Penon Orb

The Penon ORB




Smoothness:
As a reviewer I often get a new IEM and I'm torn between two emotions, that of infatuation, and that of dissolution. With the Penon ORB I knew out of the box what its imperfections were. Often upon first listening you can absolutely get the upper hand as to sound design imperfections. I mean, no IEM is perfect…..but some are closer to perfection than others. The Penon ORB showed its attributes and deficits right off, plain as day……it is clear as glass in its make-up……the ORB has two issues of incompleteness. One, the bass is slightly rolled-off at the very depths, lessening authority, and Two, the treble isn’t all that sparkly, having its own style of smoothness. Did I say smoothness! Smoothness was really the very first word that came to mind when I put the Penon ORB into my ears! And…….the word smoothness will be what word I use to end this very review!

But then......
Something happened……….Yep, whatever you perceive to be true doesn’t always remain as fact. Nope, perception of sound is a fickle bride, and not always as it seems. The second thing you think upon placing an IEM in your ears is……."They made it.” They (Penon) beloved Penon Audio believed that this single IEM was good enough to have PENON emblazoned across the faceplate. They believed in its capabilities, in fact it’s an older IEM with a past track record. As far as Penon Audio goes, the ORB is actually a big part of their history. With that said, the ORB crossed my desk…….and maybe because I have too many IEMs, maybe because the little ORB isn’t the most expensive, or maybe because the ORB came out at the very end of June 2020.........that I didn’t view it as much……..it didn’t get the respect it deserved. And this review finds itself the next of 13 ORB/Head-Fi reviews in a row……….possibly, quite possibly it wasn’t something to get super excited about?

Or was it?
Yep, the little ORB is something. Maybe it was the week long burn-in that changed it? Truly it’s not the different music I played, because it’s very well rounded? Same cable? Same DAP? So maybe burn-in really did some special treatment, especially with the ORB? I mean that area of the treble now has subtle little accents which fall farther-out to the right and left? The Bass now is truly authoritative and big? But it’s of course the midrange now...............that is the show…………of course this is Penon, so the midrange was always the focus, yet now there is a magic, an involvement, an accessibility…….a transfer of musicality that is hard to argue with…….in fact I love the little ORB……..and it turns out to be an unexpected favorite? That’s right………..there can be a no-nonsense “purity” with only using two drivers. Only one 10mm driver and only one “full-frequency” BA. Less money too……at only $249.00! Yep, they Penon Audio are doing a lot with a little………..my gosh, just look at it! Does it look like an IEM you have seen before?

It probably gets the award for doing the most with the least…………..I love Hybrids anyways, and while some full-range BAs seemed to have cohesiveness, they added the 10mm graphite fiber silk paper dome dynamic driver, to really get the authority here! So you are kind-of witnessing the cohesiveness and bounce that a great single DD can do when well implemented. It’s this size (of soundstage) and thickness with just the right touch of highlights that makes the Penon ORB a keeper. I also started to do side-beside tests to try and ascertain the true sound value of the ORB. This review, like all the ones before, it will take place as a personal diary of exploration. An exploration into the Penon ORB!

The Penon ORB and Penon Audio:
Released in June of 2020, this is Penon Audio’s second only release. Still it’s safe to say this IS the Penon sound. While the ORB has inspired a total of 13 other previous reviews, I haven’t read a one. So after this review is completed I may possibly scan those reviews for parallels. In this case the ORB is accessible and understandable, with-out need for research or plagiarism. In fact after so many interpretations, I hope to bring a new perspective to how the ORB is perceived, or at least be true to my ideas, original due to one-persons perception. I don’t need to read any prior viewpoints, as in the end, this is a single subjective review, with no other input needed. Penon got its start around the year 2013, and in many ways that time was the start of a couple concepts, all happening at once. IEMs were just then starting to be taken seriously. Sure there was IEMs taken seriously sooner, Jerry Harvey Audio got its start in 2007, after making monitors for rock stars. And of course people were learning of the sound quality of “inner-ear-monitors”.....even then. But the full-size headphone got a head-start being invented in 1910. Still it could be argued that the idea of IEMs was way sooner than 2007; I mean Knowles was first a maker of BA styled hearing-aids in 1954............that in essence is really the start of “inner-ear-monitors”. But it wasn’t until the popularly of the smartphone that IEMs really started to take off. Before that time, only a few mildly eccentric Head-Fi members were really into it. But around 2013 two things happened. One, the internet as a retail force was becoming a reality and Two, there was all of a sudden all these IEMs from China. So Penon was at the right place at the right time. They invented cables to connect the IEMs newly invented to these cellphones now in common use. Penon then expanded their line of products to include Penon IEMs and ISN IEMs/cables. Penon was addressing the needs of the audiophile community. Penon doesn’t just make IEMs & cables. Besides the Penon brand, they are a retail house that currently represents/sells well over 120 different audio brands. Not only a retailer but a renowned cable builder, making slightly under 50 different cables/adaptors right now. Penon also currently manufactures 10 separate earphones as of late. With a history going back to 2013, Penon is the logical result of years in the business. With a Penon product there is no middle-man……as this is a factory direct purchase. Penon are simply more grassroots in demeanor. Such focus of intent expands even to their whole IEM line. With the introduction of ISN; a subdivision of Penon Audio...........ISN got their start making cables, then at end of 2019 ISN introduced their first IEM, the legendary H40. Today ISN makes about 20 different cables, and 7 ear-phones. With such creativity in such a short time span the ORB becomes something of a classic………Really in more ways than one it’s a very safe purchase. Safe due to the size, safe due to the build, safe due to the tuning. If we add up the progress the ORB belongs to a group of 17 different ear-phones…….with a full understanding of statement and unification of purpose, the ORB was introduced as the quintessential example of Penon sound. Coincidentally I received the Fan 2 along with the ORB, as an example of the latest and greatest Penon creation. While I have already posted the Fan 2 review, I have gained further understanding, as to the true nature of the Fan 2. Distancing myself from the Fan 2, I came back to it once more during cable tests…..to further gain understanding in how the Fan 2 and the ORB are related. Believe me, upon taking the two out of their perspective boxes, and first putting them in my ears, I never thought they could show familiarity! Nope! The Fan 2 a strict departure from the Penon House sound, and the ORB a perfect example of what Penon makes. I have the Vortex, the Serial, the Globe, the Fan 2 and now the ORB. In becoming enlightened what happend was the midrange go the two IEMs, the Fan 2 and the Penon ORB became somewhat familiar……..of course it was the midrange……as that’s Penon’s forte…….to go about and provide every single IEM with this magic in the midrange. How they accomplish this, I’ll never know?

