If the opening scene would be a spaceship landing on a desert-barren planet where, inside a derelict bazar partially drowned by sandstorms, a wooden box would be dug out of the sand, carefully set on a table and opened to reveal the Nightjar Acoustics’s Singularity — they’d be right at home.

While the IEMs have been paid at retail price out of the author’s pocket, I would nonetheless like to send my heartfelt thanks to Zeppelin & Co. for making this purchase possible — thank you so much guys!


The object — Equally ancient and futuristic in design, the Singularity are understated yet elegantly crafted IEMs one cannot help but feel are special.

The IEM have a nice heft to them and have an artisanal, handcrafted, flair that is a joy to hold — not to mention the choice of materials for this launch edition.

Having learned to appreciate thin and flexible cables, the 2-wire Vanguard cable with multiple terminations is not only a perfect match for the Singularity but also among the very few bundled IEM cables that strike a balance in terms of flexibility, looks and quality.


Fit & Comfort — The shells are small enough with well-rounded corners to fit most. The nozzles are however on the short and thick side. Although they did end-up providing a decently comfortable fit, they lean more towards Oriolus (usually a no-go here) than Campfire Audio (usually perfect).

The vents ensure a genuine pressure-free listen, even on bass-heavy tracks though one might be surprised to read what follows on this particular topic.

Tips used: Subtonic House Tips — note that tips will impact the sound a significant extent in this case and impressions can strongly differ in-between listeners


Sound — The Singularity present an engaging yet relaxing but especially, musical, natural yet articulate, and fatigue-free listen with one of the most natural timbre and soundstage heard to date.

Textures are present but will vary depending on how the track was mastered which is somewhat of an underappreciated quality. While the low-end emphasis is there, it does not hit anywhere near what graphs might imply. If the Singularity's low-end makes you ponder, the take here is that its quality is likely going to impress you more than its quantity. In that regard, the Singularity can surprisingly be genre-agnostic.

As the cable allows for swapping terminations, the following differences have been noted using sources with similar single-ended and balanced implementations: balanced sounds tighter and more controlled all the while remaining a relax listen whereas single-ended sounds less controlled and more relaxed.

Files / Sources used: CD-quality FLAC bought from Qobuz & Tidal HiFi streaming / Sony ZX507, NW-WM1AM2 (Direct Source: On) & Aune M1p


Conclusion — There’s IEMs you listen to and compare to others and there’s IEMs you just listen to. The Nightjar Acoustic Singularity distinctly fall into the latter category.

The wooden box and metal case of the launch edition are, for the price, just the cherry on top rounding up a boutique audiophile product with a sound I foresee many will hunt down in a certain online bazaar years down the line.

The Singularity are pure bliss and a genuinely singular IEM — hats off Nightjar Acoustics!

When one of your favourite songs is ‘White Rabbit’ from Jefferson Airplane and you’re into IEMs, it’s a bit difficult not to get drawn to the FIR Audio VxV.

Released in 2021 and designed in collaboration with Singapore-based Project Perfection, the VxV was aimed to be an Every Day Carry (EDC) IEM.


The object — Small, light, well-built, with faceplates you either love or hate, together with engraved coordinates for FIR Audio’s headquarters is what makes the VxV.

The VxV are linked to your source with a supple and nicely braided 2.5mm balanced SPC cable. Balanced 2.5mm was an interesting choice given that, at the time, many manufacturers were already moving onto balanced 4.4mm terminations. With that said, from an EDC standpoint, 2.5mm does make a lot of sense.


Fit & Comfort — The ATOM vent system ensures the VxV are a pressure-free experience all the while providing a good level of isolation — and since you cannot change them ‘à la’ 64 Audio, you won’t toss and turn at night to decide which one’s the best.

The nozzles otherwise aren’t too short, nor long or thick. The shells are small and light enough to be quickly forgotten, together with an SPC cable you quickly won’t feel anymore. What’s more to ask?

Tips used: Campfire Audio silicone


Sound — The VxV have an easy to drive, coherent, neutral and musical sound signature which will let your source colour some of the sound. This means that you’ll read (sometimes very) different impressions, likely depending on the source used.

With the below listed sources, the sound remained natural and musical, with a somewhat reserved low-end which does however punch when needed. Despite being powered by a dynamic driver, the low-end sits in-between a BA and DD low-end. Mids work equally well with female and male vocals, guitars, strings, and bring out the texture in a very nice way. Treble is well extended and could turn a bit bright with some sources though it wasn’t the case here. The VxV’s soundstage is wide and imaging as well as separation are both excellent.

Single-ended, the VxV will sound a tad more analogue and relaxed with less top-end fatigue on some tracks though this will be at the expense of some soundstage.

Files / Sources used: CD-quality FLAC bought from Qobuz & Tidal HiFi streaming / Cayin RU6, RU7, Uncapped Sony ZX-507 & NW-WM1AM2 (Direct Source: On), all via ddHiFi balanced adapters


Conclusion — While some might prefer it with specific genres, the VxV remains genre agnostic and will very likely play well with a bit of everything with the only caveat that it isn’t for bassheads.

Interestingly, it seems to take the best of what another Northern American brand has made: Campfire Audio. The VxV packs the qualities of the Andromeda 2020, Ara and Solaris 2020 into a sub-$1k IEM with a funky look that might be the best, and most convenient, sound for the money I heard in an IEM. Better late than never.

A pure audio player. This is what Aune Audio aims for with their M1P. With a marketing reminiscent of the late 1990s, early 2000s Hi-Fi and CD players, how does the M1P fares against the competition, including a top-tier audio player from Sony?


The object — With a form factor similar yet thinner than the Sony NW-ZX300 and 507, the M1P is pretty much perfect and will fit your hand like a glove. Its leather case will help those who find it a tad too small/slippery.

The all black, lightweight, aluminium construction is good and the USB-C, 3.5, 2.5 and 4.4mm connectors are decent. The wheel, which is one only in shape, has nicely machined grooves reminiscent of volume knobs found on Hi-Fi equipments.


Functionalities & UI — The button layout is well done though some will take a few tries to get used to.

The UI is straightforward and does the job. There's some surprising satisfaction at browsing through one's music collection without artwork. As one of those who need to 'connect' with their player, the M1P very much delivers on that front although in an unusual way for this day and age — in that regard it fulfils the job of a pure audio player particularly well.

The main issue the M1P faces is the fact that one cannot use the USB cable to transfer music onto its micro SD card. One will have to remove the card, load the songs onto it and put it back in the player. To make matters worse, the card slot can be finicky and, if one uses the case, it has to be removed to access the card — someone clearly didn't think things through here.

Moreover, the format the player use will require you to rename some of the file names in your music collection if you, like me, buy your music which often comes with an extensive file naming convention. Last but not least, the battery life is as advertised although, when not in use, depletes quickly after 2-3 days.


Sound — The M1P sounds natural in all positive ways — and does so whether one uses the single-ended or balanced outputs which Aune has implemented equally well, contrary to other manufacturers (staring at you A&K and Sony).

Expecting a cold, neutral, reference sound, my ears were welcomed by a naturally engaging and musical sound which is neither cold, nor warm, nor lacking in, well, anything really.

In terms of filters, I used the player's DAC default filter listed by ESS for their ES9038Q2M: Adodizing, Fast Roll-Off, Linear Phase Filter (see post #158 for more) — which is not the M1P's default filter.


Comparison — Albeit we’re talking about two very different devices from a convenience, form-factor, weight and price standpoint; the Aune M1P competes with the Sony NW-WM1AM2 from a pure sound standpoint — which speaks volumes.

Via the Grado SR325x, single-ended — The M1P has slightly more depths, details and better dynamics all the while remaining an extremely analog, natural, listen.
The Sony has a slightly bigger soundstage and more low-end body as well as a slightly more analogue/realistic decay. It is more ‘delicate’ on some tracks which will make it sound more analog/realistic than the Aune yet this can similarity make it sound a tad too laid back on some other tracks. ‘Minute’ differences here.

