony MDR 7506. The fit is a little unorthodox, but they will stay on. The velours don't play as nicely as the pleathers, which add a little bass impact and open the soundstage since the HM5 pads put more space between the ear and the driver. Maybe when I grow to be a bit more adventurous in my DIYing, I'll try adapting them to my HE500s.
 
Gear used:
 
Test Songs (all ALAC either 16/44 or 24/96):
 
Someone Like You - Adele - Live from Royal Albert Hall
Late in the Evening - Paul Simon - The Essential Paul Simon
Limit to Your Love - James Blake - 
What About Me - Snarky Puppy - We Like It Here
Hide and Seek - Imogen Heap - Speak for Yourself
Prelude from Cello Suite #4 - Yo Yo Ma
YYZ - Rush - Exit Stage Left
 
Source:
MacBook Pro > Fidelia > Pan Am Stack > Brainwavz HM5, Sony MDR 7506
 
All in all, I'm totally digging these pads from Brainwavz. To me they are the most comfortable pads I've ever used. That's saying something as the DT880 and Focus Pads are both pretty dang comfortable. The sound changes are minimal when used with the HM5, but if searched, head-fiers form all over have reported lots of sonic changes when using these pads for other headphones. These have become the first pad I recommend to users looking to replace stock pads on over-ear headphones. Many thanks Brainvwaz!

The iDA-1 from Geben is a portable amp/DAC that shakes hands with newer iDevices only - iPhones, Touches, and iPads. It offers plenty of power, two gain settings, analog and digital audio inputs and an anodized silver look that is just killer. In a world where products from Fostex, AlgoRhythm, and Sony cost upwards of $3-4-500 for the Apple "handshake" capability, this offering from small house company Geben is just what the rest of us need. Well, almost.
 
Some tech specs:
 
USB digital input device: iPhone5 & iPhone 3G, 4, and 5, iPad (all), iPod Touch

Simulated audio input: ≤ 200mV

Max output power: 150mW +150 mW

Frequency Response: 20Hz-20kHz (± 0.5dB)

Overload source electromotive force: ≥ 2V
 
Total harmonic distortion + noise: ≤ 0.005% (1kHz)
 
Signal noise (A-weighted): ≥ 100dB
 
D / A: High end 24bit/192khz DAC (WM8741)
 
Sampling frequency: 44.1/48khz @ 16bit
 
Li battery capacity: 2500MA / h
 
Charging time: ≤ 4h (Turning off iDA-1 power)
 
Standby time: ≥ 8h (32 ohm load)
 
Dimension: 60(W) x 20(H) x 130(L)
 
Weight: about 250g
 
The Breakdown:
 
 
Test Songs (all ALAC either 16/44 or 24/96):
 
Limit to Your Love - James Blake - James Blake
What About Me, Kite, Lingus - Snarky Puppy - We Like It Here
Faith - Lake Street Dive - Fun Machine
Prelude from Cello Suite #4 - Yo Yo Ma
Hot for Teacher - Van Halen - 1984
Falling Stars - Mickey Hart - Superorganism
 
Source:
iPhone 5C > Geben iDA-1 > Sennheiser HD25-1 II or Earsonics SM64 V2
 
Sound: Powerful and clean.
 
Bass: Textured and punchy. To me, the bass on my 5C is the weakest part of the frequency range. The mid bass is there, but usually the first thing to go when it comes to using my better portable gear, is the sub bass and all around bass texture. Luckily, the resolving power and extra juice that the iDA-1 provides compensates here. The sub-bass on James Blake's version of "Limit to Your Love" is epic! Similarly, the texture on kick drums and low toms throughout my Van Halen "1984" Remaster are just killer. The 5C's lower end has been taken to a different level.
 
Mids: I didn't notice as much change here, but there are some subtle differences. Guitars on the Snarky Puppy tunes have more crunch. The ghosted snare hits on the same songs come through more cleanly - defined instead of implied. So no, the Geben isn't going to rearrange the midrange on anything, but then again well-mastered material shouldn't need that. It does however, offer better resolution of nuances and details that make the textures in this range more real. Another example is in Ed Sheeran's "Thinking Out Loud." This tune is full of little breaths, ornaments, and nuances in both Ed's voice and instrumental work. You'd never know if you weren't listening through something better than the onboard DAC on the iPhone. 
 
Treble: Clean and clear! Just like Windex baby! Intricate cymbal work comes out way more clearly than without the amp. My HD25's were doing things I hadn't heard before! The extra percussion textures (shakers, triangle, additional cymbals) in Mickey Hart's "Falling Stars" were nice and crisp. The air in Rachel's voice on the Lake Street Dive tune was just like I've heard it in concert. Loving how much more detailed the upper end is through this amp. I found the native treble decent but a little strident at times. The Geben smoothes and refines. Almost has a nice hybrid tube effect...
 
Soundstage/Imaging/Separation: Through both my HD25's and SM64's the soundstage was noticeably deeper than the sound straight from my iPhone. Not a lot of difference in width or height, but the third dimension of depth was definitely better. The musicians in Lake Street Dive and Snarky Puppy sounded like they were actually in their own space instead of jumbled together. No major changes in left-right imaging. Separation was a little better, but that's to be assumed as the details I raved about earlier have improved. Micro-detail retrieval should improve separation as sounds appear more individually rather than in clumps.
 
Aesthetics/Packaging/Accessories: Awwwww yeah.
 
Some of the sexiest silver I've seen in any portable device. Clean silver lines, slim profile, nicely-spaced inputs/outputs, and excellent build quality. Feels very sturdy in the hand without being overly heavy. Volume pot is smooth and fits within the profile of the rest of the device. Well thought-out design from an appearance standpoint. Packaging was similar. Spartan and clean. Although oddly enough, no paperwork like an owner's manual whatsoever. Bit of an oversight if you ask me. Accessories: yes! Clean blue stacking bands, charging cable, and multiple lightning- or 30-pin-to-USB cables for connecting. Nice short lengths on the cables to help keep things compact. Wish I'd known that before I picked up a Forza LOD-to-USB secondhand...
 
