Firstly, I would like to thank Burson for sending me these samples for review, they have both been used for at least 100hrs before this review was written.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used: Topping D50 / JDS Labs OL DAC / JDS Labs EL DAC > Fun > Play > HE-500 / German Maestro GMP 400 / Mission Bookshelf speakers / HD820 / Clear



Tech Specs:
https://www.bursonaudio.com/products/fun/

https://www.bursonaudio.com/products/bang/

Packaging, Build Quality and Accessories:
The Bang and Fun both come in a simple black box with the product name and picture on the outside, it is very simplistic but for these products you really don’t need anything fancy. When you open up the boxes you will find the products held tightly in place by foam cut outs, all the accessories are in a separate compartment. All of it is very secure for shipping and protects the products well, along with being sleek and understated.

Both units have the same build quality, a full aluminium outer casing that is sturdy and flawlessly finished. All the inputs and outputs are sturdy and everything stacks very neatly if you want it to. The volume control on the Fun is super smooth, both units have the power switch on the back but that is only a minor inconvenience for some, and I have never found rear mounted power switches to be an issue. What I can say here really is that Burson know how to make a solid product that is built to last.

Accessory wise with the Fun you get a set of RCA cables, a jack adaptor, the power supply and a 2.5mm hex key to open it up for op-amp rolling. With the Bang you only get the power supply and 2.5mm hex key, but then again I can’t think of anything else that would be needed to get it up and running. Overall a good set of accessories with each unit, and everything you need to get set up.

Features:
So the Fun is a headphone amp / pre-amp and it also has a mic jack pass through for those gamers out there. This is a pure analogue amp that has some very impressive output power for its size and price, it’ll drive most headphones out there with ease, and the gain is fairly high so it is still more suited for full-size headphones, but it does work fine with IEM’s too. It has one set of RCA inputs, and one set of outputs that are controlled by the volume control on the front. There is a 6.3mm headphone output on the front, and a 3.5mm mic input that passes through to a 3.5mm output on the back. The mic jacks are a pass through and not affected by the amp’s internals. On the back you have the power input from either the external power supply or a 4-pin molex from a PC power supply in case you want to mount the Fun in a PC case.

The Bang is a small desktop power amplifier for passive speakers; it outputs 40w @4Ohms, 29w @8Ohms and 15.2w @16Ohms. It is also very quiet and can be used to drive hard to drive headphones with the correct banana-XLR adaptor. It is a power amp so you need a pre-amp to control the volume; there is merely a LED on the front panel to show it’s on. On the back you have the power input, a set of RCA inputs and the speaker outputs (accept bare wire, banana plugs and spades).



Sound:
The Fun is a pure Class-A headphone amp, and a powerful one at that. It comes in a small form factor but don’t let that fool you. First off, we have the stock version with the NE5543 op-amps and the Fun is a nice neutral leaning amp with plenty of detail and punch. It has so much power on tap I’ve never found myself going over 10 O’clock on the volume pot. The NE5543 is a perfectly good op-amp in the Fun, but there is still room for improvement. For starters the NE5543 may sound a little sterile to some, it lacks a little dynamism and the treble is not the most natural sounding in timbre.

Pop in the V6 Vivid op-amps and it becomes just that, more vivid. The sound is more dynamic and punchier, with kicks hitting harder but never losing control. The midrange is not affected much apart from having better layering, separation and air. The treble gains some finesse and sounds more realistic than the NE5543. The Vivid plays well with many headphones, I personally found it to work wonders with the new Sennheiser HD820 over more reference style amps. The V6 vivid is just a lot of fun to listen to.

The V6 Classic on the other hand is a little more reserved in its presentation, preferring to be a subtler and laid-back sounding op-amp. The sound is slightly less exciting and up-front but what is does have is a more balanced and even sound that is smooth and enjoyable without losing out on detail retrieval. The midrange on the V6 Vivid is not as intimate as it is on the Classic, the Classic is the one to go for if you want an expansive sound with an even balance.

The V6 Vivid is energetic and fun, the V6 Classic is more reserved and balanced.

Now on to the Bang, the sound changes between the op-amps in the Bang are less noticeable but are still there to some extent. The changes are the same as the in the Fun, with the Vivid being more fun and exciting, the V6 Classic being more even and balanced. If you are using the Fun or Play as the pre-amp you can mix and match between the units to get the right balance.

The Bang with the NE5532 is a little on the brighter sound, and does not pair very well if you have brighter leaning speakers. Saying that it will work well with warmer speakers and still has a lot of power for its size. The good thing about the Bang is that you know the specs are not inflated, they are real life power ratings.

Again, the Bang does not change as much with different op-amps but there are still subtle changes, the V6 vivid playing better with slightly more neutral speakers, bringing out a little bit of life out of them. The V6 Classic will give you a more faithful and truer to the source sound.

What surprised me about the Bang is the moment you plug it in and get it playing you will notice how much more open, spacious and detailed it is compared to similar priced integrated amps. It really is the only amp you need for a nice little bookshelf / PC setup, and it will also handle a lot of bigger speakers if you are wanting a compact amp. It does not shy away from a challenge.

The Bang is a powerful yet compact power amplifier that would be at home in both a PC based system as well as a HiFi system. If you partner it with the Play you have a remote from which you can adjust the volume, with the Fun you only have the volume pot. The Bang does not shy away from a challenge and it will do justice to many easier to driver speakers out there, it sounds a lot better than the cheaper integrated amps around the same price, the only downside is you will need a pre-amp to match the amount of inputs you need.



Conclusion: Well I can easily recommend both products, as I can the Play. You can have them as a system or separates, but they all do what they set out to do with excellence. Have a Bang and a Play and you have an all in one DAC/HP amp/power amp that will drive most headphones and a large number of speakers with ease all in a compact stack or mounted in a PC case. The Fun comes in when you want to use a separate DAC and want a slightly better headphone amp than that of the Play. Burson have launched a superb series of desktop components that all sound great and work flawlessly, with the ability to tune the sound easily with op-amps along with mount them in a PC case. Keep up the good work Burson!

Sound Perfection Rating:
Fun 8.5/10 (Solid and powerful, V6 op-amps are highly recommended)

Bang 8.5/10 (superb power amp, V6 op-amps are again highly recommended)

Firstly I would like to thank Simphonio for this sample, it has had well over 50hrs of burn-in before reviewing.

Simphonio are a company born out of the ashes of Sunrise Audio, who were a well respected brand a couple of years ago. So lets see what their first new IEM is like.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used: iBasso DX200 / Audio Opus #2 > Xcited2



Tech Specs:

• Driver: Dynamic 9mm neodymium magnet
  
• Frequency response range: 20Hz~25Khz
• Impedance: 16Ω
• Output sound pressure level: 108±3dB/mW
• Maximum input power: 3mW
• Cable: 1.2M 6N OFC twisted
• Weight: 18g
• MSRP: $159.99

Packaging, Accessories and Build quality:
The Xcited2 come in a simple box, with the brand name and logo on the front and some info and specs on the back. Take the top of the box off and you are greeted by the IEM's held securely in a velvet coated foam tray. Underneath this foam you will find the accessories. Overall the unboxing is simple and pleasant, and the packaging is plain but attractive.

The Xcited2 come with a few accessories, you get 3 different types of silicone single flange tips, a semi-hard clamshell case and a cable clip. Everything you need to get a good fit along with a secure place to store them, nothing is missing here.

The Xcited2 feel well built, the housing is mainly plastic with metal accents and a textured face plate. The cable is fixed which is a shame as I would have liked to see a detachable cable for the price. The cable is the twisted type, but then sheathed in very soft and flexible rubber, it does however have some memory effect that may take a few days to straighten out. The jack is metal and has a spring strain relief, the y-split also has a metal casing with Xcited2 engraved on it, however there is no chin slider unfortunately.



Comfort, Isolation and Driver flex:
The housings are rounded, with faily long nozzles which allows you to get a medium to deep fit that is comfortable and secure. The cable routes up and over your ear with ease, and they are very comfortable once you find the right tips.

Isolation is fairly average, there is a vent on the main body that affects the isolation, but means there is no driver flex. I find these to be fine for most regular use, but fully sealed units will nearly always be better if you are using them in very loud environments.



Sound:
Split into the usual categories with a conclusion at the end.

Lows: I appreciate the lows on the Xcited2, the reason for this is they have just the right amount of impact and presence for a lot of listeners. They don't blow your head off with heaps of power, but you can easily separate different layers down low. Bass guitars are articulate and kicks hit with great impact but don't linger to slow down faster tracks. The bass is not the focus, but it has enough warmth to prevent these from sounding cold and they are expertly controlled. The control down low may have some people wanting a bit more bloom, but these lend themselves to those who prefer the more subtle details in music. The transition from the lows to mids is very well executed, with a slight smoothness but nothing that really affects the lower midrange.

Mids: These have an excellent midrange, it is not recessed and comes across with excellent clarity. There is perhaps a little bit of emphasis on the upper midrange, bringing female vocals forwards a little and also giving the sound a bit of crunch. Separation is a strong point throughout with these, they just seem to be able to separate individual instruments very well for the price. Nothing is really boosted, and these give quite an honest reproduction of sound, the midrange is quite neutral and does not suffer from added warmth from the lows. Electric guitars have excellent definition on the Xcited2, due to the clean and detailed midrange they really have excellent crunch and power. These can verge on the limit of becoming sibilant, but don't ever quite reach it, very well done here as they don't dull the lower treble.

Highs: The treble is the only place where these could perhaps have a little more control, they are not splashy but they don't have the most natural timbre up top, with a slight metallic tone. Overall though the highs are excellent as I find too many companies play it safe with the treble, and it holds so much information and detail that is lost when you tone it down. I understand we all have different thresholds when it comes to listening fatigue, but the Xcited2 pulls off the fine line between being well presented and too much, I feel most will be fine with the quantity and quality provided here.

The soundstage is very good on these, it expands quite wide with fairly average height. Separation is a real strong point though, with excellent control and the ability to easily pick apart complex mixes.



Conclusion: Well the Xcited2 are a superb IEM, even for the price, but I really would have liked to see a detachable cable. The build and fit are very good indeed, but the sound quality is where these excel. Plenty of detail with a good balanced across the frequency range, nothing is boosted and nothing sounds particularly artificial. Yes the highs could be a tiny bit more controlled, the lows could have a little more sub-bass but overall they are very fun to listen to.

Sound Perfection Rating: 7.5/10 (great detail and comfort)

Firstly a big shout out to Unique Melody and Micah for making this tour possible.

*disclaimer: This sample was provided on loan for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.



Tech Specs:
· Frequency Response Range : 20-30KHZ
· Sensitivity : 108dB
· Impedance : 22ohms
· Driver Count : 12 Balanced Armature
· Crossover : 4-way Passive
· Driver Configuration : 4 low+2 lower mid+2 upper mid+4 high
· http://en.uniquemelody.org/detail_207.html

Packaging, Build Quality and Accessories:
The Mentor V3 comes in a simple black box, branded with UM on the outside, lift off the lid and you'll find the carry case and accessories. Everything is held neatly in place with foam inserts, and everything is well protected. The unboxing experience is simple, but feels great nonetheless.

The Mentor V3 are impeccably finished, with expertly crafted shells and metal nozzles they sure are built to last. The 4-pin connector also screws into place neatly, and feels sturdy, the cables they come with are thick and have excellent strain relief, I see them lasting a long time. Overall the build is superb, providing you don't abuse them they should last you a long time; even the bass adjustment knobs are metal.

Accessory wise this demo set came with silicone and foam tips, along with a couple of cables, and a shiny metal carry case. The metal carry case is a nice touch, but it will surely get scratched very easily. Overall the kind of accessories you expect for this price point, with nothing missing.


Comfort and Isolation:
The Mentor V3 are big, and my ears are small. This means I had to use small foam tips to get them to fit properly, but once inserted they were comfortable as they are not too heavy. Overall I found them to be quite comfortable, but as my ears are small something a little smaller in size tends to fit better.

Isolation depends on the vent position, but it is fairly average and perfectly fine for daily use but you might want something that isolates a bit more if you are planning on using them in very noisy environments.


Sound:
Split into the usual categories with a conclusion at the end.

This part is written with the bass ports closed.