Via the Fir VxV, balanced — Balanced is clearly a much better implemented output than single-ended on the WM1AM2 and Aune seems to have avoided the A&K / Sony route and properly implemented both single-ended and balanced outputs.
Balanced, the Sony edges the Aune with better depths, details and dynamics, all the while maintaining composure and being less forward than the Aune. The WM1AM2 sound now also breathes more and feels less focused than the M1P in comparison. Again, 'minute' differences here.

Via the Nightjar Acoustics Singularity, balanced (28-01-2024 edit) — Significant difference were noted in favour of the WM1AM2 paired with the Nightjar Acoustics Singularity where more details, space and an overall analog sound could be heard. The M1p still held its own yet, contrary to the aforementioned pairing, here the differences were obvious.

Files used: CD-quality FLAC bought from Qobuz


Conclusion — If one is willing to go through the workflow of loading songs on a micro SD card and renaming a few files along the way and doesn't need to do this every day/too often; the Aune M1P is an absolute no brainer for anyone after top-tier sound for an unmatched price.

Grado headphones need no introduction. In an already opinionated community, they rarely leave anyone indifferent. As a matter of fact, one of Head-Fi’s oldest post, dated June 25, 2001, starts with ‘I miss the Grado sound’.

If you ever heard a pair of Grado, this will be a familiar feeling — it certainly is to me having started this hobby with a pair of SR80e.


The object — The SR325x are Grado’s Prestige series top of the line headphones. Each pair of headphones are hand assembled in Brooklyn and have that artisanal finish I grew to appreciate over time.

Compared to my SR80e, SR325e and RS2e, this particular pair of SR325x is probably the best pair of Grado I held in terms of fit and finish, all the while exhibiting many of the brand’s trademarks I enjoy.

The new, non-detachable, super annealed copper 8-conductor cable is stiffer than the pervious generation's yet doesn't kink.


Fit & Comfort — Grado has four sets of pads in their line-up: S, F, L and G. The last ones are the only over ear pads, all the rest are on ear. Worthy of note is that Grado headphones are tuned for the pads they come with. Change the pads and you’ll change the headphones’ intended sound signature.

The SR325x come stock with the F pads which have been genuinely surprising. They are very comfortable which is saying something as I traditionally struggle with on-ear headphones. Having now had the experience with all Grado pads, to my ears, the most comfortable pads are the G, F and S pads, in this order. The only pads with which I genuinely have an issue are the L pads.

In terms of weight, while the SR325x are heftier than my previous RS2e, this translates into a secure fit which I personally appreciate.

Pads used: stock (F) pads


Sound — Paired with the below mentioned sources, the SR325x deliver in spades. They have a nice low-end which punches when required but otherwise remains in place without muddying the mid-range nor impacting the brand’s signature sound.

The detailed and textured mid-range is alive and well, albeit a touch warmer than usual, while the highs remain well controlled with no sibilance.

Overall, the SR352x offer a textured, mature and natural sound which made we wonder about my other, more expensive, headphones.


Comparisons — Speaking of which, at half the price, how do the SR325x fair compared to the Sennheiser HD660S2?
To make it simple, the HD660S2 are technically better as well as scale better but the SR325x make for a slightly more natural listen. Worthy of note, the Sennheiser require proper amplification to be driven adequately.
In terms of comfort, the SR325x aren't as 'clampy' as the Sennheiser and, in spite of the genuine over ear nature of the HD660S2, the Grado are almost as comfortable.
Last but not least, very subjectively, the SR325x seem to convey a bit more soul than the Sennheiser.

The Massdrop x Focal Elex also offer an interesting comparison despite being twice the price of the SR325x.
On complex arrangements, the Elex have a slight edge as they benefit from a bigger soundstage and better instrument separation.
This edge turns into a disadvantage on acoustic and instrumental tracks where the Focal start to sound slightly artificial in comparison to the Grado which, once more, sound more natural.

Files used: CD-quality FLAC bought from Qobuz & Tidal HiFi streaming | Sources used: Schiit Jotunheim MultiBit, Uncapped Sony NW-WM1AM2 and Cayin RU7


Conclusion — The Grado SR325x represent a stunning value. They offer a mature and natural sound which plays well with any genres and recordings. They also are easy to drive.

To my ears, they best my previous Grados, including my RS2e with G pads which were an all-time favourite of mine.

So, if the aforementioned speaks to you — try or get 'em.

The Campfire Audio Andromeda are one of the few genuine staples of the IEM world. The original version was released in 2016 and its latest iteration, seven years later, in 2023.

In-between, there has been three standard versions, this one included, as well as no less than eight special editions with the Andromeda Special Edition: Gold holding a very dear place in this audiophile’s heart. And yet, an actual, standard, Andromeda was yet to be heard.

Disclaimer: the Andromeda 2020 have been ordered from K55.ch after they were kind enough to offer me a discount for their last pair of Andromeda 2020 which have been paid out of the author’s pocket.


The object — The Andromeda 2020 are very small and light IEMs with the unmistakable Campfire Audio industrial design which, until very recently, was the brand’s hallmark.

Bundled with the usual boutique Campfire Audio packaging and accessories, they come with a thin and lightweight single-ended Silver-Plated Copper Smoky Litz cable, three sets of tips, a useful mesh pocket and an olive green-dyed sustainable cork case.


Fit & Comfort — Despite the lack of vents and their slightly shorter nozzle compared to other IEMs in Campfire’s lineup, the Andromeda 2020 remain comfortable.

For those worried about the shells being an issue, the Andromeda 2020 are small and, should one need to push them outwards, aftermarket tips will very likely solve any potential issue.

Last but not least, given how thin and light the cable is, you’ll quickly forget about it.

Tips used: stock silicon


Sound — The Campfire Andromeda 2020 are particularly receptive to output types and impedances though not to the extend of the Ara. Accordingly, the recommendation here would be to match them with a source having an output impedance under 1 ohm.
No need to spend a lot as an Apple or Alo Audio Pilot dongle are perfectly fine although the preferences here have been the Sony ZX507 or WM1AM2 which allowed for a more analog sound.

In terms of sound, the Andromeda 2020 are a warm-neutral set with a timbre and tuning rivalling, not only Campfire Audio’s own higher-end offerings such as the Ara or Solaris 2020, yet also the 64 Audio U6t or the Sony IER-M9, the latter which the Andromeda 2020 also beat in terms of dynamics.
As to details, textures, musicality and overall balance, the Andromeda 2020 seem to be the proverbial IEMs and genuinely strike a stunning balance. Their soundstage is also worth noting given that it manages to be above average without becoming artificial, both in terms of depth and heights.

Last but not least, note that, via balanced output, the Andromeda 2020 seem to loose their magic — the recommendation here really would be to stick to single-ended.

Files / Sources used: CD-quality FLAC bought from Qobuz & Tidal HiFi streaming / Alo Audio Pilot, Uncapped Sony ZX-507 & NW-WM1AM2 (Direct Source: On)


Conclusion — The Andromeda 2020 are such a pleasant surprise. Surprise because, as many of you know, there are so many factors in this hobby that one listener’s bliss can turn out to be a totally average experience for another.

With that said, in almost 10 years in this hobby, they are the best IEM this vagrant audiophile has heard, for any genres.

The Andromeda 2020 are therefore wholeheartedly recommended and one might want to have a frequent look at the Campfire Audio Marketplace in case a pair is up for grabs.

To many audiophiles, the allure of a single dynamic driver IEM will always remain. While many companies have single DDs in their lineup, one company stands out due to its sole dedication to single DD IEMs — Dita Audio.

While its parent company was established in 1971 — the year music changed the world — Dita Audio released the Perpetua to celebrate their 10th year in the audiophile industry.

Disclaimer: the Dita Audio Perpetua have been ordered from Dita Audio at a discount in exchange for my opinion and has been paid out of the author's pocket


The object — From the boxes down to the tips, case, pouch, cable and IEM themsleves, Dita achieves an attention to detail and quality control which remains unmatched in the industry. It simply is an experience like none other.