Qualms: Here's the device's only con. No iPod connectivity! If you ask me, this is a big oversight by the designer whose thinking is that because the click-wheel iPods have been discontinued, there is no need for this capability. We're talking about the most successful portable audio device ever. For those of you who do most of your listening through an iPhone or iPad, this won't be a problem, but for the rest of us, this makes this device all but unusable. Yes, I could still use the analog audio-in, but what's the point in picking up a amp/DAC with i-capability if I can't use it with my iPod?! (Would've received 5 stars if this wasn't an issue) As such, I've decided to sell this little guy as I use my phone for less than 10% of my portable listening.
 
Final Thoughts: Overall this is a great solution for portable DAC/amplification for compatible iDevices. Sexy, clean looks, well-implemented amp and DAC circuitry, and all the accessories you'd ever need. However, the lack of compatibility for iPods is a deal-breaker for some (myself included).

Brainwavz has done it again! While there are several audio companies offering a nice budget-king-FOTW IEM here, a feature-packed portable amp there, I can't think of many that have put together the streak of high-quality products at affordable prices in the short time the way that the people at Brainwavz have done. Delta: Low Cost Champion. S5: Sub $100 Contender. S0: Budget All-Rounder. Even though it's not their newest, the closed back offering from Brainwavz is yet another strong entry.
 
Enter: The HM5.
 
The HM5 is a full-sized, closed-back headphone that performs quite well, regardless of price. It does everything well. It'd be dishonest to fling praises from the mountain tops about it's razor-sharp treble or to schedule a small town parade about the richness of it's sub-bass. However, I've been using it extensively for the last few days and I'm happy to report that not once have I 'wanted' anything else from it. The sound is balanced well with itself and anyone looking for a neutral-ish closed-back headphone for under $300 should seriously consider this guy.
 
Test Songs (all ALAC either 16/44 or 24/96):
 
Someone Like You - Adele - Live from Royal Albert Hall
Late in the Evening - Paul Simon - The Essential Paul Simon
Limit to Your Love - James Blake - 
What About Me - Snarky Puppy - We Like It Here
Hide and Seek - Imogen Heap - Speak for Yourself
Prelude from Cello Suite #4 - Yo Yo Ma
YYZ - Rush - Exit Stage Left
 
Source:
MacBook Pro > Fidelia > Pan Am Stack
 
The Sound
 
Bass:

1. The low end of the HM5 is quite nice. I'm a fan of neutral sigs that might have a touch of warmth (HE500, RS1, HD600, etc.) and I've found the HM5 right in line with my palate. The low end is certainly present and almost linear. The ridiculous sub-bass in James Blake's version of "Limit to Your Love" is in full effect. The punch of the kick drum in the Snarky Puppy and Rush tunes is present and nicely textured. Stays in the bass region without bleeding into the mids which certainly is appreciated. I've found that with closed-backs, getting the bass right is tough. It's easy to produce a basshead can as the seal of a closed-back is quite conducive to this, however, achieving a more neutral bass without bloat, bleed, or blur is far less common. Props to Brainwavz for spending the extra time to get this one right.

 
Mids:

1. Clean. They aren't super rich or forward, but they are nestled comfortably in between the extremes of the frequency range. Both Adele's and Simon's vocals are accurate and organic. Horns in the Snarky and Paul Simon tunes are crispy and lively. The crunch of the electric in the "YYZ" isn't as engaging as the Grado or Hifiman sound, but that's not to say it isn't enjoyable. These are a monitor-style headphone, and as such shouldn't emphasize any part of the signature way more than any other. 

 
Treble:

1. The treble on the HM5 is polite yet detailed. It's not a detail retrieval monster, nor a haven for treble-heads, however, monitor-style headphones should have a revealing treble.The HM5 is no exception. It's not the most spacious I've heard, but it is very capable for a closed-back design. Like the midrange, the treble is clean and articulate. Intricate cymbal work and upper-range trumpet and sax is clean and detailed. Now the treble is a hair behind the lower frequencies to these ears, but not recessed. I imagine this tuning is meant to make them easy to listen to across genres. These headphones are certainly not going to cause any wincing or fatigue after lengthy listening sessions.

 
Soundstage/Imaging/Separation:

1. Slightly better than average. The sense of space is decent, but probably not anything to write home about. Decent height and width, but not a lot of depth. On some of my orchestral stuff, having come from the HE500, I knew that there was more in the recording to be offered. Left-to-right imaging is spot on. Nothing else to say on that. Instrument separation is also just fine. Nothing incredible or shortcoming to note. From the large live-in-studio recording of the Snarky Puppy tune to the digitally-enhanced sense of space in Imogen Heap's "Hide and Seek," picking out individual timbres, rhythms, and layers is very easy.

 
Aesthetics:

1. For me, aesthetics are only worth mentioning if they're very good or very bad. In this case, it's very good for most respects. Comfort? Almost excellent. The spacious pads that these have become known for are very light and plush. It's no wonder they show up in pad-rolling threads all the time. ***Stay tuned for my review on the new HM5 Velour Pads!!!*** The shape and padding of the headband is very ergonomic, however, the clamp is worth mentioning. It's a little clamp-tastic out of the box. This does help with the seal and stability on head, but is still a little vice-like. Luckily, this can be alleviated by periodically stretching the headband beyond normal wearing width. The mostly-plastic build ain't my first choice, but ya gotta save some production dough some how! The metal-faced cups are nice and clean which does lend a more premium feel to the HM5.

 
Accessories:

1. I can't not mention the accessories. Brainwavz has always impressed with the included accessories. From the slew of tips that come with IEMs to the hard case and multiple cables of the HM5, I've always pleasantly surprised. The HM5 comes with two removable cables, a spare pair of pads, probably the best hardside case I've seen for a full-sized can, and a little zip pouch for the hefty 1/4 adapter and extra cables inside the case. Nice!