Lows: The Mentor V3 is not a bass monster, but it does have a bit of a boost down low to keep things fun. The bass is a little more mid-bass centered to give them a little more kick; there is also a bit of focus on bass guitars too. They are also well extended, easily reaching into that nice rumbly sub-bass but always kept under control. The mid-bass has very impressive impact, and is backed up with plenty of body, yet it never becomes fatiguing of boomy. It can keep up with complex tracks with ease; I really enjoy metalcore breakdowns with the Mentor V3 as the bass really comes out when called for.

Mids: The Mentor V3s midrange is highly transparent, bringing out heaps of detail but never throwing it in your face. The midrange is well separated from the lows keeping it crystal clear, however again not fatiguing. The midrange is not exactly recessed, but the mid-bass seems to be the focus with these. Electric guitars are well defined in the soundstage with good power and crunch, and again these pick apart complex mixes with ease. I find the Mentor V3 to handle both male and female vocals evenly, Foo Fighters - Everlong sounds excellent, Lights - Follow You Down (acoustic) sounds equally impressive. With these more intimate tracks you can hear every little detail in the track, and you are transported to your own personal concert, it is like they are in the room with you. What I like about the midrange is its ability to come forward when called for, it allows it to be the focus when needed, but the overall signature is not mid-forward.

Highs: The highs on these have a small peak in the lower treble region, really bringing out cymbal crashes. The are smooth in the transition between mids and highs though, being free from sibilance. The highs are well presented and extended, I do not find them lacking, but the sound of the Mentor V3 definitely leans towards a fuller and more engaging sound. There is plenty of detail up top, and the timbre is spot on, it is so easy to tell the different parts of drum kits apart with these. The highs never get muddled when it comes to complex tracks; they are always there to bring out a bit of excitement in the music.


Bass Ports Open: the bass ports allow you to add an extra 4dB down low, this is mainly affects the sub-bass and I personally prefer the tighter and more controlled sound with the ports closed. I found the lows to lack a bit of focus when the ports are open, making them sound a tiny bit muddy. The only time I like the bass ports open is with more sub-bass oriented genres, and having the ability to adjust this is great.

Soundstage wise these are not huge, but what they do offer instead of a huge soundstage is impeccable imaging. Everything is pinpoint accurate, you can easily place instruments within the stage, and the separation between everything is superb.
During heavier rock tracks that I enjoy, they have the power to deliver a heavy wall of sound, but the technical ability to pick it apart should you wish.


Conclusion: It is hard to sum up the Mentor V3, they are not the most neutral headphones but they offer an engaging sound that is refreshing at this price point. Most TOTL IEM's aim for a more safe and neutral sound, but these want you to have fun and enjoy the music. The bass is slightly enhanced with plenty of impact, yet they are well controlled and only come out when asked to. The midrange is effortlessly transparent, and the highs are well extended and detailed without being bright. I highly recommend you listen to these, everything is there, they are technically, and sonically very impressive.

Sound Perfection Rating: 9/10 (TOTL in technicalities and heaps of fun)

Firstly I would like to thank Audio Opus for choosing me to review their new player. This player has been used for quite some time before writing this review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gears Used:
Opus#1s > Inearz P350 / FIBAE 3 / Meze 99 Classics / German Maestro GMP 8.35d



Tech Specs:
http://www.audio-opus.com/?page_id=17532

Packaging, Build Quality and Accessories:
The Opus #1s comes in similar packaging to the rest of the Opus DAP’s, it is simple with the model on the outside and specs on the back. This outer sleeve slides off and you are greeted with a red, thick card box. Slide this open and you will find the DAP held tightly in an inner tray, underneath this tray you will find the accessories. Overall the Opus #1s comes in a great, sturdy box that protects it during shipping and looks great when you are opening the product.

Build quality wise the Opus #1s is similar to the original Opus #1, made of ABS plastic that is strong and well finished, but also light in weight. The front is glass as it is a touch screen player; the back is shiny plastic with a pattern on it. On the sides you have the dual MicroSD slots, along with playback controls. On the bottom you have the micro USB port, and the top you have the power butting along with the headphone outputs. Overall everything is very well put together and it feels like it is built to last.

Accessory wise you get a charging cable; you can opt to buy the leather case for it too which is a high quality Dignis one. You do get some extra screen protectors and a manual.



UI and Features:
The Opus #1s has the same interface as all Audio Opus players; it is a sleek and custom skinned version of Android that has minimal extras included. The interface is super easy to navigate with the usual categories such as album, artist etc... along with file browsing. The now playing screen shows the current track playing, along with the sample rate and album artwork. If you drag down the notification bar you have some quick setting such as Line-Out, Shuffle, Repeat and EQ.
This is a stripped down DAP, there is no Bluetooth or streaming.

The Opus #1s has an EQ, Balance controls, Gain, Line-out, USB DAC mode and your regular Android settings. The thing I love about the Audio Opus devices is that they just work, the firmware is stable and the setup is super easy to get used to. They really go for a no frills, easy to use DAP.

On the top you have a 3.5mm headphone output, along with a 2.5mm balanced output, the battery life is rated around 9hrs and during testing I found this to be accurate. The great this is that the Opus #1s has a deep sleep state it goes into when the screen is off, this means you can leave it on and the battery will run out very slowly.



Sound:
I use the iBasso DX200 and Opus #2 as my reference DAPs.

The Opus #1s is such an awesome player sound wise, it is open and dynamic sounding with incredible detail retrieval and control. It has a slightly full sound to it, but without taking away any of the details. It has a very hard hitting low end that is done in such a way that it isn’t distracting or overdone. There is heft but also control down low, the midrange is left without sounding recessed either. The midrange is so natural and effortless; there is excellent bite to electric guitars and impeccable separation and control. The highs are extended, crisp and clear, there is never a sense that this DAP is rolled off of overly smooth.

From the above it may seem like this is a dark sounding player, but it is not. It just has a power and dynamism that few players achieve, the Opus #2 for example is a technically superior player with increased resolution, separation, soundstage and detail but it does not sound as impactful. This DAP is overall a very fun but also technically proficient player for its price.

Whilst the original Opus #1 went for a neutral sound, the Opus #1s has a slightly fuller sound, but without sounding bloated or overly warm. Nothing is missing here, partner it with any headphones and it will bring out their true sound without adding much of its own flavour. Being slightly full you would think that it would not be the best match for already warm sounding headphones, but that is not the case. When paired with warm headphones it brings a level of control to the low end but still has impressive impact and body, whilst opening up the midrange and treble with its great detail and separation.


I could use the Opus #1s daily, and not miss the DX200 with Amp1 or Amp3, or the Opus #2. That is how good the Opus #1s sounds to me.

Comparing the Opus #1s to the Hidizs AP200 you have 2 quite different DAPs, the AP200 has plenty more features but a more buggy UI. The AP200 does not have a balanced output, and has a little more excitement in the treble and also mid-bass, leading to a highly enjoyable but slightly more coloured sound. The Opus #1s has a more linear sound, with less emphasis on certain frequencies but without losing out on being powerful and fun.

Going from single ended to balanced on all the Audio Opus players yields very little improvement, which to me shows that Audio Opus know how to implement a balanced circuit. There shouldn’t be any huge gains if the amp is well designed. The balanced output does output a little more power, and the separation and soundstage are perhaps a tiny bit better, but the differences are small.


Conclusion: If you are looking for a daily DAP that you want to use instead of your high-end DAP without experiencing huge losses in SQ the Opus #1s is excellent. If you are looking for your first taste of what a dedicated DAP can bring to your listening experience the Opus #1s is the one to show this. It is not for those that want a feature packed DAP; it is for those who purely want quality audio on the go. The original Opus #1 was the DAP to make me make the transition from my iPod Classic 7G to another brand of DAP, as it has the UI to back up the excellent sound quality. In my personal opinion Audio Opus really know how to make a killer DAP for the price, the Opus #1s is such an easy DAP to recommend for the price.

Sound Perfection Rating: 9/10 (easy to use, powerful sound)

Firstly I would like to thank Meze for sending me this sample, they have been used for well over 50hrs before writing this review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used: HP Laptop > Keces S3 / JDS Labs OL DAC + O2 / iBasso DX200 / Audio Opus #2 > 99 Classics



Tech Specs:
· Transducer size: 40mm
· Frequency response: 15Hz - 25KHz
· Sensitivity: 103dB at 1KHz, 1mW
· Impedance: 32 Ohm
· Rated input power: 30mW
· Maximum input power: 50mW
· Detachable Kevlar OFC cable
· Plug: 3.5mm gold plated
· Weight: 260 gr (9.2 ounces) without cables
· Ear-cups: walnut wood
https://www.mezeaudio.com/products/meze-99-classics-walnut-silver-wood-headphones

Packaging, Build Quality and Accessories:
The Meze 99 Classics come in a lovely box, with a picture of the headphones on the front, a frequency graph and tech specs on one side and features on the other. On the back it is just black with the shape of the headphones in a glossy black outline. The packaging looks and feels great, you open the front via a magnetic flap and inside you will find the headphone case, and inside this are the headphones and accessories. I really like the detailing on the outer packaging; it is a great first impression.



Built quality is flawless; each pair will be unique due to the wood having a different shade/grain naturally. The cups are impeccably finished and everything feels great. The cable is detachable, they come with 2 cables which are covered in fabric below the y-split and rubbery above, the 3.5mm jacks that go into the headphones are very slim so using aftermarket cables will be tricky, but the stock cables work fine and are well built. There is good strain relief and the microphone and controls on the shorter cable feel great. I have no issues with the build quality, and every part should be easily replaceable if anything goes wrong.

Accessory wise you get a nice hard carry case that is just the right size to fit the headphones in, they do however fit better if you remove the cable before putting them in the case. You also get a little fabric pouch that holds the rest of the accessories, like both cables (1.2m with mic/controls + 3m regular), airplane adaptor and 3.5mm to 6.3mm adaptor. Overall the included accessories are brilliant and everything you need to get going.



Comfort and Isolation:
The 99 Classics are super comfortable, the self adjusting headband distributes the weight perfectly and they are pretty lightweight anyway. The earpads have changed since they originally came out, to slightly larger ones that fit my ears fine and are just the right depth. These are closed back so your ears will heat up a little over time, but overall they are very comfortable and I can wear them for long periods of time with no issues.

Isolation is pretty good on these, not as good as most IEM’s but they do drown out most moderate noises quite well and would be perfect for office use. They don’t leak either, and they would also suit general daily use well.



Sound:
Split into the usual categories with a conclusion at the end.

Lows: The 99 Classics have a great low end; they are full with good extension yet without sounding too bloated. There is great articulation of bass guitars, and they sound relatively well controlled too. There is one tiny bit of resonance in the mid-bass that creates a little bloat, but this can easily be fixed with EQ and this is a result of the newer larger earpads. I really like the low end response of these as they have enough quantity to please most, but they are also well behaved for the most part; without bleeding heavily into the midrange. As I said previously, bass guitars have really good articulation, and kick drums have good slam. The lows only fall slightly behind when it comes to very fast and technical passages of some heavy metal where that mid-bass resonance can be a little overpowering.

Mids: The midrange is well separated from the lows, there is a small amount of bleed but for the most part they are clean and well detailed. The strengths here are timbre, acoustic guitars sound exceptional and there is great separation in the midrange. Both male and female vocals sound excellent, with plenty of detail but no harsh or sharp edges to notes. They are not quite as forward as the lows, but these are not really v-shaped sounding headphones, they manage to have a full low end with an insightful midrange too. Electric guitars don’t always have the bite that some more neutral headphones have and notes can sometimes sound a little rounded. But they are fatigue free with a smooth transition from the midrange to the highs.

Highs: The treble response of the 99 Classics is actually fantastic, it is smooth and fatigue free but not lacking in detail or presence. I was worried with the bump in the mid-bass that these headphones may come across a little dark, but again after spending some time with them I was pleasantly surprised at how transparent they are in the treble regions. There are no annoying peaks, they are not aggressive but they are resolving with good air and extension. The key up here is the tonality, they avoid the slight metallic tone that some headphones suffer from, and they are very natural and effortless.

The soundstage is wider than most closed back headphones, but they are not the most spacious sounding headphones. There is however good separation between everything and you can easily separate complex mixes.



Conclusion: As I said before, the more time I spent with these the more I came to appreciate their strengths and sound. At first some might find the bass to be the focus point, and in some ways it is, but they strike a fine balance between sounding fun and technical prowess. They do have a slightly elevated bass response, but the midrange comes across with excellent clarity and the highs have an effortless tone that is always present but never fatiguing. As a whole the 99 Classics individual attributes come together to create a relatively well balanced sound that is highly enjoyable without forgetting about the finer details.