This is a luxury product and is reflected through and through in every single accessory included. A box within a box reveals sumptuously designed stationaries, a leather pouch and key fob made of supple Italian leather, as well as a vacuum-sealed aluminium case which you'll just want to open and close for the sheer pleasure of it.

Together with the IEMs, the case contains a stunning stock cable featuring Dita's second iteration of its Awesome Plug with the 3.5mm single-ended termination pre-attached. Open the leather pouch and you'll find the 2.5 and 4.4mm balanced terminations, together with Final E tips in all sizes for your convenience.


Fit & Comfort — Despite the cable being on the heavier and thicker side, it doesn't generate any discernible discomfort.

As for the Perpetua, their shells are made out of titanium and have a density and heft resulting in an above than average weight compared to most IEMs.
While perfectly smooth and, at first, extremely comfortable, the size of the shells unfortunately are on the larger side and could prove a challenge for some ear shapes, especially around the concha area as the IEM can push against the cartilage there.

Fortunately, the Perpetua's nozzle is on the thin side and of average length which will accomodate a wide range of ear canals. In addition, the Perpetua are well-vented and have no driver flex which is extremely welcome, especially given their inviting sound.

Tips used: stock Final E


Sound — The Perpetua display a stunning maturity in their capability to deliver a smooth yet detailed and textured sound with excellent tactility.

The tuning of the 12mm dynamic driver offers a balanced and natural sound with no exaggeration and is devoid of any form of fatigue across the frequency range. And yet… the Perpetua manage to remain engaging while letting the listener choose whether to focus on the details and textures or the track as a whole.

This translates into what perhaps is the Perpetua's main strength, that is their ability to handle all genre with equal aplomb. They let the recording showcase what it was meant to, all the while remaining forgiving of old/poor records giving an actual meaning to the notion of high-end, hi-fi, equipment playing back records "as intended".

Last but least, there's a significant difference in-between single-ended and balanced outputs essentially providing two flavours. Balanced will be for those seeking a more rounded, thicker sound and/or paired with a bright source. Single-ended will be for those seeking a more natural sound and/or paired with a warm source.

Files / Sources used: CD-quality FLAC bought from Qobuz & Tidal HiFi streaming / Uncapped Sony NW-WM1AM2 (Direct Source: On)


Conclusion — The Perpetua truly are excellent and are only let down by their price and shell size which might prevent some listeners to get or keep them.

For those seeking genuine musical enjoyment, they are a must audition whenever and wherever possible and worthy of hunting down.

Should they fit you, the Dita Audio Perpetua are a serious contender for a "one and done" IEM you'll enjoy (in) Perpetua.

Released in the Spring of 2020, the Campfire Audio Ara were ordered at the time and promptly returned. Three years later, while looking for something a bit different, the Ara were spotted at a significant discount and re-ordered to give them another chance — or maybe someone forgot they already had them in the past and ordered them again, who knows?


The object — The Ara are light yet dense and sturdy IEMs inspiring confidence. There is no getting around the fact that they’re a stunning piece of industrial design.

Bundled with the usual boutique Campfire Audio packaging and accessories, they come with a thin and lightweight single-ended Silver-Plated Copper Smoky Litz cable, three sets of tips, a useful mesh pocket and a blue-dyed sustainable cork case.


Fit & Comfort — Despite the lack of vents and their slightly longer nozzle compared to other IEMs in Campfire’s lineup, the Ara remain comfortable.

They genuinely do benefit from deeper insertion to get the most out of them but it doesn’t mean it has to be uncomfortable to get the right fit — it really is worth experimenting here.

Last but not least, given how thin and light the cable is, you’ll quickly forget about it.

Tips used: stock silicone


Sound — The Campfire Ara are extremelyreceptive to different sources, output types and impedances, cables as well as tips. In other words, all of the aforementioned elements will significantly impact their sound. This means that, depending on the source and tips used alone (the two elements that will most likely change in-between listeners), the Ara could be considered anything in-between natural/organic, neutral, or bright. In terms of timbre, it is correct though there are a few exceptions where the revealing nature of the Ara cannot hide the all-BA setup underneath.

Coupled with a source leaning on the warm side and offering an output impedance under 1 ohm will keep the Ara under control, mainly avoiding unwanted brightness.
While a simple Apple or Alo Audio Pilot dongle can do a very good job, a Cayin RU6 or, better, an uncapped Sony ZX507 or WM1AM2 improve matters a great deal.

Via balanced output, the Ara present a bolder, slightly more intimate sound. It clearly offers a different flavour but there's no "right" choice here — it's a question of preference.

Files / Sources used: CD-quality FLAC bought from Qobuz & Tidal HiFi streaming / Alo Audio Pilot, Cayin RU6, Uncapped Sony ZX-507 & NW-WM1AM2 (Direct Source: On)


Conclusion — Unless one knows exactly what they’re after, the Ara will push listeners to experiment and fine tune different elements in order to reach their preference.

The downside is that this could quickly frustrate a listener whom might not necessarily be willing to experiment at this price point.

With the right source and tips, however, the Campfire Audio Ara are a breadth of fresh air bringing a revealing yet natural and organic sound offering something truly different.

The Monile is part of PWAudio’s New Age series and is the entry-level cable in that category. Although there’s now an MKII version, the old version was purposefully chosen here to match 64 Audio’s U6t in terms of looks as well as test them balanced — an increasingly common output among audiophiles.

Disclaimer: the Monile has been ordered from MusicTeck at a small discount in exchange for my opinion and has been paid out of the author’s pocket


The object — The Monile is a 2-wire, 4 conductor (2 Positive Conductor and 2 negative Conductor as shielding) ultra purity 26 AWG copper and super purity 25.5 AWG silver cable with cotton sleeving and PVC preformed ear hooks. Although many pictures of the cable can be found online with kinks, this model came perfect, is supple, and an overall joy to handle. Its old-school Hi-Fi looks are an amazing match for the U6t.


Fit & Comfort — In spite of the steeply-angled preformed ear hooks, the Monile is extemely confortable.

The added height of the 2-Pin connectors compared to the angled 2-Pin connectors on 64 Audio’s new stock cable were also welcome for these ears. While cotton sleeving bring some slight microphonics compared to PVC cables, there’s nothing to write home about for static sessions.


Sound — Given the different implementation of single-ended compared to balanced outputs in DAPs and that 64 Audio’s stock cable is single-ended; the cable used as a baseline here was the SoftEars Twilight’s stock 4.4 balanced 6N oxygen-free copper cable.

Using the U6t with the default M15 module as a start, PWAudio’s Monile tightens the lows and brings the mids and highs forward. Compared to the Twilight’s stock cable, the Monile is more up-front/detailed whereas the Twilight’s stock cable is more open/relaxed. Comparing the two cables with the U6t’s more revealing MX module further confirms these findings with an emphasis on the mids and highs.

The Monile’s copper/silver mix feels like a better fit for the U6t than the Twilight’s stock copper cable. Moreover, the U6t clearly benefit from a balanced output. Switching over to SoftEars’ Twilight to compare the two cables, the aforementioned conclusions are unequivocal — the Twilight’s copper stock cable is more relaxed and is a better fit for the particularly detailed Twilight.

Files / Sources used: CD-quality FLAC bought from Qobuz & Tidal HiFi streaming / Uncapped Sony ZX-507 (Direct Source: On)


Conclusion — Cable can help bring subtle differences in tuning. Careful pairings are therefore key as one can find that a cable could emphasis the “wrong” part(s) of the frequency range.

Diligent research is therefore a must in order to ensure one gets what one seeks. In this case, PWAudio’s Monile terminated in 4.4 is an amazing cable which I wholeheartedly recommend if the aforementioned changes in sound are something one is looking for in a new cable to pair with their favourite IEMs.

A single dynamic driver IEM can be of particular interest to some of us. In a day and age where dynamic drivers, balanced armatures, electrostatic, bone conduction and, more recently, planar magnetic drivers, can be found in IEMs; dynamic drivers have an allure no other driver have — and for good reason.

Dynamic drivers have been omnipresent in speaker systems which have been surrounding us for as long as we can remember. We're used to hearing recorded music via particularly coherent drivers and we've been accustomed to their timbre.