 
Conclusion:
 
Overall, the HM5 from Brainwavz is one of the best sub-$300 closed headphones I've heard. It bests its rebranded NVX XPT100 in every category. It offers an accessory kit that every other major headphone manufacturer should take note of. And, best of all, it offers exceptional value with regards to soundrice ratio. For anyone who enjoys a clean, mostly neutral sound signature for either personal listening, monitoring, or mixing, the HM5 form Brainwavz is an excellent choice!
 
***This review unit was provided free of charge. I'm in no way affiliated with Brainwavz or their distributors.***

The HE500 brings one word to my mind: Immersion. I've never felt closer to the music. Period.
 
It's the most organic, musical headphone I've heard to date. This implies a preference over the D2k, D5k, RS1i, GS1k, HE400i, ZMF Master, T90, HD600 and HD650. Just a home-run of an effort from Hifiman that, aside from a few aesthetic/comfort issues, makes these an end-game can.
 
The Breakdown 
 
Test Songs (all ALAC either 16/44 or 24/96):
 
Someone Like You - Adele - Live from Royal Albert Hall
Late in the Evening - Paul Simon - The Essential Paul Simon
Mahler Symphony 5 - Georg Solti & CSO
What About Me - Snarky Puppy - We Like It Here
Hide and Seek - Imogen Heap - Speak for Yourself
Prelude from Cello Suite #4 - Yo Yo Ma
Hot for Teacher - 1984 - Van Halen
 
Source:
MacBook Pro > Fidelia > Pan Am Stack
 
Bass:
Well, in a word: real. I got my first taste of planar bass early last year with the HE400 and even though it punched more and lower than my flavor of choice, the RS1i, it didn't stick with me. I've got the 500s now and they have the most realistic bass I've ever heard from a headphone. The sub-bass is present, the mid bass is dynamic, and the upper bass/lower mids are nice and clear and textured. The range of Ma's cello can be heard with ease (something not easily done!). Kick drums on the Snarky Puppy and Van Halen tunes don't sound like shapeless blobs. They sound distinct and punchy. This beats any bass I've heard from a dynamic hands down. Sorry D5000 and HD650!
 
Mids:
Rich! Neither forward nor recessed. I don't think I'd say that the HE500 is a mid-centric phone, but in my experience the mids are often the defining characteristic for most upper-end headphones. That's where vocals, guitars, and horns predominantly sound. Lots of guys can live with hot treble or sloppy bass, but if the mids aren't palatable, whether they say or it not, they aren't satisfied. The mids are very lifelike in they're portrayal of texture and detail. The horns in the Simon and Snarky Puppy are very clear and textured. Vocals sound excellent in "Hide and Seek." Very organic and rich. Once again, my hat is off to Hifiman. I thought I'd never find electric guitar I liked better than the RS1i. Even though I'd love to have both, the HE500 presents vocals beautifully AND I get the crunch from my favorite guitar riffs. Truly an accomplishment.
 
Treble:
Natural and clear. The HE500's upper end is quite special. While not unnaturally-detailed (what I think of when I hear the HD800), the treble range is still very detailed and revealing. It bests anything I've heard from Beyer and certainly Grado. Intricate cymbal work on "Hot for Teacher," violin overtones in Mahler, and air in Imogen Heap's voice all come through clearly and naturally. Probably the only time I've been able to say that about any headphone. A comparison I've often heard is that of the HE500 to the LCD2. The treble has to be the biggest difference. If you want polite, smooth treble, go with the Audeze. However, if you want real treble, go with the Hifiman!
 
Soundstage/Separation:
The soundstage is excellent. Once again, just real! Not overly huge a la Denon, or pre-shrunk like a Grado. Studio recorded tracks have excellent space and imaging. Live albums sound live! All instruments from orchestras to jazz bands to duos can be picked out with ease. To me the sound sits just in front of "midway" around the head, but once again, nothing sounds fake or doctored. 
 
*Note: I have the new Focus Pads on my 500s. These are slightly angled in an effort to improve sense of space. I hate the stock velours and pleathers so much that I won't offer an A/B but I will say that the Focus Pads are much more comfortable and certainly don't take away from anything that was already happening. If there is an improvement in sound over the stock velour, it's minimal to these ears. 
 
Issues:
The only qualms I have with Hifiman's hit are those in the categories of comfort and accessories. First, I have gotten used to it, but when I first gave the HE500s a go, I thought the weight would be a deal-breaker. Remember, I'm a recovering Grado-holic, so I'm quite used to wearing headphones that weigh next to nothing. Luckily the headband fits my head quite well (like a Grado) and I've switched to the Focus pads, which are softer, and distribute weight more evenly. I still am reminded of the heft of these guys from time to time, but it's certainly not unbearable. Second, the stock cable and pads are well, just awful. The stock silver cable is the most microphonic cable I've ever heard. Worse than any of the 75+ IEMs I've tried. Since most of my listening is done at the desktop, this doesn't come into play too much, but for a premium headphone like the 500, this is to me, a ridiculous shortcoming. Also, the pads. Pleather: 2 thumbs down! Velour: 1.5 thumbs down! Neither are comfortable, both are hot, the pleather muddies up the sound, and the velour feels like sandpaper. Once again, silly issues to have for a headphone that is so awesome!
 
 
Final Thoughts:
If you couldn't tell already, I'm a huge fan of the HE500, even though for me to really love them I had to buy some new pads and switch up the cable. They offer the best sound I've ever heard. And by best, I mean most lifelike. No overly hyped-treble a la upper-end Senns or Grado. No head-shaking bass a la Audeze. Instead a presentation that is very complete, organic, and most of all fun! These are my thoughts and I'm sticking with 'em!

[Disclaimer: Audrey from Brainwavz reached out to me for a review. I'm in no way affiliated with the company and frankly, I'm quite humbled that I was asked to post my thoughts!]
 
The S0 is yet another sub-$100 offering from Brainwavz that, like its siblings, punches about its price point. It boasts a fun yet detailed sound signature that will bring a smile to both the average Joe and to the audiophile who'd like to have a gym-ready IEM that won't cause tears if it needs to be replaced.
 