Sound Perfection Rating: 9/10 (slight mid-bass resonance, but highly enjoyable overall)

Firstly I would like to thank DD-Audio Store for sending me this ZS10 sample, it has been burnt-in for over 50hrs before writing.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used:
Audio Opus #2 > ZS10



Tech Specs:
Impedance: 32Ω
Earphone sensitivity: 105dB/mW
Frequency range: 20-22000Hz
Interface: 3.5mm Gilded
Plug Type: L type
Cable Length: 1.2m±3cm

Shop HERE

Packaging, Build Quality and Accessories:
The ZS10 come in typical KZ packaging, a very small plastic box with the headphones tightly sat in a plastic tray, and accessories underneath. The packaging is simple and small, which saves on shipping costs, it has a little information about the IEM's on the outside. The packaging is far from luxurious, but it is effective and for the price it is hard to complain.

Build quality is overall quite good, the housings are translucent plastic but quite large in size, there is a metal mesh wax filter at the end of the nozzle. The ZS10 have a detachable cable which uses a standard 0.78 2-pin connector, the stock connectors have a small recess to make them stronger but normal 2-pin cables can be used without issue. The cable is far better than previous KZ offerings, with good strain relief and a chunky rubbery y-split. It is a 4 core braided cable, and has memory wires which I personally don't like. Overall the build quality is good, but KZ do not use the most sturdy 2-pin female sockets on the IEM itself.

Accessory wise all you get are 3 pairs of tips, S, M and L silicone single flange ones. Again at this price point I cannot complain, but a carry pouch would be nice.



Comfort, Isolation, Driver Flex and Cable Noise:
The ZS10 are big, and I have small ear canals. I found getting a good fit was not too much of an issue, but they do look a bit silly in my ears due to the way they stick out. If you have larger ears, you should be fine, if you have small ears these may look off when you wear them. Overall comfort is good though, as the housings are lightweight.

Isolation is quite average on these, there are multiple vents in the housing which allows some outside noise to leak in.

Driver flex and Cable noise are non-issues here.



Sound:
Split into the usual categories with a conclusion at the end.

Lows: The ZS10 has a very full low end, but one that is not overbearing. The lows extend way into the sub-bass with ease, and have great impact but they are lacking a little control. Due to the fullness of the bass, they are not the quickest in terms of recovery, and don't quite handle fast tracks with grace. But stick on some modern pop recordings, or dance music and the lows are great fun.

Mids: The midrange is a little peaky in places, and the transition from lows to the midrange is not as seamless as a few other multi-driver designs. Saying that the midrange is not wildly recessed, it only sits a little behind the lows presence wise. The midrange may not be the most coherent, but it still digs out some impressive detail. Vocals are not the focus with the ZS10, and female vocals are placed slightly ahead of male vocals due a dip in the lower midrange.

Highs: KZ have really tamed the slightly exuberant and over the top highs of some of their older models, these are not ear piercing. They are well placed without being subdued; my only issue with the highs is that they are not the most realistic sounding. They extend well, and have plenty of presence and sparkle, and just stop short of being bright.

Instrument separation is good on these; there is actually a fair amount of air between everything. The soundstage is also not bad, they are a little narrow sounding but there is enough space to not sound claustrophobic.



Comparison:
KZ ZS5 v1:
The ZS5 v1 is the cleaner, but slightly brighter sibling of the ZS10. The ZS5's bass is tighter and kicks with more authority, but doesn't have quite as much presence in the sub-bass region.
Immediately I find the vocals to be much clearer and not as recessed as the ZS10. Some have issues with sibilance on the ZS5; and yes there is a little bit of a treble peak that can induce a little more fatigue over the ZS10. But this is the only part where I think the ZS10 have the upper hand.

Conclusion: Whilst the ZS10 is definitely a step forward for KZ, I still think the ZS5 v1 is slightly better. The ZS10 is no doubt smoother, with fewer peaks, but it also comes across a little muffled and boring. The ZS10 is still and excellent IEM for the price, and I would still easily recommend them if you are looking for a budget v-shaped IEM. The detail and separation are still excellent for the price, and KZ seem to be putting a little more into the tuning now, rather than throwing as many drivers as they can in an earphone.

Sound Perfection Rating: 7/10 (v-shaped, fun but lacking refinement)

Firstly I would like to thank JDS Labs for sending me the kit version of the Subjective3 EQ.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used:
HP Laptop > JDS Labs OL DAC > Subjective3 > O2 > GMP400, Meze 99 Classics and others.



Specs:
https://www.jdslabs.com/products/187/subjective3-equalizer/

Packaging and Build Quality:
The Subjective3 I got was the kit version, it came in a simple black JDS Labs branded box and all the separate components were in small plastic bags. The PCB comes in an anti-static bag and the outer casing is all included too. It is all laid out neatly so you have everything labelled to avoid confusion during the build. Overall the packaging is what I have come to expect from JDS Labs, simple, elegant and neat.

Build quality partly is down to you if you get the kit version, but the outer case is the same as the O2 and everything is expertly engraved and precise. It all goes together easily and the build was quick and easy.

Features:
The Subjective3 is a simple, all analogue 3-band EQ with a bypass switch. It is built in the same chassis as the O2 amp, and OL DAC so you can have a neat stack with all components. This is how I have mine, between the OL DAC and my O2 amp.

This means I can have the clean signal by flicking the Subjective3 to bypass, but I can also add some colour by using the Subjective3. I cannot detect any signal degradation when using this in bypass mode, and also when using the EQ there is no added noise or artifacts.

You can tune +/-15dB of adjustment to the bass, mids and treble. As with any EQ it is best to use subtractive EQ rather than additive EQ to avoid clipping.



Sound:
Well the Subjective3 in itself is not supposed to change the sound until you turn the knobs, and this it does very well. But the main points are the tone control knobs, and these are extremely effective without signal degradation.

You can add and takeaway as much as you like, it is really fun to experiment with different sound signatures but at the end of the day what I most enjoy about the Subjective3 is the ability to fine tune the sound by taking away in small increments.

Yes there are only 3-bands, but each affects a wide band of frequencies depending on how much you turn the knob: https://www.jdslabs.com/pdf/ol-eq-curves.pdf

I know some parametric EQ’s will allow you to fine tune more, but the fact that this is all analogue and not using DSP’s to me is more appealing. It is also easier and more intuitive to use. I also don’t find I am limiting the amp when using the Subjective3, it is incredibly clean and small adjustments won’t make huge differences.

I am one of those that does not use EQ on my DAP’s or headphones, as I would rather find equipment that complement each other, but the Subjective3 has let me tune headphones to my liking easier. I also understand that there are headphones out there that are nearly 100% perfect to some but just need a tiny added presence in some frequencies. That is where the Subjective3 comes in, for example my German Maestro GMP400 are slightly lacking in bass depth and presence. To my ears they play best with my tube amp, yet with the Subjective3 I just dial back the mids and treble a little and they are perfect too. The same goes for the Meze 99 Classics, dial back the bass a tiny bit and they sound excellent.



Conclusion: The Subjective3 is a great little device that allows you to EQ in real time, in the analogue domain without perceptible degradation to the signal. It should be used to make subtle differences which all add up to make your listening experience more enjoyable. However if you really enjoy your bass then this will also let you pump it up to crazy levels. This little device adds a little flexibility to my objective stack, and can be a handy tool to tune headphones to your personal tastes. As with all JDS Labs products, it does what it says on the tin, in a very effective yet inexpensive way. Audibly clean, easy to use, and just a great addition to any system.

Sound Perfection Rating: 8/10 (Excellent value, great in use too)

Firstly I would like to thank Gearbest for this sample, they have been used for over 50hrs before writing this review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used: Audio Opus #2 > T4s



Tech specs:
Connecting interface: 3.5mm,Type-C
Connectivity: Wired and Wireless
Driver unit: 57mm
Frequency response: 15Hz~25KHz
Driver type: Dynamic
Impedance: 16ohms
Music Time: 16h
Plug Type: 3.5mm,USB Type-C
Sensitivity: 116dB
Standby time: 650h
Talk time: 16h

Buy HERE

Packaging, Build quality and Accessories:
The T4s come in a matte black box with a picture of the headphones on the front and specifications on the back. The packaging is very basic, with a plastic insert that holds the headphones in place along with a small box for the accessories. The packaging is nothing special, but for the price you really cannot complain.

Build quality feels quite sturdy overall, metal sliders and headband along with plastic cups that have a metal faceplate. Ok the inner headband wires are thin, and they do not feel like the kind of headphones that you would throw around but with some care they feel like they will last a long time.

Accessory wise you get a thin cloth carry pouch, a USB-C to 3.5mm cable for when they run out of battery, a USB-C charging cable and a handy manual. The accessories are all you need, and nothign is missing.



Comfort, Isolation, Noise Cancelling and Features:
The T4s earpads are a little on the smaller side, but they just about fit around my ears without too much discomfort. I would not want to wear them for 2hrs+ but for general usage they are fine, the headband is a little thin with minimal padding so that could cause some issues. The weight is not too bad, you can feel the weight but it is not uncomfortable.

Isolation is pretty good as standard, and slightly better with the noise cancelling on, nothing to write home about, but perfect for day to day use.

The noise cancelling is ok, not great but then again for the price it is perfectly acceptable. I will say that I cannot pick up heavy white noise when using the noise cancelling feature, which to me is a huge plus.

The battery life seems very good to me, I get around the stated 14hr use depending on the volume. They can be used in wired mode with the USB-C to 3.5mm cable, and have a quick charge function. They paired to my devices with no issues, a long press on the volume up will skip forward, long press on down will skip backwards. There is a play/pause button along with a MF button that is the power button along with a "last number redial" function.



Sound:
Regarding the sound quality, I found the sound to be substantially better with the noise cancelling on, so this is how these have been reviewed.

Bass: Whilst not the most controlled low end in the world, there is sub-bass response along with mid-bass punch that is actually well executed. To be fair when I first listened with the noise cancelling off, I found there to be way too much bass that was overblow and bloated. Turn the noise cancelling on and you get tighter more controlled bass that will satisfy most. I find the bass response to be optimal for day to day use in the fact it is not emphasised to the point of fatigue, yet it still has enough presence to make them enjoyable. They lend their hand to most genres well, perhaps lacking only during very complex tracks.

Mids: The mids are a tad recessed compared to the bass, and there is a slight low-mid dip that affects male vocals more than female vocals. This means that female vocals come through with a bit more bite and detail. Electric guitars still have a fair amount of presence and they are not laid back or boring. Again there is a tendency to get a little congested during complex passages, but this does not render them unlistenable, and they do a pretty good job at keeping things separated for the price.

Highs: The highs are smooth and non fatiguing, there is no sibilance during the transition from the midrange to the treble. The treble is however a little uninspiring, it is just lacking a bit of presence and sparkle. They are not very energetic up top, which makes them great for easy listening but some may find they sound a little dull sometimes. When they do come out to play, there is a fair amount of detail, and they are not too splashy, it is just a shame about the quantity.

Soundstaging is not a strong point, whilst everything stays well separated for the most part the actual width and depth of the stage is fairly narrow.



Conclusion: Now these are, all things considered, and excellent headphone for the price. Stable bluetooth connectivity, the fact you can have 2 devices connected at one time, solid build quality and perfectly acceptable sound quality; all for under £40. They have a relatively balanced sound, with the odd dip here and there, they are easy and enjoyable to listen to and that is what counts. If you fancy a cheap bluetooth headphone just for casual use, these are excellent, along with making an excellent gift to anyone who listens to music. Just remember to turn the noise cancelling on, otherwise they are bass canons with little resolution.

Sound Perfection Rating: 8/10 (superb value for an enjoyable sound)

Firstly I would like to thank Atlas cables for this sample, it has been fully run in for over 150hrs, along with being used extensively before reviewing.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used: Keces S3 > Atlas Zeno > HiFiMan HE-500 (modded with dual 3.5mm mono sockets)



Info:
https://www.atlascables.com/featured-zeno.html

Packaging and Build Quality:
The Zeno comes in an Atlas Cables box, with a custom sticker for the model that is included. On the side you have boxes with the configuration and length (for mine, 2m, 4-pin XLR Amplifier, 3.5mm Custom headphone). On the back of the box you have some information about Atlas cables and their ethos, inside you will find the cable and also a small leaflet about the cable.