Single dynamic driver IEMs are however difficult to tune to a high standard compared to multi-driver IEMs. This explains why they're so uncommon and sought-after by some.


The object — Pictures of the Softears Twilight found online often are close-ups and, therefore, misleading. In person, the Twilight felt surprisingly small if not downright tiny.

With their matte black shell and splitter, black 4.4 cable and 2-pin connectors, Softears went for a minimalist and understated look. And while the packaging shares this approach, there's nothing minimalist in its content with a good selection of tips, a mesh pocket, round leatherette case and microfibre cloth.

Build quality and machining are good yet serial #A71 showed some marks on the splitter out of the box where the matte finish was rubbed off on the corners/edges. It's nothing major and barely enough to qualify as B-stock at this price-point but it's there. Softears also seemed to have thought a good idea to perfume the card with the serial number — not a smart move. While the IEMs, cable and mesh pocket weren't affected, if they would have been, they would have been promptly returned.


Fit & Comfort — Being small and very light, the shell won't be an issue for most despite their unique orientation compared to other IEMs.

While not as thick as some other brands, the nozzles are on the thicker and longer side. This is where some might find fit and comfort to be a challenge.

The three types of bundled tips in S, M and L are of excellent quality yet might not fit some as it was the case here. Alternatives work well with little alterations to the tuning as the Twilight are extremely well-vented. They are going to leak sound yet are pressure-free and have no driver-flex.

Tips used: settled on the SpinFit CP145


Sound — The Twilight are impressively coherent and have a wonderfully natural timbre with instruments and voices sounding lifelike.

Lows are very much present when called for and offer a satisfactory rumble but otherwise remain in their place. The same goes for the mids which are well-balanced and similarly offer grit when the track calls for it. Highs are plenty satisfactory for sensitive ears without being conservative either.

What stands out in particular is the Twilight's ability to be smooth all the while retaining a good amount of detail and a particularly open soundstage — the latter two not being attributes often found in a relaxed tuning. This translates into instruments and voices naturally breathing and having what some could consider being the perfect amount of detail and texture.

Files / Sources used: CD-quality FLAC bought from Qobuz & Tidal HiFi streaming / Uncapped Sony NW-WM1AM2 (Direct Source: On), Cayin RU6 (NOS) and Astell & Kern SR25 MKII (Phase Compensation Slow)


Conclusion — The Twilight are absolutely stellar. If it wasn't for potential fit and comfort issues due to the nozzle on the thicker/longer side, they would be recommended without hesitation as a blind buy for anyone to whom the aforementioned sound description speaks even remotely.

This is a hit and run out of retirement (or is it?).

Admittedly, we all hear differently and all have different preferences.

Using the Cayin RU6 in NOS and an uncapped, vanilla, Sony WM1AM2 as sources with CD-Quality FLAC files, the Sony XBA-N3 (using turquoise stock silicone tips) made me (almost?) retire from this hobby.

When taking value / diminishing ROI into account, they come very close to "high-end" IEMs such as the 64 Audio U6T (with M15 module), Campfire Audio Solaris 2020 and Sony's own IER-M9 for a third of the price.

Maybe I'm a bit deaf and my audiologist is a liar but their coherency and timbre is like nothing I've heard in the kilobuck range (which, all seasoned Head-Fier know, can have some borderline dangerous/offensive tunings as much as 90s earbuds could).

If it's your thing, technicalities might be an issue though I often ended-up disliking IEMs due to said technicalities which would quickly get on my nerves -- I listen to music, not to instrumental cues in a song (well, sometimes I do).

They're also small, light and comfortable. The stock 4.4 cable bundled with the BP variant (the standard AP variant comes with the same cable in 3.5) is excellent though it exhibits some microphonics. It was also a liberation to have such quality sound without over-ear cable.

So, I (don't) get it. Six years after their release, I would find interesting if reviewers with access to high-end IEMs would have the guts to compare modern marvels to this oldie which, to my ears, would likely result in a big kick in the nuts if musical enjoyment is the metric (not to mention value).

If one wonders why Sony doesn't bother releasing more IEMs, that might be it -- but I'll be paying attention if they do.

—

Short of raw power and holding your music on a dedicated device, the gap in-between DAPs and DAC/Amp dongles has never been so small since the introduction of Lotoo's PAW S1/2, Luxury & Precision's W1/2 and, more recently, Cayin's RU6.

The RU6 exhibits a level of detail and musicality which is absolutely stunning. I personally prefer it in NOS as I find the OS mode to sound more like a delta-sigma DAC but that's just me — there's no wrong choices here.

I bought and received Cayin's RU6 shortly after I got the FiiO M11 Plus LTD. Compared to the M11 Plus LTD, the RU6 set in NOS breathes a bit more, has a bigger soundstage and is overall more organic and effortless.

You'll have a small interruption/pop every 10 volume steps but it isn't much of an annoyance and is normal. One can hear EMIs, especially while streaming, but it depends on the wireless equipment around you.

With sensitive IEMs such as the Campfire Audio Solaris 2020, background noise wasn't an issue for me but I'm not the pickiest about this.

Power draw is similar than via L&P's W2 which means there's consequent drain on the battery of an iPhone XR which will impact you if you genuinely need to use your phone during the day.

Unless one specifically seeks a DAP, there's hardly anything at fault here. Cayin's RU6 is a safe bet for a high-end DAC/Amp dongle with all the flexibility DAC/Amp dongles bring, an excellent foray into R-2R technology as well as into genuinely portable Hi-Fi — without breaking the bank.

IEMs: 64 Audio U6t (MX and M15 module), stock cable, medium silicone tips | 7Hz Timeless, KBEAR 4.4 8 Core Single Crystal Copper UPOCC cable, Final E tips | Campfire Audio Solaris 2020, stock cable, medium silicone tips

Headphones: Grado RS2e with G-Cush pads

UPDATED ON NOV-18-22 — The U6t from 64 Audio aren’t new here. They were reviewed and eventually let go in the hunt for a single dynamic driver. With the hunt over, it is now time to revisit a dearly missed old friend.

Where a single dynamic driver (DD) makes sense in the pursuit of coherency and timbre — multiple balanced armatures (BAs) make sense as transducers of choice for something being so close to one’s ear canals. With that said, the closest multiple BAs get from replicating a dynamic drivers’ coherency and timbre, the better.


The object — Oozing understated class, the U6t are likely the sharpest-dressed IEMs of all 64 Audio’s lineup.

Small, light and comfortable, the U6t come with a no-nonsense newly upgraded 3.5 premium cable; three apex modules allowing to customise the isolation/tuning; a tip holder wheel — ever had an ear tip rolling and tumbling under barely accessible furniture? — and round leatherette case. The downsides? A scratch-prone epoxy faceplate and there’s no bundled mesh pocket.


Fit & Comfort — 64 Audio’s nozzles are on the thin and average-length side. To most, and certainly here, this means a high likelihood of comfort. The three types of bundled tips (Foam, Silicon and SpinFit) in S, M and L only strengthen the likelihood of getting a nice, comfortable, fit.

Worthy of note is the stock cable’s angled 2-Pin connectors ending up in an ergonomic curve of hard plastic which can be an issue for some ear shapes as it (slightly) was the case here.

64 Audio’s air pressure exchange (apex) modules essentially alleviates listening fatigue as the modules vent air pressure from what would otherwise be a sealed ear canal. Apex modules have different levels of isolation which breaks down as follow: M20 module (-20dB), M15 module (-15dB) and MX module (-10dB). The less isolation, the less pressure, the less impact different tips have, the more comfort, but also the more soundstage, detail and texture.

Tips used: settled on the SpinFit CP145


Sound — The U6t, with either the MX or M15 modules, are an organic, effortless and musical listen. With no hint of BA timbre, they are utterly enjoyable for short or long sessions alike.