Here's the breakdown:
 
Packaging/Accessories/Build Quality
 
I'll give a few thoughts, but since this review is for the S0's sound (after all, that's why we're all here), I won't bog you down with pictures and critiques of tips, clips, or cases. Tips: check. Shirt clip: Check. Case: check. It bears mentioning that the hard-side case that Brainwavz has started including with their IEMs is just awesome. Zippered, roomy (but not huge), and it has internal pockets for things like tips, clips, and adapters. The sleek black/red colors are pretty sweet too.
 
Also, build quality is excellent. I've been impressed with the implementation of the flat cables, meaty Y-splits, and sturdy strain reliefs that Brainwavz uses. Always makes you feel like you're dealing with a quality product. Metal housings on the S0 are well finished and also lend to the feeling of something that's going to last you a long time!
 
Sound
 
First thought that comes to mind: easy. The signature is very reminiscent of the Shure SE215 or maybe TDKBA200. Detailed, yet smooth. Rich bass with a little bloat, smooth mids, and refined yet slightly rolled off treble. 
 
Bass: Bear in mind, the bass changed the most with tip-rolling if you ask these ears. With the pre-installed tips, the bass was Grado-esque. Punchy and dynamic, rich in mid-bass, not as much in sub-bass. Present, but not very meaty or terribly thick. At least not at first. Bassnectar and Lupe Fiasco were both underwhelming. Changing to some wider bore or double-flanges brought the bass forward and although the mid-bass was able to yield some decent slam, it definitely starts to bleed into the lower mid/vocal range. For EDM or trance, I don't think anyone would say boo, but for those of you who live for the mosh or want to hear the nuances of Paul Chambers upright, may want to look elsewhere.
 
Mids: Smooth and clean. The upper mids are a little more present than the lower but neither are recessed. Once again, Grado-esque. Musical, but not too thick or unnatural. Florence + The Machine is sounding great! Some of the male-vocal lead stuff (Pearl Jam, Aloe Blacc) is less engaging by comparison, but certainly not unlistenable!
 
Treble: In a word: polite. Here's where the sound is not so Grado. The treble definitely rolled off, but still detailed, and clear. I can hear everything textures on strings and harmonics from solo piano work well, however, things like intricate cymbal work from Neil Peart is sometimes blurry. In this case, the S0 reminds me of a diet version of the Sony MH1. 
 
Soundstage/Separation/Imaging: Decent but nothing to write home about. L to R placement is accurate and probably better than average at this price point. The sense of space isn't huge, but I never felt like it was collapsed or congested either. Both of these points speak highly of the S0 tuning. In my experience, budget IEMs are often tuned decently, however, developing a coherent sense of space and separation usually sucks. Not the case here! Listeners of rock/jazz/pop/hip-hop and they like will be just fine with the S0 staging attributes. Fans of larger ensemble work or decent live recordings may feel a little underwhelmed. 
 
Overall, the S0 from Brainwavz is a very good all-rounder that will play quite nicely with rock/pop based genres. Tip rolling will help you dial in the bass just right (as well as treble to some extent) and mids are musical and rich. Soundstage isn't the widest, but it won't disappoint for the price bracket. If you need a new budget IEM that fits nicely in the niche carved by the Havi B3, VSonic VSD3, and Ostry KC06, the S0 is certainly one to consider, especially given its excellent build quality and included accessories. Check 'em out!

The X5 from Fiio. Where to begin...
 
Perhaps I'll start with dual-CPU processing power... or maybe the dual TF card slots... or perhaps USB DAC functionality... then again how about the exceptionally black background...
 
So many options. You know what? I'll make your life easier. Since every other review is pretty dang thorough, I'll just include the highlights and then my personal impressions.
 
The Hits 

1. Support for every lossless format under the Sun
2. USB DAC capability
3. Two TF-card slots (up to 256 GB!)
4. Exceptional firmware/UI development that continues to improve

 
The Misses

1. The click wheel implementation
2. Non-removable battery

 
My Thoughts
 
To give you an idea of where I'm coming from, my head-fi DAP history has included a plethora of iPods, a sample of Sansas, a cache of Colorfly, a basket of iBassos, and a few Fiios. Some like the iPods, C3, and DX50 were used with additional amps & DACs, while the X3, DX90, and now X5, have been standalones. 
 
The X5 is the one I've decided to keep and here are the reasons why:
 
Sound
 
Duh. This whole journey has been a pursuit of better sound without sacrificing much else. The X5 does it right. It's a noticeable step up from the iPods, Sansas, and Colorfly so I won't reference those.
 
In comparison to its younger sibling, the X3, the presentation is more neutral, with just a dash of warmth in the lower mids. Both have the Fiio sound, but to me, the X3 is the obsessed-with-being-cool younger brother, and the X5 is more sophisticated, eternal-bachelor uncle. Just more refined, clear, authoritative sound. Since it's often a subject of contention, I'll cast my vote confidently for the X5 over the DX90. It's got a more organic (less digital) sound and comes at a substantially lower price. 
 
Mid- and sub-bass are both very textured and well-balanced. From Paul's upright to Bassnectar's bass cannons, I've never once wanted more. This is definitely a pro for the X5 over the DX90. The 90's bass is heard. The X5's is felt. Which, if you ask me, is better. I've never been to a concert or venue where, when it was time, I didn't feel the bass, whether it be from a drum or an instrument. 
 
Vocals and instruments presented in the midrange are in a word: rich. From the distortion in Jimi's electric to the rasp in Norah's voice, I've always felt that the X5 does the mids better than is let on. Often in DAP-world, we judge by extremes. Depth of soundstage. Low-listening noise. Extreme upper and lower-end frequencies. Sometimes we forget about the middle. Well, have no fear. I did not forget, and neither did the good people over at Fiio. The X5 gives them just like they were recorded. 
 