The cable is incredibly well built, first off Atlas use custom solder free connectors to achieve the best possible contact (and lowest signal path) between cable and connectors. Then they use OCC cable, they do not believe in using a coated conductor, and only use the purest of copper in their cables (apart from their Asimi which uses OCC silver).

The 4-Pin XLR plug is a thing of beauty, in their dark chrome finish, the lower section of the cable is heavy duty and sheathed in fabric. The y-split is small and lightweight, it is also in the same black chrome finish as the XLR plug. The upper section of cable is soft and rubbery, and on mine finishes in dual 3.5mm jacks. The jack housing is a matte grey and slimline so they will fit the Beyerdynamic T1 2nd Gen, Final D8000 and many other headphones. The L and R sides are distinguished by Red and Black heatshrink. The whole cable feels very well put together, it is thick but not cumbersome or heavy.



Sound:
I was previously using a homemade cable on my HE-500’s, it was made with Van Damme miniature starquad cable which uses a mix of OFC and SPC conductors. I have the Atlas Zeno IEM cable and find it to be incredibly open and detailed yet also natural and never fatiguing.

The full size Zeno cable uses the same conductors as the IEM version which I am very familiar with (it is one of my favourite IEM cables). The pure OCC conductors along with the custom insulation from Atlas bring a very natural sound from the headphones you connect it to. As with all cables, careful system matching is a must, and the Zeno will not tame hot treble, nor will it bring out thunderous bass.

What the Zeno does is lift a slight veil from the sound of most stock cables, subtle details are now more easily picked out and instruments find a more defined place within the soundstage. The Zeno is an effortless sounding cable; it will not alter the stock sound signature but rather enhance it. The stock HiFiMan cable is terrible ergonomically and it is silver plated copper bringing out a little bit of extra presence in the treble. Now I do not think the stock cable is bright, but it does not have the most natural of timbre to it, it can sound a little metallic. Changing over to the Van Damme cable brought out a little more linearity, but not a huge difference. Going to the Zeno you immediately notice that there is more substance to the sound, more body but not at the expense of extension or detail retrieval.

The background is blacker, bass guitars now have more focus and definition; kick drums retain fullness but with a more defined kick. The midrange has more bite and vocal tracks are easier to pick apart, electric guitars have a crisper and more open sound. The treble still has plenty of sparkle, but the timbre is more accurate and cymbals sound more realistic with no missing extension. There is openness to the sound now that was slightly lacking before, the soundstage is more focused with a solid centre image and everything else having a better defined space.



Conclusion: As I have said many times, cables will not change the whole system, and careful system matching is a must. Saying that, the Zeno cables seem to fit seamlessly into any system and enhance it by bringing out subtle details better along with a more natural and effortless sound. The Zeno Cables can be described as natural, effortless and spacious without a hint of bloat or sharpness.

Firstly I would like to thank Paul at iBasso for sending me this cable to review, it has been used with multiple monitors over a period of time.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.



Tech Specs:
Material: 5n OCC silver + 6n OCC copper
Connector: 2.5mm 4-pole balanced / MMCX
Cores: 8
MSRP: $199

Packaging and Build Quality:
The CB13 comes in a small plastic anti-static bag with the specs on the front along with the model number. The packaging is nothing fancy, but it does the job; I would have liked to have seen it come in a little box though.

The CB13 is a very well built cable, the braid is even and the cable is thick, the jack has great strain relief and the MMCX connectors click into monitors tightly. I feel like this cable will last a long time and even though it is not a boutique handmade cable, it still feels top notch.

Ergonomics and Cable Noise:
The CB13 is a relatively thick cable, but the jacket is soft and thus the cable is pliable and never gets in the way. The parts that route up and over your ears don’t have memory wire but I prefer this and have not had any issues with it. There is a chin slider to take up the slack, overall the CB13 is a very comfortable and soft cable in use.

There is no cable noise I can detect from the CB13 which is an excellent thing.



Sound:
The CB13 is an excellent cable for the money, I will open with that because the CB13 allows you to keep the core signature (much like the Eros II) but focuses on adding more air and control to the sound. The CB13 is not a hugely coloured cable, lows are still full and articulate yet have a touch more control to them, reigning in any bloat that the stock cable might have. Next up with have the midrange which is injected with more clarity and also a more open soundstage, the smaller details are easier to pick out with the CB13. The highs gain some air and a hair more extension, but they are also very natural without a hint of harshness.

The CB13 is a cable that allows you to detect the finer details with ease; it is a smooth but highly detailed cable that has openness to the sound that works wonders with most IEM’s. Even putting it on the modest Westone UM Pro10 brought some excellent improvements and cleared up the slight veil that they have, whilst adding another level of detail and separation.



Conclusion: The CB13 is a cable that is a pleasure to use, along with also being highly transparent and detailed sounding. It is soft and pliable, and will bring another layer of detail and separation to your monitors. For the price, it is a great cable and one that will work with most monitors providing you are not looking for a cable that drastically changes the sound signature.

Firstly I would like to thank Hidizs for sending me this sample to review, it has been used for a good fews weeks before reviewing.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used: Hidizs AP200 > German Maestro GMP8.35d / Inearz P350 / Custom Art FIBAE 3 and others.



Tech Specs:
https://www.hidizs.net/products/ap200

Packaging, Build Quality and Accessories:
The AP200 comes in a neat matte black box, with the brand name and model number embossed on the front, on the back is a list of the main technical specifications and also a list of included accessories. The AP200 is held in a foam insert; underneath this you will find the accessories. The box is neat, and not excessive, overall a great unboxing experience.

Build quality overall is good, the buttons click with authority, and the sockets are all nice and tight. The housing is aluminium, and well finished however mine is the blue version with the standard glass back and there is already a crack in mine even though it has been kept in its case. I am not sure if mine is a one off as it was going to a reviewer and was possibly not a full retail unit QC wise, but it is a shame to see it crack so easily, I think Hidizs could use stronger glass on the back panel. The front is fine, and overall it is a well made DAP.



Accessory wise you get extra screen protectors (one is already installed from the factory), a thin plastic case, a USB-C cable and also another shorter USB-C to micro USB cable. You don’t get anything fancy with the AP200, but for the price it comes with the essentials that most players come with so I cannot complain. The case is a bit on the thinner side, but it is good to have a case on the player, the optional Leather case in my opinion would be much better at protecting the player.



Features and UI:
The AP200 does not have balanced output, it does not have digital output apart from USB output, which works for me but is still not 100% working for some people. The AP200 does have 2 modes, Android or pure music mode, in Android mode you have access to the playstore where you can download apps and use streaming services. In pure player mode you only have access to the installed hiby player, but I will note that Bluetooth and WiFi both work in pure player mode.

The WiFi is not very well implemented, the signal drops out a lot and does not have very good range, so this is something to be aware of if you are planning on using it as a streaming device.
The Bluetooth is actually very good however, and it supports AptX, you can tell if it is sending an AptX signal by a small A symbol appearing in the notification bar. I got good range with Bluetooth, and the sound quality is good via AptX.

The settings menu will be familiar to anyone who has used Android, so I won’t go into detail there, the only difference being the Audio settings. You have 7 DAC filters to choose from, these are subtle and it is best to play around with them to see which you prefer. I have it on Minimum phase, fast roll-off but you can pick whichever you prefer. You also get high/low gain options and also a channel balance option.



The screen is sharp for a player of this price, and has good colours; unfortunately the calibration is a little off, and I believe further firmware updates can help here. When the AP200 originally came out it was incredibly slow to navigate, but with the latest firmware it is a lot more responsive and I have no real navigation problems.

The AP200 uses a custom version of the Hiby player app, which is really easy to use and it also looks great, you have the usual track info on the now playing screen, you also have the option to add the track playing to a playlist.
You also have an EQ, Gapless, pause when headphone is unplugged, DSD mode and some other little options in the Hiby app.
Button wise you have the power button on the top, on the side you have a play/pause button, and the volume buttons. The volume buttons also skip and rewind tracks if you double tap them quickly. In the previous firmware it was hard to turn the volume up a few steps without changing tracks, but now the delay between two taps to change tracks is a lot shorter so it’s easier to adjust the volume multiple steps without accidentally skipping tracks.

As with any player there is a learning curve, but the AP200 is an easy to use android base DAP that doesn’t take long to get used to. Volume steps are small so you can easily get good volumes with sensitive IEM’s, along with it doing a respectable job with full-size headphones.



Sound:

Despite a few bugs in the firmware, the AP200 sounds truly excellent, it has such an engaging and detailed sound that you sometimes forget about some of its quirks. The AP200 may not have a balanced output, but with the single ended output sounding this good it really doesn't matter.

The AP200 is not the smoothest, most refined sounding DAP around, but what it offers is a fun and enjoyable listen with a sound that is packed full of detail. The bass is tight, but powerful and punchy; there is perhaps a slight bit of added sub-bass body. The midrange is open and detailed, and the highs have a little added energy to bring out a little extra sparkle.

The slight boost in the treble is expertly implemented, as it does not make the AP200 come across as thin or bright at all. The other thing is that even though it sounds like there is a slight boost down low and up top, the midrange is not missing a single thing, it remains wonderfully open, airy and detailed.

The AP200 has a very powerful internal amp, with excellent transient response, even the most complex of tracks never sound blurred or muddy. The soundstage is effortless and wide, the separation is also precise.

As I said, the AP200 is not the most reference sounding DAP I have heard, but it is one of the more engaging and enjoyable DAP's I have used.



Comparison:
Audio Opus #1s:
First off the Opus #1s is a pure DAP, without the bells and whistles of the AP200 (no wifi, playstore, bluetooth or open android). The Opus #1s runs a heavily modified version of Android, and it just works and is really easy to navigate which I appreciate. The Opus #1s also does not have DAC filters, but it does have high and low gain, it also has a 2.5mm balanced output (and optical output)

From a usability point of view, the Opus #1s is more refined, less buggy and easier to use, but the AP200 has many more features which can be useful.

Sound wise:
The Opus #1s is fuller bodied with a little less sparkle up top, the AP200 jumps out with a more engaging and sparkly sound but digging deeper you will find that the layering and sounstaging are superior on the Opus #1s

The Opus #1s has very tight but full bass; there is a hint of bloat when using the AP200. The soundstage is wider, but the AP200 has slightly more air around instruments. The separation is more defined on the AP200.

Overall they are both excellent players, the Opus #1s sounds a little darker, but has better layering and soundstaging. The AP200 has slightly better detail retrieval, separation and is a bit more engaging.



Conclusion: If we are basing this off of sound quality alone, the AP200 is an excellent sounding DAP. Unfortunately the firmware is still not quite perfect, and there are some quirks still to be ironed out. Saying that the latest firmware really did bring this DAP a big step closer to being an excellent daily driver.

The wifi range is terrible, bluetooth works but again the range isn't the best, the touchscreen calibration is still slightly off and the back of mine has a crack.

BUT the sound is excellent; it is dynamic, engaging and highly detailed for the price.

Sound Perfection Rating: 6.5/10 (if it didn't sound this good, it would not be getting this rating)

Firstly I would like to thank Alpha & Delta for sending me this sample for review, these received over 100hrs of burn-in before writing.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used: Audio Opus #2 / Hidizs AP200 / Objective 2 amp > D6



Tech Specs:

• Driver unit: 10mm dynamic driver
• Impedance: 16 ohm
• Rated power: 1mW
• Frequency Response: 10 Hz- 40 Khz
• Speaker Sensitivity: 105 +/- db/ mW
• Cord Length: 1.2m silver plated copper cable (each core contains 22X 0.05 silver plated copper wires)
• Plug: 3.5 mm
• MSRP: $99
• https://www.alphandelta.com/

Packaging, Build Quality and Accessories:
The D6 come in a plastic and card box, it is very simple and aesthetically pleasing with specs on the back. You simply cut through 2 tape rings to remove the front plastic and you are in to the packaging. You can see the IEM’s through the front plastic packaging, they are held in a foam insert. The packaging is minimalistic, which I quite like. The accessories are held in the carry case which you will find in foam insert too.

Build quality is simply superb on these, they come with a 3-year warranty, it shows Alpha & Delta are confident about the build. The housings are metal, the cable has excellent strain relief and is an 8-core silver plated copper cable. The cable uses a square braid, it’s substantial yet supple and terminates in a right angled jack. Overall I cannot fault the build quality of the D6.



Accessory wise these come with a good array of tips, you get S, M and L in 3 different types of silicone single flange tips, along with a pair of M foam tips. You gear ear guides, a shirt clip, a leather carry case and a leather cable wrap. Overall a really good set of tips and accessories for the price.