The amount of lows will very much depend on the apex module in use. The default M15 module will offer plenty of both sub- and mid- bass while the MX module will highlight mid- rather than sub-bass.
Albeit more than adequate with the M15 module for an engaging listen, the MX module will highlight the U6t’s true capabilities in terms of mids, highs, soundstage and overall detail and texture.
All-in-all, regardless of the module used, the U6t stand out for their natural, organic, musicality and tone.

Files / Sources used: CD-quality FLAC bought from Qobuz & Tidal HiFi streaming / Sony NW-WM1AM2 (Direct Source: On), Cayin RU6 (NOS) and Astell & Kern SR25 MKII (Low Latency Slow)


Compared to Softears’ Twilight — While equally coherent, natural and lifelike, the U6ts are warmer and more intimate than the Twilight.

Overall, the Twilight are clearer than the U6t. Moving from the M15 to the MX module on the U6t gets them closer to the Twilight but it will be at the expense of the U6t’s sub-bass.

In terms of quantity, the Twilight’s sub-bass sits in-between the U6t’s M15 and MX modules. In terms of quality, the Twilight have the unmistakable physicality and timbre of a single DD IEM compared to the U6t which have an excellent low-end for an all-BA IEM.

The Twilight’s mids are more up-front and you’ll get more grit out of them than the U6t’s although the MX module will get them closer to the Twilight.

Highs feel a tad sparklier on the U6t, especially with the MX module, yet never get too hot. Paired with a bright source, the Twilight could be too much for some.

The Twilight have more detail and a bigger soundstage than the U6t with both the MX and M15 modules.

The U6t, however, can feel like they have more natural transients and texture.


Conclusion — The U6t are an amazing organic and effortlessly musical listen which is difficult to get tired of. In spite of their admittedly hefty “entry-level” price in 64 Audio’s lineup, they are recommended without hesitation as a blind buy for anyone who’s looking for an IEM to enjoy their music library without any reservation.

Disclaimer: I have a preference for an open, lush/smooth/warm sound with some definition, texture and soundstage — none to excess. I am not into an analytical or clinical sound. Keep this in mind when reading this review.


Interviewed last year, Gaudio was kind enough to loan me their IEMs for me to review after I reached out to Nicola. I didn’t receive compensations nor incentives of any kind in exchange for this review and the IEMs will be returned to Gaudio.

How does a relatively new small Swiss company fares against the experienced Campfire Audio, more specifically, their previous TOTL (and my personal favourite) all-BA IEM, the Andromeda Special Edition: Gold? Is it even a fair comparison?

Hold my beer


SOUND

Clariden

Let's cut to the chase: to my ears, the Clariden beat my Campfire Audio Andromeda Special Edition: Gold in a way which is frankly embarrassing. There, I said it

Now, perhaps I discovered that I have a preference for an elegant, slight W-shaped signature. Perhaps.

The most stunning aspect to me is the amount of details and layering the Clariden provide while remaining a fatigue-free listen with my warm(ish) sources.

Compared to the Andromeda Gold, the Clariden have less bass, i.e. in quantity, not in quality. I find the bass presentation in the Clariden to be better, i.e. less boomy.

The mids are not as dipped on the Clariden as they are on the Andromeda Gold. They are clearly more forward yet, again, not in an annoying way.

The highs are there, and they can sparkle, yet with no sibilance (unlike the Dorado 2020's single BA which sometimes comes in too hot with the same sources).

The soundstage is also great. It's not too closed-in, nor grandiose — just right.

Overall, the Clariden sound much more coherent and natural than the Andromeda Gold which, in comparison, now sound a bit boomy and veiled to me. They are musical yet detailed in a way which I never expected — especially after reading other reviews mainly praising the Nair.


Nair

Speaking of the Nair, I have less experience with a neutral tuning and would say that the Nair are detailed yet musical.

There does not seem to be any bumps anywhere. They're neither particularly boring nor entertaining until a track with which they excel (think mid-, string-, wind instrument-centric tracks and/or a series of details which elevates the record to a whole new dimension) comes around and then you'll be in for a ride.


Last but not least, both IEMs scale really well, so the better the gear, the better the sound. They're good on a smartphone with a good quality dongle, excellent with a DAP and genuinely stellar via Dethonray's Honey H1…


COMFORT, TIPS AND SEAL

The following applies to both the Clariden & Nair.

I've got large ears, so the rather big shells are not an issue for me. They're really comfortable and with the Final Audio tips size medium I forget I wear IEMs within minutes.

The cable is also very good. It has no microphonics, is flexible and does not keep tangling on itself.

Build quality is fantastic and on par with the likes of Campfire Audio's.


CONCLUSION

CLARIDEN

Campfire Audio has been my go-to brand for IEMs — always has been. I love their brand, marketing, unboxing experience and overall approach. So you can imagine my surprise when I saw and heard Gaudio's Clariden which, for a lower price than the Andromeda Gold, floored me.

I know I'll find myself at odds with most reviewers regarding the Clariden, perhaps with a notable exception. Yet this place is about experience, my experience, and there you have it: despite all expectations, the Clariden are the best IEMs I have heard to date and will buy them as soon as I can.


NAIR

Detailed yet musical, the Nair and their neutral tuning are a nice complement to the Clariden which are musical yet detailed. If your tastes lean towards something more neutral, they're definitively the ones for you.

Personally, I found that the Clariden suit more the music I listen to as well as match my tuning preferences more than the Nair. The Nair, however, do have that slight edge over the Clariden on some particular tracks.

The Clariden have therefore achieved the unthinkable: not only have they knocked down a star off the Andromeda Gold's review; they surpassed the Dorado 2020 before I even had a chance to write their review and became my overall best IEMs. Outstanding work.

SOURCE

(1) Dethonray Honey H1 / Firmware: 2.00 – Audio effects: none / Music app used: Vox, Tidal & Swinsian and (2) Astell & Kern A&norma SR25 / Firmware: 1.40


CABLE & TIPS

Stock Satin Audio Hyperion cable, 3.5mm, Single-ended & Final Audio medium silicone tips


BURN-IN

Both the Clariden & Nair are review sets which are likely to have a good few hours behind them


SONGS

See review playlist

Disclaimer: I have a preference for an open, lush/smooth/warm sound with some definition, texture and soundstage — none to excess. I am not into an analytical or clinical sound. Keep this in mind when reading this review.


This introduction will be short: I saw a relatively affordable, seemingly well-made DAP with tubes. That’s pretty much it, really. And despite the fact that I recently found, bought and reviewed Astell & Kern’s SR25 which is the DAP I rated the highest so far, the N3 Pro was too alluring to ignore.


SOUND

Since I ended-up disappointed with A&K’s SP1000M, especially in terms of price/performance, I was curious how well would perform a DAP in this price range with an AKM DAC.

I was pleasantly surprised as I found it to be as articulate as what I remembered hearing from the SP1000M — particularly how clear the mids / vocals are without being too dry. The tube modes most definitively bring something, something many people would pay a lot for. And that’s in Triode mode. In UltraLinear mode, this blows away pretty much all DAPs I had and is noticeably better than A&K’s SR25 side by side. In line out with my Schiit Vali 2 tube amp, I could also hear more details than with the SR25.

Cayin definitively struck a very nice balance with their choice of DAC and tube modes. While at first, my personal favourite was the UltraLinear mode, the Triode mode most definitively has its place when you want to relax a bit more while still getting that tube sound.

As a whole, I find the entire frequency range to be more organic and natural which conveys more emotions — something I admittedly just love.


USABILITY

The UI is spot-on and easy to use. External buttons are well laid-out, logic to operate “blind” and the overall build quality of the DAP is on par with A&K’s — the volume wheel is even better as far as I’m concerned.

I’m still waiting for Dignis to release a leather case for it as I don’t like the official green one with which the DAP was released. The included transparent case is a useful touch albeit it doesn’t do justice to the DAP’s looks.


CONCLUSION

Cayin’s N3 Pro is easily the best price/performance I heard in a DAP for a while. For a DAP which can’t stream, I would struggle to recommend anything else, unless you’re not into the emotions conveyed by tubes.