The X5's upper end is solid. It's not as spacious as the DX90, but it's certainly close. It extends farther than the X3, and offers more detail than the DX50. Thanks to the exceptionally noiseless background, all the details you only hear up top are easy to discern. Things like Joe's fingers sliding on guitar strings, Adele's breathing, and Neil's cymbal rolls are very detailed and lifelike. In my experience, these kinds of things are lost in live recordings with most DAPs. They just don't have the resolution capability to make instruments recorded live sound like it. Luckily for us, the X5 does.
 
All in all, the X5 offers a complete audio experience that doesn't leave this listener wanting anything. In a world where DAP to DAC to AMP to headphone pairings are all the rage, this is quite a feat if you ask me!
 
Function
 
With regards to the X5's user experience, we've been presented with something original (always scary) yet very capable. Physical buttons require a little getting used to, but they follow a reasonable navigational scheme. I also appreciate the thought that has gone into making this player one-handed and non-visual operational. Being able to choose which buttons function when the screen is off is a nice touch. I can operate all audio functions without seeing the player!
 
The UI has a pretty short learning curve, which is certainly appreciated. Honestly, no matter how good the sound is, a bad UI can be a dealbreaker. Fiio's folder-based UI is easy enough to navigate and adjusting player and audio settings like gain, EQ, sleep, and card-scanning are reasonably intuitive. Heck, I like the look of the nav screen with it's circular design. Even the volume adjustment is cool. Unfortunately, I can't stop here though...
 
The qualms I have with the UI right now are that 1. the playlist support is clunky at best. 2. the Verdana-style font with now-playing information is a little annoying and 3. the click wheel. Why oh why would you try to make a different click wheel the the most popular portable player of all-time? That's asking for it. The X5's wheel works just fine, but it's mechanical design (as opposed to the iPod's electronic) drops the ball in two ways. First, it has as limited scroll speed - super annoying for those of us with large libraries. Second, one click of the wheel does not equal one move on-screen. Sometimes it does and then sometimes it doesn't. This makes for a lot of missed selections. 
 
Even though I don't use them much, there are other functions that the X5 offers which should satisfy most users. First, it's USB DAC capability is quite nice. It offers some seriously quality sound for those of us who are doing most of our listening through a laptop or portable rig. It's coax and line out are also very convenient. The line-out is one of the cleanest I've ever heard!
 
Finally, I should mention that the driving power of the X5 is excellent. I've yet to use a headphone that made it feel insufficient. From the 215s to the KSC75s to the PS500s to the ZMFs, the X5 drives everything I've thrown at it with authority. This is great not only from an SQ standpoint, but also from a convenience factor: I don't need to look for an additional amp! No more double-stacking! Woohoo!
 
Conclusion
 
In closing, the X5 from Fiio bests most of the other DAPs in and (obviously) below it's price bracket in almost every category. I can't compare it to the offerings from A&K or the brick of a player that the DX100 is, but I can assure you that it leads the race in my experience, for sub-$500 players. From it's excellent sound quality (I don't remember the last time I listened so exclusively to my portable device), to it's "extras" like dual-TF slots and USB DAC capability, to it's authoritative amplification, this DAP has proven it's worth time and time again. If you want an all-inclusive solution to hear your music more clearly and enjoyably when you're on the go, look no further than the Fiio X5. 

So the Pan Am from ALO Audio. This little guy is pretty dang impressive. An excellently-built, functioning desktop solution that is pretty easy on the eyes too! For the record, I've got the whole stack - Pan Am, Passport, and Gateway. Haven't done much comparison between the two power supplies yet.
 
As for the sound, the presentation is not glaringly tilted towards the bright or dark end of the spectrum. In a word: neutral. Now of course the tubes you pick can change that, but it's nice to know that with a conservative tube like the Yugo 6HM5 or RTC, you're starting pretty close to neutral.
 
I think that DAC implementation is equal to the ODAC. Very capable and revealing from the 256 MP3s I've tested all the way up to the 24 bit higher res stuff. No complaints here.
 
Now the amp. Power, power, and more power! Even with the ZMF V1s, high gain yields plenty of authoritative power with a dynamic punchy bass, lush mids, and nicely-detailed-but-never-sibilant treble. I also appreciate the versatility in that the Pan Am still plays well with lower impedance cans like my Grados and D2000s. I'm very impressed with it's synergy with the DT880 Pros as well. The tubes take the edge off their treble making them one of my favorites.
 
Tubes. Woohoo! I've got the Mullards, Siemens, RTCs, Voskhods, Yugo HM5s and Sylvania HM5s. So far the Mullards take the cake with the Yugos and Voskhods in at a close second. The Mullards rich lush bass and lower mids are unmatched out of this collection. Now the RTCs do treble better, but for me, I'll sacrifice a little extension for some thump.
 
Overall I'm very happy with this little setup. It's versatility, size, form factor, and tube-rolling options make it pretty dang satisfactory. Consider upgrade-itis cured... for now. 
 
Add: Unfortunately the Pan Am is being phased out by ALO. For anyone looking for a slightly tubey desktop solution that will power just about anything you throw at it, I'd seriously consider the Pan Am.
 

The new S5 from Brainwavz will certainly please most casual listeners. It's sleek design, tangle-proof flat capable, and pop-ready sound signature certainly justify it's price - not to mention probably the best IEM case I've ever seen short of an Otterbox. 
 
Before I get into it, I owe a thank you to the good people at Brainwavz for reaching out to me for a review. They shipped the IEM to me quickly and have been very courteous and communicative throughout the review process. Disclaimer: I'm not affiliated with them in any way. 
 
(If you want to read about the packaging and included accessories, check out one of the numerous other reviews, as this one will jump straight to the point: the sound)
 
Out of the box, the S5 sounded a little lackluster. The midbass was a bit muddy and bled into the mids. The treble was very hot and almost unbearable on treble-heavy tracks. But in an effort to remain fair, I gave these guys multiple chances and I'm quite glad I did. 
 
After ~50 hours, the midbass has tightened and the sub-bass has made its presence known. The mids are now much less cluttered and quite listenable. The treble has cooled, although changing to foam tips calmed them more than the burn-in. 
 
So now that they've gotten some more devoted head-time, here's the breakdown.
 