Comfort, Isolation, Cable noise and Driver flex:
The D6 are quite a conventional shape, and should fit most ear shapes quite easily. I found them to fit best when you loop the cable up and over your ear, I didn’t need the ear guides to wear them like this comfortably. They fit with a medium depth insertion well, it can sometimes be hard to tell if you have a good seal though as they do not isolate very well. Overall the fit is secure and comfortable, I had no issues.



Isolation is not their strong point, the IEM’s are heavily vented which allows a lot of outside noise in, these would not be my first choice if you are planning to use them in noisy environments. However if you want to maintain some sort of awareness when out and about, they are perfect.

Cable noise is present when worn cable down, so the shirt clip should help with this, otherwise it is not an issue when worn over the ear.

Driver flex is not an issue these have.



Sound:
Split into the usual categories with a conclusion at the end.

Lows: The D6 take a more neutral approach to bass quantity, offering up a very tight and precise presentation that some may find a little lacking. The lows can still extend deep, but they are not boosted in volume. Kicks have good body behind them, they are quick and the transient response is very good. These would not be my first choice for EDM music, or modern pop, but tracks played on real instruments work very well. I think a tad more presence down low would suit some, and they do respond very well to EQ. Overall these are on the more neutral side of sound down low, and are not for those who enjoy a fuller bodied sound.

Mids: The midrange is incredibly clear on the D6, subtle details really shine through and they are not influenced by the lows. The midrange is slightly forward and the detail coming through really is impressive, both male and female vocals come across with equal energy and clarity, the midrange is quite linear and there is very little sibilance to be detected in the upper midrange. The transition to the treble is smooth; the midrange lends its hand to rock music very well due to the clarity and also power behind guitars.

Highs: The highs are very smooth on these, they are well presented with good energy and extension but they never become harsh. The highs are articulate injecting air and shimmer up top but without overdoing it. The only thing that is possibly a bit out up top is the timbre, the overall sound of the D6 is not one that is organic and natural, it leans towards a brighter more analytical sound and there is maybe a hint of metallic tone to it. They are a little colder sounding but without sounding harsh and fatiguing, they are quick and airy.

The soundstage of the D6 is one of its strengths, the soundstage is much wider than most fully sealed IEM’s, I am guessing the venting helps here. The soundstage is wide with excellent imaging and placement too. There is superb separation of each instrument, and each instrument expertly fills its place within the soundstage.



Conclusion: The D6 is not going to appeal to bass-heads, it is not one for modern pop, EDM and hip-hop/rap. But if you listen to rock, metal, jazz and music played on real instruments these come into their own. The slightly cool tonality expertly reveals micro-details with ease, and they have excellent transient response playing well with complex metal tracks. The midrange cannot be beaten at this price if you are looking for realism and detail. I can overlook the slight deficiency in body down low when the midrange is this good. So if you like a more detail oriented IEM, take a look into these as they definitely punch above their price point.

Sound Perfection Rating: 8/10 (a slight metallic tinge up top, but incredible detail and linearity across the board make these superb)

Firstly I would like to thank Lear for sending me this sample, they have over 100hrs of burn-in before writing this review.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used:
Audio Opus #2 / Hidizs AP200 > LUF-Turbo



Specs:
https://www.lear-eshop.com/products/lear-turbo?&locale=en

Packaging, Accessories and Build Quality:
The LUF-Turbo come in a fairly plain black box, there is a LEAR sticker on the bottom which tells you the model inside, but no indication of specs on the box. Once you open the box you’ll find the IEMs held in a foam inlay, with the carry case below holding the cable. Underneath the foam inlay you’ll find the box which holds the tips. The box is plain, but simple and elegant.

The Turbo come with the typical Lear hard carry case, with a good selection of tips. You get S, M and L in single flange silicone, and 2 types of foam tips (both M size), you also get a wax cleaning tool. Overall a nice selection of accessories, and everything that is needed.

The Turbo are very well built, the shells are handmade and you can see that just by looking at them, the attention to detail is superb. They are flawless, the MMCX socket is solid and they are a very well made IEM. The nozzle does not have a lip to hold tips on, but providing you use tips that are fairly tight I do not see this being a problem.

The supplied cable is pretty average; it's a 4-core braided cable with good strain relief, and memory wire at the top. The MMCX connectors are sturdy though, and I see this cable lasting well with some care (the top section is a little thin).



Comfort, Isolation and Driver flex:
The Turbo are shaped like a custom monitor, and the nozzles are short, which means these fit very well with a slightly shallower than average fit. I find these to be very comfortable once you have the right tip, they do really disappear in your ears.

Due to the shallow fit, and there is a vent to relieve driver pressure, these do not isolate as much as a fully sealed monitor, however they are fine for general use, just not the best isolating for noise commutes.

Driver flex is not much of an issue with these, sometimes it appears but the drivers return to normal quite quickly. Nothing severe here.



Sound:
Split into the usual categories with a conclusion at the end.

Lows: From the description on the website, I was expecting these to be bass cannons, much to my surprise they are not. The lows are definitely a little fuller than strictly neutral, but they are controlled and punchy. I am quite impressed by the quality of bass for this price, it can dig deep when called for, and has a little bit more sub-bass quantity over mid-bass punch. The lows are articulate, bass guitars sound full, kick drums have good impact backed up with body. I will say that the speed of the lows isn't the greatest, the extra bit of body and sub-bass presence does slow down the lows a little, but they only get congested on very complex tracks.
The lows here do well with most genres, but they play especially well with modern pop, slower alt rock, and EDM.

What really caught me off guard are the kicks during Bombtrack by Rage Against the Machine, they hit so hard and sound realistic with the right amount of punch and body.

Midrange: The midrange has some dips and peaks, it is not the most linear but it isn't fully recessed when compared to the lows and highs. They sit just behind the main bass line in most tracks; female vocals do sound a little thick as there is a dip in the upper midrange. Female vocals lack a little crispness to them, but there is no sibilance so that is good. Male vocals actually come across a little better, with a more natural tone to them. I can't quite put my finger on it, but there feels like at a certain frequency there is some resonance that dulls the energy of certain notes in the midrange, muting them slightly. Again this is only during certain tracks, and for the most part is not an issue. Electric guitars have good energy and the main thing about the guitars is placement within the soundstage, which is very precise and accurate. Whilst a little more tuning could be done, the midrange is largely inoffensive, fun and smooth with good detail retrieval.

Highs: The treble on the Turbo is very good when it comes to presence and energy. They have not toned down the highs, but they have been tuned to be smooth. I do find them to be a little splashy at times, but again at this price point it is hard to do everything right. The highs are not sharp, and I found them to never become fatiguing, just well placed within the soundstage with good presence and energy, There is not a lot air up top, and they do roll off a little early, but this is a minor fault.

The Turbo have a fairly wide soundstage, but the imaging is very good with a defined centre image and everything has good L/R definition. The instrument separation is fairly average, they do get a little congested during faster tracks.



Conclusion: Well I wasn't sure what I was getting with the LUF-Turbo, I was expecting bass cannons but instead I was actually pleasantly surprised. These are not flawless, but nothing really is, what these do produce though is a very fun and engaging sound without major dips or peaks. Yes the bass is full and articulate, the mids sit a little behind but do sound quite good, and the highs are definitely there with good energy and sparkle. To get this sound from 2 dynamic drivers is no easy feat, add in excellent build and comfort and these are quite the budget IEM. These are one of those IEM's you can put in and forget about when out and about; they are not made for critical listening, but for enjoyment.

Sound Perfection Rating: 7/10 (not perfect, but very good fun)

Firstly I would like to thank QLS Hifi for sending me this unit for review, it has had well over 100hrs of burn-in.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used: HP Laptop > DA9.1 > Symphones V8 build, German Maestro GMP 400, HiFiMan HE-500 and others.
HP Laptop > DA9.1 > Feliks Audio Espressivo MKII > German Maestro GMP 400



Tech Specs:

• · ES9038pro decoding method.
• · Directly compatible with original Italian Amanero USB module, you can install and use it directly.
• · Supports USB(Option), I2S / DSD single-ended signal(RJ45), I2S / DSD balanced signal(HDMI), Coaxial*2, Optical total Six-way source input, all ports support DSD input.
• · Analog audio output port includes standard RCA single-ended output and Amplifier Headphone Output.
• · Digital format:
• 16Bit to 24Bit, 44.1Khz 48Khz 88.2Khz 96Khz 176.4Khz 192Khz, DSD64(DoP) (Coaxial & Optical input)
• 16Bit to 32Bit, 44.1Khz 48Khz 88.2Khz 96Khz 176.4Khz 192Khz 352.8Khz 384Khz, DSD NATIVESD64-DSD512, DoPSD64-DSD128 (I2S RJ45 & HDMI or Option's USB).
• · DAC Chip: ES9038PRO, I/V: OPA1622, Buffer:OPA1612, Headphone Amplifier: OPA1622.
• · Analog output:
• - 0dBFS signal RCA output level: 2.5V RMS.
• - Frequency response: 20Hz-20Khz.
• - S/N: <-125dB (A-Weighting).
• - Dynamic Range: >125dB (A-Weighting).
• - Crosstalk: >120dB@1Khz.
• - Total Harmonic distortion: <0.0003% (at 1kHz A-Weighting).
• · Headphone Amplifier output: 250mW/32Ω; 160mW/150Ω; 80mW/300Ω; 40mW/600Ω.
• · Headphone Amplifier output impedance: It is can be Adjustable (OIR key) to ≈0ohm, ≈10ohm, ≈120ohm.
• · http://www.qlshifi.com/en/wzcapi/da9.1.htm

Packaging, Build Quality and Accessories:
The DA9.1 came in a well padded cardboard box, with the brand name on the outside. The DAC is held tightly in place in a foam insert, with the power supply in a separate compartment. The packaging is nothing special; it is not some fancy box but does its job of protecting the product. All specs can be found in the manual, or online.

The DA9.1 is a well put together DAC, with a clean aluminium case and high quality sockets. The unit I am reviewing has the optional Amanero USB input, all the inputs and outputs on the back are tight and sturdy.
The headphone output on the front is high quality, and the volume control is smooth, there are small buttons to change the source input, output impedance, and the DAC filter. It is a neat, understated and sleek DAC, it also doesn't get hot after being powered on for a while.

Accessory wise you get the power supply, a 3.5 to 6.3mm adaptor and a USB cable. Nothing else is required; assuming the buyer has some RCA's to connect the DAC to an amp if they are using an external amp.



Features:
The DA9.1 uses the latest ESS9038Pro chip, along with having 7 filter settings. It also supports I2S inputs, unfortunately I do not have any I2S sources to test this input with, but the Coaxial, Optical and USB inputs are all excellent.

The output buffer op-amp is in a DIP8 socket, so you can roll op-amps if you like, there are also pre-amp and line-out pads on the board, if you want to solder on some wires with XLR leads it can be a fully balanced source.

The internals are all neatly laid out on the PCB, there is a high and low gain switch, along with jumpers to change the dither setting (on or off), and also the jitter reduction setting (on or off).

QLS state you can also change the crystal oscillator to one you prefer. On the front you can change the output impedance, there are 3 settings, 0 Ohms, 10 Ohms, 120 Ohms, this is excellent for high impedance headphones designed to be used with amps that have high output impedance.



Sound:
The DA9.1 is incredibly detailed and the sound can be tuned with the filters, they are a little different so I would try them all to find the best match with your preferred headphones/speakers. It is not the most powerful combo out there, for example the Burson Audio play outputs quite a bit more wattage, but this has a few more features.
The DA9.1 actually needs some warm-up time, now I have never experienced this with solid state devices before but the DA9.1 definitely needs a good 5 minutes before it sounds its best. When you first turn the DA9.1 without letting it settle, it sounds really harsh, I still don’t know why it sounds this way when first powered on.

Powering my German Maestro GMP 400 it handles the lows with expert precision, but they do not sound thin. The lows can reach way down into the sub-bass with incredible linearity; I am surprised as these are quite power hungry headphones. The midrange is crystal clear with micro detail easily picked out, and the highs are effortless but not harsh in the slightest.
Going to my Inearz P350 which are quite sensitive, I manage to get good volume levels without channel imbalance, and the DA9.1 just powers them with finesse and grace but again without any kind of harshness. The sound out of the headphone output on the DA9.1 is super clean and transparent, it won’t power all headphones out there, but it’ll do a great job with most. Even when it is handed the HifiMan HE-500 it does a good job, not quite as dynamic sounding as my Keces S3 but still a punchy and detailed sound.