SOURCE

Cayin N3 Pro / Firmware: 1.0 – EQ: none / Music app used: Stock – Official site


HEADPHONES & IEMS

• Campfire Audio Andromeda Special Edition: Gold (silicone tips, medium) with stock Smoky Litz Cable, 3.5mm, Single-ended
• Dita Project 71 "Bumblebee", 3.5mm, Single-ended
• Grado Labs RS2e with G-cush, 3.5mm, Single-ended

SONGS

• Fleetwood Mac, Rumours, Never Going Back Again
  Quality: 24-Bit 96.0 kHz – Stereo, FLAC
• Iron Maiden, Fear Of The Dark, Fear Of The Dark
  Quality: 24-Bit 44.1 kHz – Stereo, FLAC
• Joni Mitchell, Blue, California
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Nina Simone, Pastel Blues, Sinnerman (Live In New York/1965)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Pink Floyd, Wish You Were Here, Wish You Were Here
  Quality: DSD / SACD
• Plüm, You're the one, You're the one
  Quality: 16 bit 44.1 kHz – Stereo, FLAC
• Simon & Garfunkel, Sounds Of Silence, Anji
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Stevie Wonder, Talking Book, Superstition (Album Version)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Various Artists, Atlantic Jazz: Soul, Comin' Home Baby (LP Version)
  Quality: 16 bit 44.1 kHz – Stereo, FLAC

BURN-IN

None

Disclaimer: I have a preference for an open, lush/smooth/warm sound with some definition, texture and soundstage — none to excess. I am not into an analytical or clinical sound. Keep this in mind when reading this review.


All Grados are open-back headphones and aside their Statement and Professional Series, most are on-ear rather than over-ear headphones. Unfortunately for me, after a 15 minutes session, on-ear Grados are so painful that I have to take them off. Comfort, together with the SR325e’s lack of bass are the reasons I sold them and moved away from the brand which turned into an obsession with closed-back, over-ear, headphones.

Fast-forward a few years later, I missed the famous Grado sound and felt more comfortable experimenting as I came to understand that dealing with absolutes in this hobby is a mistake. Closed-back headphones impose sonic constraints open-back headphones don’t — physic’s a bitch. Grado also have an over-ear offering and, therefore, over-ear pads. So I ordered the pair of Grados “I always wanted”— the RS2e — together with a pair of Grado G-cush. Oh boy… I wish I knew.


SOUND

A breath a fresh air is how I would describe the RS2e with the Grado G-cush. I imagine the Grado family would be the first to say that the RS2e aren’t intended to sound the way they do with the G-cush on but I don’t really care, sorry . With the standard pads, the sub-bass is lacking a bit of weight, the mids are too forward and the highs are borderline for my tastes. This is not to mention the comfort which makes them a no-go from the get-go. The G-cush change everything. The sub-bass is improved, the mids are a bit more laid-back, the highs are just perfect and, last but not least, the soundstage opens up. I genuinely believe that the fact this combination works so well is pure luck. If told these would cost 1k+, I would have understood.


USABILITY

Before I go on about the usual points here, one of the key advantages of Grados is that they’re going to benefit from high-end recordings yet, at the same time, won’t suffer from average ones either. In my book, this is a plus.

Now, the RS2e are light and comfortable with the G-cush. As with all Grados, however, the cable is too long, heavy as well as can’t be swapped. As they’re open-back headphones, everyone also hears what you’re listening to. The serial number is carved by hand on the plastic and the fit and finish is far from perfect yet, together with the smell of mahogany, one can’t deny their charm.


CONCLUSION

Like I said, I wish I knew… and despite my belief that the combination I found is pure luck, I could only recommend that you try yours… at this price point, compared to *every* headphones I’ve owned (Grado SR80e, SR325e, Meze 99 Classics, Campfire Audio Cascade and A&K T5p 2nd gen.), these are the best I ever had, period.

SOURCE

Astell & Kern A&norma SR25 / Firmware: 1.00CM – EQ: none / Music app used: Stock & Spotify – Official site


CABLES & PADS

Stock 3.5mm, Single-ended, cable & Grado G-cush pads


SONGS

• Fleetwood Mac, Rumours, Never Going Back Again
  Quality: 24-Bit 96.0 kHz – Stereo, FLAC
• Iron Maiden, Fear Of The Dark, Fear Of The Dark
  Quality: 24-Bit 44.1 kHz – Stereo, FLAC
• Joni Mitchell, Blue, California
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Nina Simone, Pastel Blues, Sinnerman (Live In New York/1965)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Pink Floyd, Wish You Were Here, Wish You Were Here
  Quality: DSD / SACD
• Plüm, You're the one, You're the one
  Quality: 16 bit 44.1 kHz – Stereo, FLAC
• Simon & Garfunkel, Sounds Of Silence, Anji
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Stevie Wonder, Talking Book, Superstition (Album Version)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Various Artists, Atlantic Jazz: Soul, Comin' Home Baby (LP Version)
  Quality: 16 bit 44.1 kHz – Stereo, FLAC

BURN-IN

None

Disclaimer: I have a preference for an open, lush/smooth/warm sound with some definition, texture and soundstage — none to excess. I am not into an analytical or clinical sound. Keep this in mind when reading this review.


The TOTL DAP box was checked with the SP1000M: been there, done that and came to the conclusion that it wasn’t worth its price in sound for me. Don’t get me wrong, it’s an amazing DAP but I had this nagging feeling that I preferred the sound signature of the previous Astell & Kern DAP I owned which was the A&norma SR15.

Unfortunately, the SR15 was too small as well as too slow. Although gorgeous, A&K’s recently released SA700 is also too heavy, looks as slow as the SR15 as well as features a very limited battery life.

The SR25 therefore seemed to check all the boxes of my new DAP wishlist: Astell & Kern’s music-centric UI and ability to use streaming apps, dead-quiet with sensitive IEMs, pocketable with a screen at or under 4” and a weight under 250g, excellent battery life and smooth overall operations — all of this for less than USD700.


SOUND

In one sentence, the SR25’s sound is balanced, neutral and full with good soundstage — most definitively my favourite sound signature out there.

Enough has been written about the SR15 and, although I can’t compare them side by side, the SR25 is said to be either similar and/or better. All I can say is that, coming from the SP1000M, I prefer the SR25, without hesitation. For more detailed comparisons I recommend you check out Twister6's excellent review of the SR25.


USABILITY

I know this next comment might generate a stir but the SR25 is as fast, if not faster, than the SP1000M — no question about it (the new Android base of the SR25 might be the reason).

The screen resolution and size are just about perfect for a genuinely portable DAP. Although the SR25 still is small-ish, it isn’t as annoying/restrictive as the SR15. It’s overall build and design makes it the first DAP, together with the ZX300, which I want to use without a case just to feel the DAP for what it is: an exquisites piece of design and hardware.

A&K finally included matt screen protectors for the front and rear which are of good manufacture compared to the ones bundled with the SP1000M which were a disgrace. I also find the SR25 volume wheel's implementation to be better than the SP1000M's. Last but not least, the wireless connections are nothing to write home about but they work well.

Something perhaps a bit less tangible: I like not to have to handle a DAP like it’s nitro-glycerine — with the SP1000M worth 2k… I kinda struggled with that.


CONCLUSION

The SR25 just knocked down a star off the SP1000M's review. It's that good. After going through seven DAPs, I finally found in the SR25 a DAP which I find to have reached a genuine maturity.