Test Songs (all MP3 320):
 
Someone Like You - Adele - Live from Royal Albert Hall
Late in the Evening - Paul Simon - The Essential Paul Simon
Wake Up Everybody - John Legend and The Roots - Wake Up Everybody!
What About Me - Snarky Puppy - We Like It Here
Firewall - Steve Vai - Real Illusions: Reflections
Hide and Seek - Imogen Heap - Speak for Yourself
Prelude from Cello Suite #4 - Yo Yo Ma
 
Sources:
 
Desktop: MacBook Pro > Fidelia > Pan Am Stack
Mobile: Sansa Clip+ & iPod Classic 160GB > iBasso D-Zero
 
Bass:
Well, in a word: tasty. The sub-bass is present! In my experience, this is someone quite uncommon in sub $100 IEMs. It's nice to hear the low notes in "Late in the Evening" and "What About Me." The midbass is a touch boosted, but certainly not overly so. It adds a little oomph to pop/rock/hip hop, yet doesn't make the classical or jazz stuff sound unnatural. Very well done.
 
Mids:
Rich and in place. Neither forward nor recessed. The mids are very lifelike in they're portrayal of texture and detail. The horns in the Simon and Snarky Puppy are very clear and textured. Vocals sound excellent in "Hide and Seek." Very organic and rich. That's all I have to say about that.
 
Treble:
The treble is make-or-break according to the tips (and quality of the source material). I found it a little hot and sibilant in most instances ("What About Me," "Firewall"), although bear in mind, the iPod/D-Zero has a neutral to bright sig. There were a few times with the stock silicone tips that the treble was hot enough to make me skip tracks. However, with a little EQ-ing and a change to the included T400 foam tips, it was pulled back a little to reveal a detailed treble that works well for the same genres that the midbass helps. 
 
Soundstage/Separation:
The soundstage is nothing to write home about. It's on par with similarly priced IEMs like the Shure SE215 and Hifiman RE400. Not large or deep, but not congested either. Instruments are easy to place and pick out individually. A nice bonus for an IEM with a very consumer-friendly signature.
 
Final Thoughts:
Overall, I would recommend this IEM to anyone looking for a very durable and comfortable solution for popular music genres. The midbass boost and spicy treble work quite well for electronic, rock, and hip hop-styled genres. However, as mentioned above, the treble can be a little too hot at times, so sensitive ears beware. All in all, this is a solid offering from Brainwavz that will compete quite well with the established in-ears in this price range like the RE400, SE215, and FXT90.
 
Edit:
I've been giving these guys some more head time with some new source material and I have some impressions to add! They've been hanging out with the Fiio X5 (MP3 320) all week and the treble peakiness is almost (but not quite) gone. The thick tasty bass and rich mids are still there too, and the soundstage is a little improved, although the X5's exceptionally black background may be the largest reason for this. In any case, it's good to know that the S5 seems to scale will better gear. I'm not finding the qualms I had with them before in this setup and it's like I'm getting to know them all over again!

The B3 from Havi is one of the best values for a reference-style IEM I've ever heard. In a time where most IEMs being sold for under $100 are tuned for the masses (i.e. V-shaped sigs that are easy to drive) the B3s refuse to conform. Here we have a dual-driver IEM that gives the budding audiophile a chance to get in on the neutral sound game. 
 
Sound
 
Bass - Tight, textured, and fast. Bassheads should certainly look elsewhere. Anyone wanting to get bass as it was recorded presumably in studio can rest assured. The B3's deliver. 
 
Mids - Rich and in place. Neither forward nor recessed. The mids are very lifelike in they're portrayal of texture and detail. Vocals sound excellent as do keyboards and guitars.
 
Treble - Where it's at. No treble boost or extra zing here. Just clean, airy, spacious upper end that effortlessly handles the upper range of the violin in a string quartet as well as the jazz ride cymbal.
 
Separation/Imaging/Soundstage - Best I've heard in a sub-$100 IEM. Period. Details are retrieved effortless and as such, imaging is quite natural. The soundstage on these guys is just excellent - very out of head. 
 
Aesthetics & Ergonomics
 
The look of the B3 is pretty unique, what with it's pseudo-balanced cable design, red and black color scheme, and gorilla-glass faceplates. I like the cable/Y-split/strain reliefs, although some mention that they have an unpleasant memory effect. The only gripe I could think of for these guys in the awkward size and shape of the housing. It's a little on the large side and doesn't fit in my ear particularly easily. Not uncomfortable per se, but I'm definitely not going to fall asleep with them in anytime soon.
 
Driveability
 
A word about the B3's power needs. Yes.
 
Feed the beast! They can be driven from a phone but if you want to up the bass, and further widen the soundstage, give em some juice! Fed mine with the budget iBasso offering, the D-Zero with excellent results. Just for fun I even plugged 'em into my Pan Am and certainly enjoyed the soundstage the Mullards offered
 
Conclusion
 
In conclusion, I'll say what I said before. If you want to get away from boosted bass/treble sounds that play well with electronic and pop music but hang classical and jazz or prog out to dry, look no further. The B3 Pro I from Havi is a giant-killer in this niche and should be seriously considered by anyone looking to hear what their records sound like before a bunch of digital enhancement.

Well I suppose the good people over at Audio gd would be quite proud. This is the first product out of their largish lineup that I've heard and well, I'm sold.
 
The NFB 11.32 was purchased after reading up in its appreciation thread. Even though I didn't need one, I'm still interested in mid-tier amp/DAC combos to see how they'll synergize with my gear. I have a MacBook Pro running Fidelia and 2-in-1 combos are the most logical option for my setup. The 11.32 was an excellent purchase for the following reasons.
 