As a DAC only the DA9.1 retains the traits above, excelling in transparency, detail retrieval and neutrality. It is definitely on the analytical side of sound over a more romantic warmer sound, but in my opinion a DAC should not influence the sound. Ok so the ESS9038Pro does have digital filters, which do impact the sound somewhat but the core sound signature is the same.



Conclusion: For the price there are more powerful amp combos out there, but few offer the digital filters this DAC has. And also few are running the newer ESS9038Pro chip, which provides excellent sound quality. Use as a standalone DAC is outstanding for the price, it surpasses my JDS Labs EL DAC in sheer detail retrieval and absolute neutrality, whereas the EL DAC is ever so slight smoother and a little less focussed on absolute transparency like the DA9.1.
The DA9.1 has an ok built in headphone amp, it drives most headphones well, and the adjustable output impedance is great with certain high impedance loads. This little unit has tons of features for the price, and I can easily recommend it if you are after absolute neutrality and a clean sounding DAC/Amp.

Sound Perfection Rating: 8/10 (Excellent chip implementation, incredible detail and sound)

Firstly I would like to thank my friend Erik for loaning me these for review; they have had many hours of use and are fully burnt in.

*disclaimer: This sample was provided on loan for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used: Audio Opus #2 / JDS Labs OL DAC + O2 amp > Saturn



https://www.rhapsodiostore.com/products/saturn

Accessories and Build Quality:
The Saturn come in a nice hardshell plastic case, with a fews pairs of tips. You get S, M and L in two different types of silicone tips. I didn’t get the full retail packaging, so I’m not sure if they come with anything else like a jack adaptor, but to be honest nothing else is really needed.

The Saturn are a very well built IEM, the shells are acrylic and look like a custom monitor, there is no wax guard on the nozzle so be sure to keep them clean. The internals all look secure and the 2-pin detachable cable is great. The included cable is silver plated copper, and has good strain relief, but it does have normal memory wire which I am not a fan of.

Comfort, Isolation and Driver Flex:
These are quite big monitors, and because of this they don’t fit very flush in my small ears, and stick out quite a bit. This is due to me having very small ears though, and most people won’t have any fit issues with these.

Isolation is good but not great, these are vented due to the dynamic driver so they won’t isolate as well as a fully sealed monitor, but they are fine for general daily use.

Driver flex is present upon initial insertion, but sorts itself out once inserted.



Sound:
Split into the usual categories with a conclusion at the end.

Lows: These are a bass heavy IEM, the bass is incredibly full and dynamic but a little overblown at points. This is a little tip dependent and spinfit tips do control the bass a little compared to the Symbio wide tips. The lows are extremely full and there is plenty of power behind them, both sub and mid-bass have excellent power. Kick drums hit with authority, and you can hear and feel the sub-bass rumble. Unfortunately there is a little bit too much for my tastes in quantity, and they do slightly muddle up the lower midrange.

Mids: The midrange is largely clean; the lower mids do have a little added body from the lows but for some reason even though the mids are recessed presence wise they still come across with great clarity and tone. There are certain tones that sound a little nasal, but for the most part the midrange is well behaved. There is excellent separation between guitars and vocals in the midrange, and the positioning in the soundstage is very good. Female vocals do a little better than deeper male vocals, and the midrange is a little bumpy frequency wise, as some notes are quite upfront whereas the rest is a little recessed. For example during Mayday Parade – Black Cat, the verses are up front and in your face, but the chorus is a little recessed. Not the most linear and upfront midrange, but still not too bad considering the power behind the lows.

Highs: The highs on these have good presence and sparkle, they do roll off a little in the really upper ranges, but there is plenty of power behind them. These are a v-shaped IEM for the most part, with a little added energy up top but without them being harsh. There is a little sibilance, but nothing that is fatiguing. The highs do sometimes sound a little metallic, and are not the most natural but they are fun and inject a lot of energy into the mix.

Soundstaging is actually really good on these, the centre image is precise and there is enough air around instruments to prevent them from getting too congested during complex tracks. Instrument separation is good too; there is a little congestion during very complex tracks but nothing major.



Cables:
The only other cable I tried these with is my home-made Toxic Viper, this SPC cable really cleaned up the bass bloat but did not take away the fun factor. The bass is more focussed around the sub-bass without the mid-bass bleeding into the midrange as much. I was quite impressed by how much this cable controlled the overblown lows, making me think the stock one has quite different impedance. There is a little hardness in the upper midrange and treble with the Toxic Viper, but overall the controlling of the lows is the main difference, and a slightly more realistic tone to the treble. This to me is an improvement, but some will prefer the fuller stock sound.

Conclusion: Whilst far from being my cup of tea, I can see why the Saturn could be popular with some. The build quality is excellent; they look fantastic and offer a really fun sound. The bass is full and somewhat over-the-top during certain tracks, but this is without completely ruining the midrange. Only a small band in the lower midrange is really affected, the rest is well detailed and not overly recessed. The highs are energetic but never harsh; these are just a fun and enjoyable listen.


Sound Perfection Rating: 8.5/10 (Housing is big, bass can be a little overwhelming)

Firstly I would like to thank Earnine for sending me this sample for review, these have had well over 50hrs of burn-in, no differences were noted.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used: iBasso DX200 / Audio Opus #2 > EN210



Tech Specs:
Drivers: 1 x Full range BA + 1 x Woofer BA
MSRP: around $105
https://www.tssthajen.com/en120-1

Packaging, Build Quality and Accessories:
The EN210 come in quite a nice hard cardboard box, there is an outer sleeve that has a picture of the IEM on the front. Specs and info about the model can be found on the sides and back of the outer sleeve. Remove this and you will find the main box that separates into two parts, take the top off and you will find the IEM’s held neatly in place in a foam insert. Below them is the carry case, which also houses the accessories, for the price the packaging is more than good enough and provides a pleasant unboxing experience.

The EN210 are well built, it looks like they use the same cable as the EN120 which is great, it is a soft and flexible twisted cable which has a short moulded rubber ear guide at the top. The moulded ear guide is soft, and does not contain metal like normal memory wire, this means they are much more comfortable than standard memory wire in my opinion. The jack and housings have good strain relief, as does the y-split. There is a chin slider, and the main housings are made of tough plastic that are very well put together. The sound nozzle is metal, and all in all they are very well built, the housing is translucent, and you can see there is quite a bit of glue used inside to make them strong.

Accessory wise you get a soft clamshell case with the Earnine logo on it, along with 4 pairs of tips. You get S, M and L in regular silicone tips, along with a pair of M foam tips, a nice selection but it would be nice to see different textured tips included.



Comfort, Isolation and Cable Noise:
The EN210 are styled like most professional style monitors, a small housing with the cable going up and over your ear, luckily they don’t have regular memory wire though. The cable is flexible and soft, and the insertion angle of the IEM’s means they sit quite flush once in your ears. These are incredibly comfortable IEM’s and could easily be worn for hours at a time.

The isolation is very good, the housing is closed and they use BA drivers so these are great for daily noisy commutes and even air travel.

Cable noise is not an issue with these.



Sound:
Split into the usual categories with a conclusion at the end.

Lows: These are a full sounding IEM, many may think that being a BA based IEM for a lower price they may not have satisfactory lows, but these certainly do. They are quick like most BA drivers, but they also have body and warmth that is more associated with dynamic drivers at this price range. The sound is far from being dry and boring. There is a sense of fullness to the sound of these which is quite surprising considering the EN120 was more analytically tuned. These are laid back and easy to listen to. Kick drums have punch but also body, bass guitars are easily separated and everything blends effortlessly.

Mids: The midrange is well separated from the lows, but still has a more pleasing and smooth tone to it. The midrange is up front and detailed, but it never becomes overwhelming or shouty. Both male and female vocals are equally presented, but I do find distorted electric guitars sometimes lack a little crunch. These are more of an easy listening, warm, smooth sounding IEM. There is a very smooth and laid back transition from the upper mids to treble, which means there is no sibilance to be detected on these. The midrange is surprising due to how vocals are intimate yet seemingly unaffected by the fuller low end.

Highs: The highs are quite laid back on these, they have good air and the positioning of the highs is good but they lack a little presence. Again these are a non-fatiguing, smooth sounding IEM that are not tuned to be the most revealing, or the most analytical. The highs are still there, but there is no real impact and they do sound a little muted.

The soundstage is quite impressive height wise; the width is also fairly good. You can pinpoint where instruments are placed in live recordings quite easily.
Instrument separation is superb on these; they never become congested even with very fast and technical music. Layering is really impressive on these, allowing you to easily pick apart recordings, but the overall sound is very coherent.



Comparison:
Kinera H3:
Now the EN210 and H3 are quite different in their tunings and also configuration, the EN210 is a dual BA, the H3 is a triple driver hybrid (2BA + 1DD).
The H3 is an up-front and exciting IEM, the bass hits hard and extends low, the midrange is a little lean in the lower mids, and the upper midrange is mildly sibilant. The H3 has sparkling but sometimes over enthusiastic highs that can err on the side of fatiguing.

The EN210 is a fuller, smoother sounding IEM, with a clean and up-front midrange with dull bodied but well controlled lows, and smooth but slightly muted highs.
Choosing between these 2 is purely a matter of taste, the EN210 for me is a little more tonally correct, but the highs do let them down a little. The H3 is more v-shaped and fun, but can be a little overbearing at times.



Conclusion: If you are looking for a smoother, easy listening IEM for on the go use the EN210 does a very good job. They are not dull, but do lack a little impact and sparkle in the treble range. The sound is full, well layered and enjoyable; they don’t jump out at you but do allow hours of fatigue free listening. The comfort and form factor are excellent, and the sound is more like a good dynamic driver than 2 BA’s, which I think a lot of people will like.

Sound Perfection Rating: 7.5/10 (smooth, comfy and fatigue free for a great price)

Firstly I would like to thank Daniel for passing this sample on to me for review, the sample came from IMR themselves. They have received well over 50hrs of burn-in as is suggested.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used: Audio Opus #2 / iBasso DX200 > R1



Packaging, Build Quality and Accessories:
The R1 come in a simple box, it is black and red with the company name on the front. I have been told the packaging may change in the future, but as is it is a fairly standard affair with specifications listed on the back. Slide the outer sleeve off and you will find the R1 held tightly in place in a foam insert, the carry case is held in a similar fashion as are all the rest of the accessories. For the price the packaging is not luxurious, but it is compact and serves its purpose.

The R1 are well built, the housings are metal and well finished with a 2-pin detachable cable. The cable socket is mounted horizontally instead of vertically like most IEM's, so cables with a moulded ear hook will not fit very well. The dials to change between open and closed vents on the back move fairly easily, they could be a little tighter to avoid accidental adjustment upon insertion. The cable is rubbery with good strain relief, out of the box it takes a little time for the cable to keep its shape behind your ear, but it's not a big issue. The nozzle filters have a good size thread and screw in tightly, it is well implemented. The different shades of metal of the housing don't scream high-end, but overall they feel like they will last a while.

Accessory wise you get the filters which are screwed into a block of aluminium, a 3.5 to 6.3mm adaptor, a semi hardshell carry case, 2 cables (one 3.5mm, one 2.5mm balanced), regular single flange tips in S, M and L, a pair of M bi-flange tips, and 2 pairs of foam tips S, L. Overall you get a fair amount of accessories, and I can't think of anything else that could be included.



Comfort, Isolation and Driver Flex:
The R1 are an odd shape, but once you find the right tip they are comfortable over longer periods of time. the housings are metal so a little heavier than most standard IEM's, however I don't find them falling out of my ears, the cable is soft enough to not be a problem during use.

Isolation is good, both with the vents open and close the isolation is roughly the same in my opinion. They drown out a fair amount of outside noise, and would be fine for day to day use, but not the best in noisy environments.
Driver flex is sometimes an issue, I found it more of an issue with some tips over other, so be sure to experiment. The driver flex is quite bad, but tends to only present itself upon initial insertion.



Sound:
Now these come with various filters, so I'll write a little summary on each filter. They also have the open/closed vent option, however I did not find this to make a huge difference so I left them open (closed has slightly bigger mid-bass impact, open offers a slightly wider soundstage).