SOURCE

Astell & Kern A&norma SR25 / Firmware: 1.00CM – EQ: none / Music app used: Stock & Spotify – Official site


HEADPHONES & IEMs

• Astell & Kern T5p 2nd Generation (Dekoni Audio Elite Sheepskin Replacement Ear Pads) with stock 2.5mm balanced cable and 3.5mm via stock adapter
• Campfire Audio Andromeda Special Edition: Gold (silicone tips, medium) with stock Smoky Litz Cable, 3.5mm, Single-ended

SONGS

• Fleetwood Mac, Rumours, Never Going Back Again
  Quality: 24-Bit 96.0 kHz – Stereo, FLAC
• Iron Maiden, Fear Of The Dark, Fear Of The Dark
  Quality: 24-Bit 44.1 kHz – Stereo, FLAC
• Joni Mitchell, Blue, California
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Nina Simone, Pastel Blues, Sinnerman (Live In New York/1965)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Pink Floyd, Wish You Were Here, Wish You Were Here
  Quality: DSD / SACD
• Plüm, You're the one, You're the one
  Quality: 16 bit 44.1 kHz – Stereo, FLAC
• Simon & Garfunkel, Sounds Of Silence, Anji
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Stevie Wonder, Talking Book, Superstition (Album Version)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Various Artists, Atlantic Jazz: Soul, Comin' Home Baby (LP Version)
  Quality: 16 bit 44.1 kHz – Stereo, FLAC

BURN-IN

None

Disclaimer: I have a preference for an open, lush/smooth/warm sound with some definition, texture and soundstage — none to excess. I am not into an analytical or clinical sound. Keep this in mind when reading this review.


"No crossover, no phase cancellation, just powerful and coherent pure sound."

— Jomo Audio's description of the HAKA

Reading this, I was in from the get go and ordered the HAKA with Effect Audio's Ares II cable. The HAKA seemed right up my alley with the notable exception of a tuning veering more on the side of neutral than what I usually like. There's also the elephant in the room: it's a single BA IEM — so how much can it achieve on its own? In spite of the above description, I was also looking for something different in order to review something outside of my comfort zone…


SOUND

I genuinely listen to a bit of everything and I quickly discovered that a neutral, balanced, tuning presents lots of advantages in that regard.

Bass is where it should be, both on tracks with subtle and emphasised low end. Being someone who doesn't mind emphasized bass on my headphones and IEMs, when coupled with tracks which, themselves, present an emphasized low end, it sometimes can get a bit overwhelming. In that sense, I feel that the HAKA offer a wonderful equilibrium with precise bass one can also feel when the track demands it.

The mids feel natural, rich and smooth which, together with the non-fatiguing mid-highs and highs, offer a well-rounded sound one can enjoy for hours on end, particularly given how confortable these IEMs are.

Similarly, the HAKA strike an incredible balance in terms of separation, texture and soundstage.


COMFORT, TIPS AND SEAL

The HAKA's semi-custom 3D printed ergonomic shell makes them the most comfortable IEM I ever had. Effect Audio's Ares II cable, however, isn't the thinnest cable around nor the most comfortable. It is nonetheless very good — and seriously gorgeous!

Out of the two types of tips with which the HAKA shipped, I preferred the double flange silicone ones yet ended-up settling for my usual Campfire Audio medium silicone tips which I use on my CA Andromeda and Comet as I find them to be an excellent fit for both my ears and BA drivers in general.


CONCLUSION

The HAKA's are baffling. Not only do they sound outstanding compared to other single BA IEM such as Campfire Audio's Comet, they're also distinguishably better than other dynamic driver IEMs. Bundled with Effect Audio's Ares II cable, it isn't the cheapest set around, though, from a price / enjoyment perspective, these are a no brainer. The HAKA are truly special IEMs which genuinely deserve to be with you wherever you go.

SOURCE

Sources: (1) Astell & Kern A&ultima SP1000M / Firmware: 1.41CM – Audio effects: none / Music app used: Stock & Spotify – Official site and (2) Apple Lightning to 3.5mm Headphone Jack Adapter & VOX Music Player


CABLE & TIPS

Effect Audio Ares II, 3.5mm, Single-ended (stock cable)


SONGS

• Fleetwood Mac, Rumours, Never Going Back Again
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Iron Maiden, Fear Of The Dark, Fear Of The Dark
  Quality: 24-Bit 44.1 kHz – Stereo, FLAC
• Joni Mitchell, Blue, California
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Nina Simone, Pastel Blues, Sinnerman (Live In New York/1965)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Pink Floyd, Wish You Were Here, Wish You Were Here
  Quality: DSD / SACD
• Plüm, You’re the one, You’re the one
  Quality: 16 bit 44.1 kHz – Stereo, FLAC
• Simon & Garfunkel, Sounds Of Silence, Anji
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Stevie Wonder, Talking Book, Superstition (Album Version)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Various Artists, Atlantic Jazz: Soul, Comin’ Home Baby (LP Version)
  Quality: 16 bit 44.1 kHz – Stereo, FLAC

BURN-IN

None

Disclaimer: I have a preference for an open, lush/smooth/warm sound with some definition, texture and soundstage — none to excess. I am not into an analytical or clinical sound. Keep this in mind when reading this review.


Curiosity and frustration got the better of me. This is a really, really, expensive DAP which easily costs 2-4 times the price of other DAPs. After re-selling your fifth DAP, however, you start to do the math and come to the conclusion that you better buy the one DAP which does everything you want — no concession.

You might have gathered from previous reviews that I was looking for a DAP which can stream, yet with a music-centric UI as I mainly listen to downloaded music and only use Spotify for discovery. This requirement pretty-much eliminates the majority of Android-powered DAPs out there. Adding the requirement of a pocketable form-factor (i.e. a DAP with a screen under 5-inch and a weight of under 250 grams), there's not a whole lot left and, after some thorough research, I chose the Astell & Kern A&ultima SP1000M. As the saying goes, buy once, cry once… right? Let's see how that went…


SOUND

Coming from the Sony NW-ZX300 and reading a lot about TOTL DAPs, I was afraid to end up with something analytical/clinical given my tastes. The bottom line is that the A&K SP1000M offers an upgrade very much akin to what I experienced with the Campfire Audio Andromeda Special Edition: Gold.

The SP1000M sounds engaging and musical. It is also detailed and transparant without being annoying. English being the third language I learned, what struck me above all else was how articulate and clear the lyrics sounded compared to any other DAPs I tested. Lows, mids, highs, soundstage, instrument separation is simply done right. The only caveat, price aside, is that poor recordings immediately stand out as such.


USABILITY

Battery life is good, with or without WiFi on, as well as when the DAP is turned-off for a few days. WiFi signal is good, nothing bad nor exceptional. One point of attention: when using specific APK music streaming apps with the device such as Spotify, make sure to use the 64-bit (arm64) build of the app in order to benefit from the DAP's Octa-Core CPU. While you can use 32-bit apps, they'll feel slow compared to the rest of the UI which provides an overall smooth experience.

The volume wheel on the right-end side is a nice touch and can easily be operated one-handed. The Previous - Play/Pause - Next buttons on the left-end side provide positive controls though not as much when the DAP is used with its leather case — yes, the SP1000M is one of the few A&K DAP which actually comes with a really nice leather case so, yay !

Last but not least, since the SP1000M is equipped with a USB type-C port, file transfers are a breeze (using MacOS, YMMV) and charging is quite fast (note that the DAP charges faster when it is turned on).


CONCLUSION

So, buy once, cry once? Yes, most definitely. However, I wouldn't recommend the SP1000M to anyone who is making a concession when choosing it — not in this price range. At this price, you should get something which is perfect according to your requirements.


SOURCE

Source: Astell & Kern A&ultima SP1000M / Firmware: 1.41CM – EQ: none / Music app used: Stock & Spotify – Official site


HEADPHONES & IEMs

• Astell & Kern T5p 2nd Generation (Dekoni Audio Elite Sheepskin Replacement Ear Pads) with stock 2.5mm balanced cable and 3.5mm via stock adapter
• Campfire Audio Andromeda Special Edition: Gold (silicone tips, medium) with stock Smoky Litz Cable, 3.5mm, Single-ended
• Campfire Audio Comet (silicone tips, medium) with stock Litz Cable, 3.5mm, Single-ended
• Dunu Titan 6 (balanced (blue) tips, medium) with stock cable, 3.5mm, Single-ended

SONGS

• Fleetwood Mac, Rumours, Never Going Back Again
  Quality: 24-Bit 96.0 kHz – Stereo, FLAC
• Iron Maiden, Fear Of The Dark, Fear Of The Dark
  Quality: 24-Bit 44.1 kHz – Stereo, FLAC
• Joni Mitchell, Blue, California
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Nina Simone, Pastel Blues, Sinnerman (Live In New York/1965)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Pink Floyd, Wish You Were Here, Wish You Were Here
  Quality: DSD / SACD
• Plüm, You're the one, You're the one
  Quality: 16 bit 44.1 kHz – Stereo, FLAC
• Simon & Garfunkel, Sounds Of Silence, Anji
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Stevie Wonder, Talking Book, Superstition (Album Version)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Various Artists, Atlantic Jazz: Soul, Comin' Home Baby (LP Version)
  Quality: 16 bit 44.1 kHz – Stereo, FLAC

BURN-IN

48 hours balanced & 48 hours single-ended / Perhaps a more controlled lower end?