Sound/Resolution:
 
It has a very neutral amp presentation that retrieves plenty of detail. It sent the O2/ODAC combo packing (who sent the Asgard/Bifrost combo packing). The 11.32 doesn't have any coloration to these ears. The resolution department works plenty hard also. Almost my entire library is mp3 320 as I can't hear any improvement with FLAC or hi-rez. So even though I can't comment on the DAC's abilities to melt my ears off with 32 bit nonsense, the 11.32 still pulled details that weren't noticed in the other aforementioned setups. Probably the most noticeable difference between them however, was its ability to replicate a more 3D soundstage. The O2/ODAC is a fantastic combo that performs brilliantly. However, after A/Bing with the 11.32, the Audio gd made the O2/ODAC seem very two-dimensional - not a lot of depth to the soundstage and imaging. That difference was all I needed to make my decision. Overall very impressive.
 
Input/Output Variety:
 
Like I mentioned before, my setup is simple compared to many as it doesn't involve gobs of hi-rez material powered with "audiophile" PSUs and $200 USB cables. However, I do appreciate the versatility the 11.32 offers with regards to input/output capabilities. It can take USB, coax, or optical in and will output to the 1/4" plug, or do a variable/fixed RCA output. So it's very easy for me to plug the T90s straight in or I can flick a switch and plug them into the Little Dot 1+ which is connected to the 11.32 RCA out to show the Beyers some tube love. Very easy and smooth operation.
 
Aesthetic Design:
 
While not the end-all, the way something looks certainly can work for or against it. Luckily the boys at Audio gd are privy to this. The 11.32 is cleanly designed with minimal markings, and/or extra appendages. All of the volume/gain/input/output selectors are on the front panel which is surprisingly rare this day and age. +1 for the thoughtfulness here.
 
Power:
 
Last but not least: power. Preface: My power requirements range from High-sensitivity IEMs (SM64) to orthos (ZMF T50rps). Long story short, between the two gain settings, there are no issues or wanting to be found here.
 
In conclusion, the 11.32 from Audio gd is an extremely capable and resolving amp/DAC combo that works for just about anything you throw at it. From it's very neutral and powerful amp section to it's incredibly versatile DAC circuit, there aren't many situations that I can imagine where the 11.32 won't get the job done quite well. 

Well let's admit it. Open-back headphones spoil closed-back cans for most of us. While closed cans isolate, they've never been able to match up in terms of soundstage and instrument placement. Luckily for us Zach over at ZMF is helping to bridge the gap. 
 
The ZMF Master Model is a stunning variation on the Fostex T50rp. Among other mods, Zach offers cup painting, recabling, headband padding, and of course his special blend of damping/sound-altering mods. 
 
I was the very lucky winner of a pair of the V1 variation at the Music City Meet organized by @theogenes earlier this year. Honestly, when I listened to them at the meet, it was hard for me to adjust and appreciate the more closed in sound they produced compared to the slew of Grados, LCD's, and Hifimans that were also at the meet. However, after lots of love and some decent amping, I'm a huge fan of these headphones. 
 

Having never won anything in my life, this was a pretty awesome way to start!
 
So. The sound. 
 
First real impression: Clean.
 
The V1s are tuned to have a neutral presentation and I'd say that they do so quite well. To these ears, none of the frequency bands seem accentuated. When I first gave them some serious time, I thought the treble was a little lacking and Zach was able to help me out by slightly adjusting their tuning and recabling with some military silver for a little extra zing. 
 
The Breakdown:
 
Bass - Very good bass response throughout the low range. Listening to James Blake's Overgrown album shows that they have no problem reaching low. The mid bass is great on every rock tune I threw at it and the upper bass on Milestones is just as natural as everything else. Very nice. No bloat. No flab. No extra. Just punchy, textured, linear bass. 
 
Midrange - Clear and rich. I certainly wouldn't say mid-forward, but not recessed either. They seem right at home in between the extremes. Florence + the Machine and Sonny Rollins both sound very natural and lifelike. Really a great achievement here. 
 
Treble - This one has grown on me. At first I thought it was a little lacking, but after some mental burn-in, I've come around. The texture and detail in cymbals, piano, and violins alike are very pleasing natural. The count-off on "Back in Black" is crystal clear as are the first violin's in Prokofiev 1. The Shure Alcantara pads and closed nature of these cans also help the treble be non-fatiguing methinks.
 
Separation/Soundstage - The instrument separation is very good. Right up there with my recent Beyer T90s. Everything is easy to hear and place. The soundstage isn't stupendous but it's as good as I've heard from a closed can. Things don't sound mushed together or nasally, but it's no open-back so don't expect to be blown away by a concert-hall presentation.
 
Other things to note:
 
These guys aren't the lightest headphones ever. They are hefty in both size and weight. Luckily Zach's pilot pad does an excellent job of dispersing the weight over the head and the Shure pads ease some of the pressure on the ears. Speaking of pressure, there is plenty of clamping force. For those of us with larger noggins, this is something to consider. 
 
Also, remember that Zach offers lots of options with regards to his ZMFs. There are painting/powder coating options for appearance. There are recable/rejack options including all sorts of plugs, cable materials, and jack options. He can also tune them to just about whatever you need. The V1 is the more neutral of the two, while the V2 offers a slightly warmer presentation. So depending on your preferences and budget, these headphones can offer plenty.
 
Overall our very own Zach Mehrbach has done an excellent job producing a closed T50 mod that is both musical and affordable. They're easy to listen to and present a very accurate musical experience. I don't hesitate at all to recommend these to anyone looking for a closed option around the $300 range. Give 'em a listen!

Many moons ago, early in my head-fi journey, I had the SE215 and thought pretty highly of it. Very good all-around sound, nice form factor, under $100, and removable cables. What wasn't to like?! Those guys served me very well for yardwork and gym-time for a few months before I moved onto something else. Now I'm back with the 215 LTDs and I think they're to be a staple in my lineup.
 
These guys look great. The aquamarine color is gorgeous. The color reminds me of some nice CIEMs I've seen before so that's cool. The size/shape of the housing fits well inside my ear and the proprietary cable pin is also pretty low-profile. Cable is nice and sturdy without excessive microphonics. 
 