Black (stock):
The black filters give these a fun but slightly L-shaped sound signature, the bass is big and full bodied, with incredible sub-bass presence. The midrange is pushed back somewhat, and does not allow the finer details of recordings to shine through properly. The highs are not exactly recessed, but they are controlled and never overly bright or in your face. The lows carry real power with these, feeling the impact along with hearing it, the midrange lacks a little definition with the black filters and the highs ultimately lack a little air and separation up top. The black filters are great for those looking for an engaging, powerful and fun sound signature and these sound very good with the black filters. Micro detail retrieval is good but these are more about having fun and letting go of technicalities and just enjoying the sound, and that they do very well with excellent extension on each end and great coherency.

Pink:
With the pink filters, the bass is a little more controlled than the black, having a little less body and quantity. The lows still extend well into the sub-bass but kicks are a little more subdued, and they are not as lively and as fun. With the pink filters, the mids gain little clarity and sound a little less full, but the highs are still lacking a little air and openness that leads the pink filters to sound a little odd. There is a narrow band in the midrange that is more prominent than the rest of the sound, by controlling the bass, the midrange is a little cleaner but the balance of the sound is all off and overall I don't like this tuning as much.

Copper:
Bass, Bass and more bass, these are the ones for the real bass heads out there. They offer plenty of punch and articulation but the lows mask the rest of the sound, making them sound a little muddy overall. Again I am impressed by the power down low, and female vocals still come across with fairly good presence but the lower midrange is masked and the highs are rolled off. The sound is very smooth with these filters, but again way too much bass for most people.



Orange:
The lows are much more balanced here, the upper midrange seems a little forward with these filters. These is still excellent extension down low but the lows are much more controlled, this allows the midrange to shine through. The midrange has great clarity and detail retrieval with the orange filters, the bass no longer comes in and overpowers them. The tonality of the midrange is erring on the colder/analytical side of sound, but they never become harsh or fatiguing. The highs are lightly rolled off, this leads to a fatigue free listen, but one that has a slight focus on the midrange. Overall the orange filters sound very good, with a slightly mid-forward sound but one that still has excellent extension down low just with a bit more control, and lightly rolled off highs.

Blue:
Now these hit the spot in terms of balanced sound without anything sticking out too much or being too emphasized. There is excellent clarity across the board with the blue filters, there is no real mid-bass hump like with a few of the other filters, but there is still fairly strong sub-bass presence. The lower midrange is no longer shadowed by the lows, the highs are present and extend with ease and they sound quite coherent and natural. The sound is still powerful and engaging, and not a laid back and smooth sound. The blue filters to my ears allow the most detail to come through and there are plenty of moments where you hear subtle details in the recording with these.

With open vents the soundstage is fairly wide, and there is good air around instruments, of course this also depends on the filters, the Black, Blue and Orange having the most air, with the Pink and Copper being more closed in. Instrument separation is very good overall, and they have good PRAT allowing even faster mixes to be easily picked apart.

What is very impressive about the R1 is the detail retrieval with all the filters, these have the ability to pick out detail the other IEM's around this price range struggle to. These are a very fun IEM but they are backed up by incredible detail and control, few other headphones give you this technical performance coupled with a fun sound.



Conclusion:
£500 is not cheap for an IEM, especially since you can get the excellent Dunu DK-3001 for the same price. But with the R1 you can change the sound signature with the filters, and the differences between them are big. The stock Black filters are superb for an engaging and super fun on the go IEM, with the Blue having a more neutral but still engaging sound.

The R1 is a great first product from IMR, and I am really interested to see where they go from here. As they stand, if you want a fun sounding IEM, then you need to check out the R1 as I don't think you'll find an IEM that is this powerful and enjoyable at this price. If you want a more neutral and smoother sounding IEM, then I suggest looking elsewhere. These will get your feet tapping, that's for sure.

Sound Perfection Rating: 8.5/10 (Overall looks could be sleeker, the packaging doesn't scream high end, but they are extremely fun to listen to, with the ability to tune the sound signature)

Firstly I would like to thank Custom Art for this sample to review, I was allowed to pick the design I wanted for this pair. These have been used for well over 50hrs and no differences were noted.

*disclaimer: This sample was provided for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used: iBasso DX200 / Audio Opus #2 > FIBAE3
HP Laptop > JDS Labs OL DAC > Head "n" Hifi Desktop O2 amp > FIBAE 3



Tech Specs:
Single proprietary Sub-Low, Single proprietary Full-Range, Single High
110dB @1kHz @0.1V
7.3 Ohm @1kHz (+-0.9 Ohm 10Hz-20kHz)
10Hz-21000Hz (+-20dB into IEC 60318-4 coupler)
Silicone or Hollow Acrylic body

https://thecustomart.com/fibae-3/

Packaging, Build Quality and Accessories:
The FIBAE 3 come in a neat black cardboard box, open this box and you are greeted with a little leaflet thanking you for purchasing from Custom Art. Below this leaflet you will find the Peli Case (1010 size) that holds the monitors, along with the accessories. With custom products you don't expect fancy retail packaging so it's great to see these come in a nice but simple box. Overall I have no issues with the packaging, as it's not a product that will be displayed on a shelf it serves its purpose of protecting the monitors during shipping.

Build quality is truly excellent, I opted for 2-pin recessed as I like to swap cables quite often and they are the strongest connector. The sockets are very well finished, but lets move onto the housing itself. The acrylic shell is perfectly finished to my eyes, the wood faceplate well aligned and with no visible seams or bubbles. Due to the rough finish of wood, there is a tiny bubble or two on the faceplate, but only if you look closely, the Custom Art logo looks great on the black wood faceplates. I opted for smoke shells, and they are dark but translucent so you can still see the drivers inside at certain angles, which is a really nice touch. The R tip is red and the L is blue, and to my eyes they look superb, I'm really impressed with the finish of these monitors. The cable supplied is the same that comes with most brands of custom monitors, it's a standard copper cable with memory wire and nothing to write home about but it should hold up fine over time.



Accessory wise you get the Peli 1010 case to store them in, this comes with a small plastic pot of silica desiccant to prevent moisture damage, along with the case you get a small blue clamshell case if you want to put them in something smaller, along with a wax cleaner tool for keeping the nozzles clean. Overall I don't think any other accessories are needed and the essentials are all included.



FIBAE Technology:
So what is FIBAE: https://thecustomart.com/fibae/

Flat Impedance Balanced Armature Earphone (FIBAE™) technology is world’s first, revolutionary, In-Ear Monitor design providing flat impedance and phase. By changing Balanced Armature driver character from inductive to resistive we solved one of the oldest problem in the industry – dependence on output impedance of sound source for correct earphone output. With FIBAE™ technology your earphones will always perform best from any DAP. Single and multi-driver configurations available.

Overall the essential sound signature did not change drastically between sources, and this technology is really interesting.



Fit and Comfort:
I was worried when I first got them out of the box that the R side was a little loose, but after some use I found both sides were in fact spot on, I can open and close my jaw without the seal breaking. They are a snug fit with no discomfort after long periods of time. A lot of this is down to good ear impressions, so make sure you get them done by someone who has plenty of experience (thanks Gisele @ Aid2Hearing).

Comfort is excellent, these go a little deeper than my previous inearz monitors, but this leads to a more secure fit and superior isolation. Once inserted, the monitors heat up pretty quickly and disappear in my ears, they are very comfortable for long listening sessions, along with sitting nice and flush in my ears.



Sound:
Now for the part everyone has been waiting for (or skipped ahead to).

Custom Art describe the FIBAE 3 as "A result of a carte blanche approach. Researched and newly developed drivers deliver reference sound without sacrificing punchy lows as well as improved presence of highest frequencies without adding harshness or sibilance. FIBAE 3 shares highly musical and engaging character of its bigger brother – Harmony 8.2. Consequently, this triple-driver IEM offers smooth, balanced midrange and high coherency that Custom Art is known for."

Now this is a fairly true representation of the overall sound and I will go into detail below.

Lows: Lets start with the sub-bass which is where these are really impressive, what Custom Art have done is create a light lift in the sub-bass to add a little body and fullness to the lows but without affecting the midrange. This sub-bass presence is really impressive, where a few lower end monitors struggle to present those last few Hz down low, the F3 really digs deep with precision and also presence but without adding bloat to the sound. The mid bass is tight and controlled, backed up by the impressive sub-bass you get a very accurate full range of low frequencies. From the initial impact of a kick drum, to the picks of a double bass you get impact along with extension, no flat sounding kicks here.

When people read Custom Art's description of a reference sound, some may think these are going to be a little bass light, but they are not lacking down low at all. There are not bass head levels of presence, but it is all there presented in a very full manner, I would never call these lacking in quantity or quality down low.

Midrange: What is impressive about the midrange of the F3 is it's ability to be completely separate itself from the lows, yet still sound so coherent and smooth. I don't find any part of the midrange to sound cold or clinical, yet it is still packed full of detail, there is a slight lift in the upper midrange but it is not something that makes male vocals sound recessed. Layering in the midrange is superb, if you have multiple guitars and vocals each individual part is easily picked out with great air and separation but without sounding detached. Vocals have a way of being up-front and seductive but they are not prominent in the mix, everything is still very evenly matched, you just get sucked into the alluring vocals that are full of details you might otherwise overlook.

Robert Smiths vocals come out of the blackest background during Plainsong by The Cure, you can hear the pain in his voice as he delivers the haunting lyrics, this track sounds so full and complete through these. Some may find the vocals to sound a little dry on these, but I find them to sound quite true to the source, and very track dependent. The midrange can deliver great power too during faster rock tracks.

Highs: The transition from the midrange to the treble does not have a spike and carries no excess energy, meaning these don't suffer from sibilance. Where these have a lift is in the upper treble creating a great sense of ambiance and air in recordings. Cymbals are not in your face, but they are not taking a back seat, again the initial crash is not overbearing but the highs are still there with great detail. What I like about these is the lack of fatigue inducing factors, but without making them a dull and boring sounding monitor.

These are really fun to listen to, but there is never any part of them that I find overbearing or tiring. Now I personally am a little bit of a treble head, so a little added boost in the upper midrange/presence range would suit me fine, but these have superb brilliance up top that I have not felt the need to add any EQ tweaks.

The soundstage is open and airy, nothing every sounds congested and the virtual stage expands outside your head with great accuracy, the soundstage is realistic and natural. This allows instruments to occupy their natural space in the recording. The separation is equally as impressive, these don't get congested easily, and handle heavy and complex mixes easily.




Cables:
The F3 change quite a bit with different cables, and the sound can easily be fine tuned with aftermarket options.

Atlas Zeno IEM:
The excellent thing about the Zeno IEM cable is that is does not change the core signature of the IEM's it is connected to. This is true with the FIBAE 3, leaving the sound very much unchanged but with slightly better resolution overall. The separation is slightly better, but there is a little more clarity. Bass impact is tighter and a little more controlled, the midrange is fluid and natural, the highs crash with impact and extension and this pairing is overall a very good one keeping the core signature the same.

Toxic Cable Viper SPC:
Right away with the Viper you notice a subtle lift in the sub-bass which to me is not something I really want. This cable is a little v-shaped, adding a little bass impact and high end presence whilst not really adding much to the mids and leaving them a little behind. Snares are snappier and crisper, the highs are excellent but that tiny added impact down low doesn't make this my favourite pairing. The soundstage is similar to stock with this cable.

WA Audio 8-wire Liqueur 24awg:
First off the soundstage is increased in width, the sound is more envolving and expansive, the lows are very full and smooth. The midrange is cleaner with very high levels of detail retrieval, and there is no real added presence up top which allows the treble to extend and sparkle with ease but without fatigue. This cable is smooth, but very refined and packed full of detail, it is wide and effortless sounding and also a good pairing.

Effect Audio Ares II:
The Ares II does add a little warmth down low, adding a little body to the lower midrange too, but the lows are still well controlled. The sound is not quite as quick in attack and decay down low now, but at least the added body is to the whole low end and not just a narrower boost like with the Viper. The sound is a little more organic, the midrange is smooth and detailed, and there is a slight lift in the upper midrange/lower treble bringing out a little more impact. Overall if you are looking for slightly sweeter sound with a little more impact in the lower treble the Ares II delivers, and this is a great pairing.

Effect Audio Eros II:
Like the Zeno IEM, the Eros II is one of my favourites as again it doesn't try to change the sound too much, it adds an extra level of clarity but without adding any harsh peaks. The Eros II works wonderfully with the core signature of the F3, the bass is still full and articulate, the space around instruments is increased and the midrange is crystal clear. The Eros II doesn't exactly add more sparkle, but it adds air that allows the highs to become more focussed and have a little extra sparkle. Now this is a superb pairing, likely my favourite for my tastes, as it doesn't add extra bass or detract from the core signature.