Disclaimer: I have a preference for an open, lush/smooth/warm sound with some definition, texture and soundstage — none to excess. I am not into an analytical or clinical sound. Keep this in mind when reading this review.


The DAP is dead. Or at least it is how I wished to title this review. I strongly believe there is a place for portable DAC/Amps for a setup with streaming capabilities. This would allow one to choose the smartphone platform they like best and plug-in the necessary accessory to transform it into an portable audiophile setup. So, how close are we to this with Audirect’s Beam?


SOUND

Clear, transparent, with a nice soundstage and amount of details without excess. It excels at mids and highs but can leave one with a feeling that the lows have been forgotten. The latter are controlled and precise which borders on the clinical.


USABILITY

Audirect ships the Beam with four well-made type-c cables to: type-c / lightning / USB / micro USB. If you think the Beam is small from looking at the pictures available online, think again: yeah, it is that small. It is also well-made. The volume dial is source-dependent which can be an issue with sensitive IEMs as they benefit from very small volume steps. I did not notice any particular drain on the battery compared with the Apple’s Lightening to 3.5mm Headphone Jack Adapter. Speaking of which…


COMPARED WITH APPLE’S LIGHTNING TO 3.5MM HEADPHONE JACK ADAPTER

Audirect Beam
· Wider soundstage
· Clearer / More transparant

Apple’s Lightening to 3.5mm Headphone Jack Adapter
· More intimate
· Darker / Warmer
· Has the low-end the Beam is missing


CONCLUSION

Small, versatile and powerful, the Audirect Beam DAC/Amp is good. It just is not for me. While I did not mind the added clarity, transparency and soundstage compared to Apple’s Lightening to 3.5mm Headphone Jack Adapter, it is the lack of bass which killed the Beam for me. So for those of you who like a rumble where it is supposed to be or prefer a darker / warmer signature: 3/5

For those who prefer a more controlled and precise low-end which borders on the clinical in favor of a particularly clear and transparent sound: 4/5



SOURCE

iPhone XR / iOS 13.3 / VOX Music Player 2.4


IEM

Campfire Audio Andromeda Special Edition: Gold (silicone tips, medium) with stock Smoky Litz Cable, 3.5mm, Single-ended


SONGS

• Fleetwood Mac, Rumours, Never Going Back Again
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Iron Maiden, Fear Of The Dark, Fear Of The Dark
  Quality: 24-Bit 44.1 kHz – Stereo, FLAC
• Joni Mitchell, Blue, California
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Nina Simone, Pastel Blues, Sinnerman (Live In New York/1965)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Pink Floyd, Wish You Were Here, Wish You Were Here
  Quality: DSD / SACD
• Plüm, You’re the one, You’re the one
  Quality: 16 bit 44.1 kHz – Stereo, FLAC
• Simon & Garfunkel, Sounds Of Silence, Anji
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Stevie Wonder, Talking Book, Superstition (Album Version)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Various Artists, Atlantic Jazz: Soul, Comin’ Home Baby (LP Version)
  Quality: 16 bit 44.1 kHz – Stereo, FLAC

BURN-IN

None

Disclaimer: I have a preference for an open, lush/smooth/warm sound with some definition, texture and soundstage — none to excess. I am not into an analytical or clinical sound. Keep this in mind when reading this review.

Although HiBy started as a software company, it is more on the hardware side of things that HiBy has been particularly successful. Since the release of their R6, a plethora of DAPs followed although their flagship — the R6 Pro — caught most of the attention. While their R3 and R3 Pro propose more mainstream alternatives, the recently released R5 boasts amazing features in a package which will fit most hands like a glove.


SOUND

The R5 is a lush and smooth DAP with excellent soundstage as well as bass. The mids and highs are both there and share the same smoothness as the overall presentation. Unless you’re into analytical, clinical or neutral sound, there is really nothing not to like. The R5 is also a powerful little thing with little to no trade-offs with sensitive IEMs as its noise floor is ridiculously low.


USABILITY

Build quality is surprisingly excellent — the stock pictures really do not do it justice. The design is good. Buttons are pressed with ease but not so easily as to be pressed accidentally in your pocket — particularly when using a leather case such as the one from Dignis. That being said, the fact that the volume buttons are on the other side of the Forward – Play/Pause – Back buttons can lead you to accidentally press buttons you did not intend to.

The Operating System (OS) used is Android 8.1 which is annoying to use on a screen this size and greatly limits the user experience. Does it work? Yes, although the touchscreen quality could be better in terms of reactivity/sensitivity.

The HiBy music app is passable. Issues I have with it are: a lack of reactivity compared to other apps; micro-seconds lost at the beginning of some tracks; as well as, when one changes the volume with the volume buttons, the ability to change the volume via the touchscreen which will make the volume jump to painful levels while you simply wanted to tap on the screen to do anything but this. Some users have and will literally suffer from this — albeit just for a few seconds depending on your reaction time (YMMV ). Again: does it work? Yes, but it should be better, particularly coming from an (ex?) software company.

Last but not least, in terms of connectivity, while I didn’t test the Bluetooth, the Wi-Fi connection worked although it seemed to sometimes struggle.


COMPARED WITH THE SONY NW-ZX300

Sound-wise, both DAPs are close — really close. Here are the main differences I noticed:

ZX300
· A tiny bit less bass
· Mids a bit more present
· Perhaps more controlled?

R5
· A bit more bass
· Mids a little less present
· Clearly more powerful

Where the ZX300 takes the lead, however, is in terms of user experience — it simply is excellent. With this in mind, the R5 can stream, the ZX300 cannot.


CONCLUSION

From a purely sonic and hardware perspective, the R5 is a great little player which deserves a solid 4/5. However, the experience is hindered by its software (just look at the firmware and software version numbers); a paradox and shame given that HiBy started as a software company. In a day and age when Apple taught everyone that Hardware + Software = 1, such mistakes should not happen, regardless of the price paid. As far as I am concerned, I will not touch another DAP with streaming capabilities unless it is deeply and properly customized. To each his/her own I guess.



SOURCE

HiBy R5 / Firmware: R5Int_1.7G_20191209_1627 – Audio effects: none / Music app used: HiBy Music 1.4.5Beta – Official site


IEMS

• Campfire Audio Andromeda Special Edition: Gold (silicone tips, medium) with stock Smoky Litz Cable, 3.5mm, Single-ended
• Dunu Titan 6 (balanced (blue) tips, medium) with stock cable, 3.5mm, Single-ended

SONGS

• Fleetwood Mac, Rumours, Never Going Back Again
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Iron Maiden, Fear Of The Dark, Fear Of The Dark
  Quality: 24-Bit 44.1 kHz – Stereo, FLAC
• Joni Mitchell, Blue, California
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Nina Simone, Pastel Blues, Sinnerman (Live In New York/1965)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Pink Floyd, Wish You Were Here, Wish You Were Here
  Quality: DSD / SACD
• Plüm, You’re the one, You’re the one
  Quality: 16 bit 44.1 kHz – Stereo, FLAC
• Simon & Garfunkel, Sounds Of Silence, Anji
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Stevie Wonder, Talking Book, Superstition (Album Version)
  Quality: 24-Bit 192.0 kHz – Stereo, FLAC
• Various Artists, Atlantic Jazz: Soul, Comin’ Home Baby (LP Version)
  Quality: 16 bit 44.1 kHz – Stereo, FLAC

BURN-IN

8 hours / No improvement noticed