Sound is great for my purposes. These are my work-in-the-yard, take-to-the-gym, ride-the-bus, walk-the-dog IEMs which are usually paired with my cell phone or Sansa Clip. They have a very fun signature that still performs well with regards to separation, soundstage, and detail retrieval. Are they an end-all for treble extension and texture? No. But their price tag doesn't suggest it either. Hard rock, hip hop, and jazz all fair very well with the LTDs. Surprisingly they also handle classical well - ya know, on the rare occasion I need to hear some Holst while using the weedwhacker... The only genres I've tried that don't work so well are any that require a great deal of speed or excessive separation i.e. speed metal and the like. The extra depth in the low end is great and makes these very fun with most popular genres but it can be slow and congested when you need more separation in the mid to lower end. Luckily for me, there isn't much in my gym playlist like that. 
 
Speaking of the bass, I'll drop a note or two about it. Some have said that the bass on the LTDs is excessive, boomy, or muddled. I respectfully disagree. It's still very clear and textured. There is more than the normal 215s, especially sub-bass extension, but to me, it rarely intrudes on the mids or loses quality.
 
If you're looking for an IEM that has a shallow V-shaped signature with good lows and non-offensive treble, this is a serious option to consider.

The KICAS from Purity Audio is a very clean and capable sounding solid state amp that's been spiced with a touch of tube-esque warmth. 
 
KICAS (Keep It Clean And Simple) says it all. 1/4" headphone out, power switch, a pair of RCA inputs, and AC power input. That's all you get, and the guys at Purity proved that's all you need.
 
This one has excellent synergy with my Grados as well as the SM64s. The RS1's sound very punchy and dynamic (even more than normal) with sibilance only on poor recordings. Separation is very natural and coherent. This amp may not be the most neutral, but it certainly doesn't do anything weird to the source. Music is presented very naturally (I'm very reminded of the Colorfly C3's kind of sound - lush, rich, and organic).
 
I've heard it only briefly with some higher impedance cans like the ZMF V1 and HE500. The amp powered both with ease and from my brief time with them, both cans responded well to it's "just-north-of-neutral" presentation.
 
I would certainly recommend this amp to anyone looking for a do-it-all amp solution that specializes in simplicity yet gives a rich musical sound. 

Ah yes, the SennGrado. Like a unicorn or a woman with brains and beauty, this one is almost impossible to believe. But I'm here to tell you: believe it.
 
If you want background info, head over to the non-Grado thread. Basically a handful of modders (led by @wje) have installed the drivers from Senn's portable PX100 II in Grado-style cups with astounding results. If you're not sold yet, consider the fact that most who have tried the SG have considered, if not already sold their higher end Grados.
 
The SennGrado bests anything in the Prestige series to these ears. They are of the same sound as the RS1/GS1000  with slight differences. 
 
Bass
The low end is punchy and dynamic. Nice and full with plenty of texture. I prefer the SG's bass to the RS1i's. It reaches deeper and seems more linear where the RS1 has a little extra in the midbass that seems more round and less detailed in comparison.
 
Mids
In the mids, the RS1 wins as they seem more forward and lush. That's not to say that the SG is a slouch though. still very clear and easy to listen to. For those who've heard both the GS1000 and RS1, the SG's mids are more similar to the GS1000 with respect to how they are framed by the upper and lower ends of the spectrum.
 
Treble
The upper end is nicely extended and detailed. It's not as aggressive as the RS1 or 325 but certainly isn't rolled off either. This treble is what I think of when I think of non-fatiguing. 
 
Soundstage/Separation
The intangibles are right on par with the GS1000. Bigger soundstage than the RS or Prestige series. Nice air up top without sounding unnatural. 
 
Overall, the SG is one that any Grado fan should hear once. I've never head a Magnum, so I can't compare, but used PX100s can be had for less than $40, so for sound on par with upper end Grados, a pair of SennGrado's can be assembled for less than the cost of Magnum drivers. Not to mention that they can be installed in whatever cups you'd like so the customization options are endless. Do yourself a favor and check out these exceptional headphones. 

The HE400 from Hifiman is a great value. For someone looking to a.) try a planar magnetic headphone or b.) find a pair of cans that will offer excellent, natural sound at a solid price, then this is one you need to consider. 
 
They're built like tanks! Although the amount of visible plastic is scary at first, its very obvious once you pick them up that they're going to take a few knocks before you have to worry. From the headband (very comfortable) to the metal gimbals to the shielded cable to the plush earpads, the HE400 won't make you feel timid in handling them. Also, since it comes up all the time, I've had no problems with the cable connectors. I can't say why or why not, but they don't seem problematic to me. 
 
It also bears mentioning that the housings are very large. Like huge. Largest I've seen. But they don't touch the ear at all, obviously an intentional design to create a room for the ear (or because of the massive planar magnets required). 
 
Now for the sound.
 
First word that comes to mind: natural. Nothing sounds "enhanced" to these ears.
 
Bass
The bass is solid and reaches quite low without making me feel like I've got a subwoofer on my head. One of the best ratios of quality to quantity I've heard.
Mids
The mids are very clear and neither forward nor recessed. Upper mids are a touch more present than their lower counterparts, but neither sounds unnatural. I can hear all vocals, guitars, and midrange instruments very clearly. 
Treble
The treble is nicely extended but never fatiguing or harsh. I've read a few reviews claiming the 400s were too bright and I'm very glad to say that I disagree. I could see that they wouldn't play too nice with low quality source material, but as they are, the treble is once again, very natural and clear.
 
Soundstage
The depth of stage definitely bests the width although both are still very good. I assume that the room in which my ears are sitting is a direct contributor to this. Once again a very natural sound, no depth so great that I'm left feeling that I'm 30 rows back, but also not so forward that I feel like I'm squished between the bass and drums.
 
Separation
The separation is good, not great. My Grados best it, but that's not to say that its non-existent. Its just not studio recording quality.
 
All in all, I'm glad I've gotten my hands on a pair of HE400s. Although they're a little on the heavy side, they are still rather comfortable and have a great sound. Very organic and natural. They certainly sound best after amplification, but they don't beg for it. Just remember if you're looking at planars, some meaty amplification is gonna get the best out of them for you.