Highlights of cables:

• Zeno IEM, smooth, natural, resolving.
• Ares II, full, organic midrange, sparkle, fun.
• Eros II, resolving, open, airy.

Conclusion: The F3 has a very unique and enjoyable sound signature, the sub-bass presence without bloating of the mid-bass and midrange is impressive, the air and extension up top without excess energy or fatigue, the alluring and intimate midrange that is crystal clear and beautifully separated all come together to form a coherent yet spacious sound that is immensely fun to listen to. Custom Art have really knocked it out of the park with the F3, offering up a well balanced monitor that is not bland, boring or thin. They lend their hand to all genres, and I found myself everything, from EDM to metalcore, pop to jazz.

With regards to bang for buck, these really sound like they should be more expensive, they offer heaps of sound quality for the €525 base price. To me they are better than the Noble Sage, which is a little more expensive and only comes in a universal shell. It is incredible what Custom Art have created, and one that shows you can still get excellent sound on a modest budget.

Sound Perfection Rating: 9/10 (excellent service, build and sound, really impressive for the price)

Firstly I would like to thank Feliks Audio for this loan unit for review.

*disclaimer: This sample was provided on loan for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used:
Topping D30 > Espressivo MKII > German Maestro GMP400 / Wood Grado SR60e / Hifiman RE2000 / Ether Flow / HD650 / HD800.



http://feliksaudio.pl/en/products.php

Packaging, Build Quality and Accessories:
Feliks Audio have slightly revised their packaging, there is an outer shipping box, and another inner box which has stiff foam inserts that hold the amp in place. The tubes are packaged in their tube boxes, in a special cut-out on the top part of foam before you get to the amp below. The packaging is very sturdy and provides very good protection to the amp during shipping, the outer box is not a fancy retail box, but the packaging does feel very good and is definitely up to the job of keeping the amp safe.

The Espressivo MKII much like the original is superbly built, being hand made in Poland you can see the passion that goes into making these amps. Everything is perfectly put together, the wood panels on the side are perfectly cut, the finish is now matte black and not as much of a fingerprint magnet. The design is the same externally, with 3 sets of RCA inputs on the back and a set of RCA outputs for use as a pre-amp, on the front you have the 6.3mm headphone output, the large aluminium volume knob and the input selector knob.

The tube sockets are upgraded over the original Espressivo, and they feel a little tighter and more secure when installing the tubes. Overall the amp is perfectly put together, and from 2 years of no hassle ownership of the original Espressivo (still going strong), I expect the MKII will last equally as well. Be warned that like all tube amps, this one heats up substantially during use, it would be easy to burn yourself on the power tubes, but I have had no issues with leaving these amps on for periods of 8 hours or more.

Accessory wise the amp comes with a power cable, that is all, and that is all that is needed in my opinion, you also get a manual and warranty card.



Tube Rolling:
One of the upgrades of the Espressivo MKII is the optimisation of the circuit to work best with 6922 driver tubes, this to me is excellent and 6922 tubes are readily available with plenty of NOS flavours out there. The power tube are 6N6P type, also easy to find on eBay with NOS gold grid 6N6P-I versions being very cheap. This means it is cheap and easy to replace any worn out tubes in the future, but from my experience the tubes last a long time in this amp anyway.

It comes stock with Electro Harmonix tubes, which are not NOS, they sound great in this amp and add the tube warmth that makes this amp a pleasure to use with slightly more neutral/thin headphones like the GMP400 / HD800.

I changed the tubes out to NOS 6N6P-I gold grids and Tesla gold pin 6922 tubes to see what difference it would make, and it really changed the character of the amp. Now vocals took centre stage, the bass became tighter and there was a little more air and detail up top, this worked wonders with slightly thicker headphones like the HD650. The Espressivo MKII can be tuned with tubes to the sound you want out of it which is great. For my main headphones, the GMP400, the stock 6922 tubes with the NOS 6N6P-I gold grids was an excellent pairing.



Sound:
Reviewed with stock tubes.

Well the Espressivo MKII is really made for high impedance full-size headphones, using them with lower impedance headphones like the Grados works fine but the sound is not as tight and controlled as when used with a solid state amp with lower output impedance. This amp did however work well with the Hifiman RE2000, I did have to lower the DAC output a little though due to the high gain of this amp. I do however think that anyone buying this amp knows that most OTL amps are not designed for use with sensitive, low impedance headphones.

This amp is also not designed to be used with the hardest to driver planars like the HE-6, as the volume starts to clip when pushed hard, but again this is not what this amp was designed for. It does do a fair job at driving more sensitive planars like the HE500 and Ether Flow, but I do still prefer their synergy with a high powered solid state amp.

Now when paired with the right headphones (HD800 / GMP400 / HD650 etc....) this amp just oozes sound effortlessly, the quality of sound that comes out of this amp is superb. It is not a slow sounding amp, but it is not harsh in the slightest, just like the original Espressivo it produces a very clean and punchy sound but with a little added warmth to it. The MKII is a little smoother than the original, which with the stock tubes, did not sound like your typical OTL amp. And you can make the MKII sound like that with certain tube combinations, but this review is of the amp in stock form. The MKII is a full sounding amp, but devoid of any bloat that is often wrongly associated with tube amps. The Espressivo MKII is devoid of any veil, it is a detailed amp but the details are not forced upon you in an analytical manner, instead they are there for you to pick up on should you want to.

The lows are full bodied with excellent articulation and also layering, they come out of a deep background giving the sound real depth and body but without sounding overbearing or boosted. This is where is amp injects most of its magic, bringing out the soul and body in slightly colder sounding headphones. The midrange is devoid of colouration from the lows, it is crisp and open with a very natural tone to it, you never miss out on any detail in the recording. The highs are well presented with effortless air and extension, but they are ever so slightly smoother than some of the more neutral solid state amps. The highs are all there, it is just they are not as sharp which helps again smooth out any slightly harsher headphones.



Yes this is a slightly fuller, smoother sounding amp, but compared to the many cheaper tube/tube hybrid amps, the Espressivo MKII has much better layering, detail and soundstage. It is not a muffled sounding amp; it has a subtle warmth to it, that you just want to keep listening to. It pairs so well with many higher impedance dynamic headphones, the Beyerdynamic Amiron Home, DT880 600 Ohm and the T1 2nd Generation all sound incredible out of the Espressivo MKII.

As said before the sound can be tuned with different tubes, but in its stock form it sounds wonderfully smooth, articulate, dynamic, detailed and open.

Conclusion:
When I saw the price increase from the original Espressivo, I was worried the MKII would be very similar and thus not as good value for money as the original was. Since getting the MKII my thoughts have changed, the MKII is indeed a real upgrade and not just a subtle side step with a higher price slapped on it.

It may look the same on the outside, but they have really tweaked the internal design and it now works better with lower impedance headphones (my SR60e sound better out of the MKII than the original) and also made it so 6922 tubes work best.



The Espressivo MKII is slightly fuller, better layered and overall a step closer in sound to the Elise. It just wants you to enjoy the music, it wants you to listen until the early hours of the morning, it does not try to fatigue you with any emphasis on any particular part of the frequency response.

I could go on and on about this amp, but to me what sums it up is my willingness to just listen out of it for hours on end, with nothing but pure joy. So is it worth the money? Well at €799 it is not cheap, but it is an investment, and also a work of art. It is expertly hand crafted, and built to bring you years of service. So if you have some higher impedance full size headphones that you will be holding on to for a few years, then the Espressivo MKII should be on your list of amps to pair with them.

Sound Perfection Rating: 10/10 (This really is an improvement over the original and worth the money)

Firstly I would like to thank iFi Audio for loaning me this unit for review.

*disclaimer: This sample was provided on loan for the purpose of writing a review, no incentive was given to write a favourable review. All opinions expressed are my own subjective findings.

Gear Used:
HP Laptop > Nano iDSD Black Label > Kinera Earbuds, Custom Art FIBAE3, HiFiMan HE500, German Maestro GMP400 and others.



Tech Specs:
A comprehensive list can be found on the iFi website: https://ifi-audio.com/portfolio-view/nano-idsd-bl/
MSRP: £199

Packaging, Build Quality and Accessories:
The Nano iDSD Black Label comes in familiar packaging if you have bought from iFi before, a small white box with an outer sleeve detailing features and specs. Take off the sleeve and you are greeted with a two part box, take the top off and the Nano iDSD is held in place with a foam inlay, also you will see a white box which houses the accessories. I like the simplicity of iFi Audio packaging, pleasing to the eye, detailed and easy to open, with no added frills or luxuries.

The Nano iDSD BL is a very neat little device that feels like it was built to last the rigours of daily use. The housing is made of aluminium, the sockets are all tight and have no play in them, the volume knob that acts as the on/off switch is smooth and doesn’t stick out far. Overall it feels well put together and should last a long time, and survive some tumbles.

Accessory wise you get a small black velvet carry case, a small pigtail adaptor (USB to USB-A), a solid USB to USB-A adaptor, and a long USB cable for PC use. Also included are 2 amp straps, everything you need to get up and running on a PC or MAC. You will need additional cables for using it with an Android or iPhone.



Features:

The Nano iDSD BL is a DAC/Amp, it only has a USB input, and cannot be used with an analogue source, nor can it be used with a coaxial or optical source. This limits it somewhat, but then again to fit all that in a small chassis would bring compromises that could alter the performance. On the back you have the USB input, filter switch and a 3.5mm line-out. The filter switch has 2 positions, Measure and Listen, there is a very slight difference between the two; the listen position adds a little smoothness and warmth to the sound, the measure position gives you a more analytical sound.

On the front you have the volume knob that acts as the on/off switch, and two headphone outputs. The direct output which is for full-size headphones and the iEMatch output which is for sensitive IEM’s (the signal is attenuated a little amongst other things). The 3.5mm output is also TRRS compatible if you want to go balanced, but iFi say the way their system works brings benefits of balanced to single ended headphones too.

The Nano iDSD BL is plug and play with most devices, however it is recommended to install the official iFi drivers on a PC.

The Nano iDSD BL has an internal battery capable of giving up to 10hrs of listening time on a full charge. This makes it a great companion to those who have moved to phones without a headphone jack.



Sound:

The Nano iDSD BL is a great little device that packs a punch in a small package, its sound is much bigger than its size might suggest. It has a slight warmth and smoothness to the sound, being a great DAC/Amp to just sit back and enjoy the music with. Using it with IEM’s it brings an added level of control and separation to the sound, bringing out much better sound quality than your average smart phone or computer can deliver. It does a very fine job at handling slightly harder to drive loads like the HD6xx series from Sennheiser, or my German Maestro GMP400, bringing out very impressive dynamics and a slight fullness to the sound.

The Nano iDSD BL is not clinical, it won’t make you analyse your system, but it also doesn’t mask the finer details. The detail retrieval is superb, and as a standalone DAC it would do very well in any system. iFi have spent some time honing the sound of their newer devices, making them appeal to a wide audience with a detailed, yet rich and open sound that is sure to please a lot of people. There is no lack of air or sparkle up top, it is still a very well balanced sounding DAC/Amp, but as stated it is not clinical in its presentation.

It doesn’t try to jump out and say “Hey I’m influencing the sound by adding this” instead there is a subtle smoothness that takes away any fatigue. The Nano iDSD BL works really well with most of the easy to relatively hard to drive headphones out there. Performance with IEM’s should not be understated; the iEMatch works wonders allowing you to listen to sensitive IEM’s with no hiss, or the need for an attenuator.



Conclusion:
The iFi Nano iDSD BL is the perfect portable partner for any audiophile on a tight budget, for £200 it offers a lot for the price. It is an easy recommendation, the sound is smooth, natural and open, the build quality is excellent and there are no downsides apart from the lack of inputs. Use it out and about, then at home hook it up to your speaker system via the line-out. You won’t be disappointed by the Nano iDSD BL.

I really cannot fault it for the size and price; it seems that most equipment prices are going up, yet iFi are really out there trying to show you can have a lot of performance for a small price.

Now I wish iFi could bring out a sub-par product so it doesn’t look like I am being sponsored to write positive reviews for them. But I genuinely struggle to find fault with the Nano iDSD BL, along with quite a few of their other products.


Sound Perfection Rating: 9.5/10 (The sound and features make up for the lack of inputs).