But truly after you bath in IEMs for a while, you start to gain respect for quality in the midrange, as almost in thinking they are truly the most important part of the frequency response. In truth, it’s the mids that hold most of the musical information……..but more than that……If there is quality to the midrange presentation, often you can overlook another aspect of replay that you may have a small issue with. Needless to say, if the midrange rocks, normally the whole response carries over.



Sound Design:
Midrange:



KMFDM
Paradise
"Oh My Goth"
44.1 kHz - 24 bit

Surprisingly the ORB came about with a full-coverage sound. Strangely it’s not exactly thick or even dark……no…….just clear and competent. Depending on what you are used to, it may be thought of as warm, yes probably warm. Though first focuses is on the mids…….it’s really balanced to the point of being dead-on correct, at least for me it is……………and the thickness, well that brings a priority to the signature, the priority of note weight. Guitars are big, crunchy and fun…….holding a style of pace which transcends any questions as to musicality present. Yep…….these rock. The guitar sound is ruthless, in that this particular sound can come-off many ways………somehow this crunchy guitar can be embellished with off timbre at times………but not here, it’s exactly perfect. This song is an ultimate favorite of mine. At 00:15 the bass thumps come in. At 00:23 the guitar strums start to flow………at 00:30 the beat kicks in and 1/2 a second later the vocals arrive. While coming out in late September of 2019, I’ve grown to truly understand this song…….being one of the few songs I've used (everyday) to help ascertain the frequencies and technicalities brought about in IEM replay. Here are three very fast arriving points of interest. The bass thumps, while not as fully delineated into focus, they do hold the thump. The guitar I’ve heard slightly more crisp, but this is 100% correct in tone replay; more important. And finally the full-on drum beat at 00:30. This as well as the vocals are super important as they are actually more of the focus of the song. What I’m getting at is the tone of the major beat…….the roundness and the texture is in essence what this song is about. You know that’s how they wrote it, that the major beat was first put down, that and the main vocals………thus supreme importance in the songs message. Such a character in replay is where your money is going when you purchase the ORB. The fact that at any price paid, this beat-tone and this vocal-tone is 100% correct, it’s that Penon have to be musicians to fully get what’s going on here, and make an IEM which delivers. In truth, I can’t exactly describe the tone…….it’s a set of character and timbre response that words only go so far to explain………and that’s OK, as you will understand when you drop the ORBs in your ear. This is the midrange section so this song was chosen really for the vocal rendition, how Lucia Cifarelli’s vocals are accentuated and laid-down. That and the wonderful separation that takes place with the crunchy guitar out to the sides. It’s this interaction of guitars and vocals that make the song for me, that and of course the underlying beat. But here is also noticed a support……..a support in maybe the lower midrange………everyone who has heard the ORB must know what I’m getting at? A backdrop of air…….not air like treble air, but deep air like room response reflections……..the room that becomes another member of the band…….just sitting there responsible of those 1/2 second delays that go to thicken the soup. It’s this realism that’s a part of IEM replay that’s crucial to realism, yet not all IEMs have it. In a way it sucks up detail, and overlays a slight fog, where that 1/2 delay is putting cotton in between the beats…………yet it’s forgiving and so very right............when it’s done well. Somehow that “plus” adds a sprinkle of magic dust to every harmonic in this song, yet it doesn’t sound artificial, only realistic, like being in a room and just barely hearing those room reflections. And truly it is centered in the lower midrange. Much like hearing a stereo playback in a room, the sound waves reflect off the inside of the speaker cabinet and then reflect off the room back wall and side. Those deep notes then mix with the forward firing sounds you hear coming off the front of the speaker to add a bump in response. With the ORB they go into the response add note weight and body. This tone strangely travels though-out, even up to the higher registers, providing a warmth and soul which is audibly seen like a golden light shining from within. And in fact, this slight echo is found to be (at times) positioned far out to the sides………mostly the sides which contain bass and lower midrange. The gloss-over provides note-weight that substantiates the vocals, where even the vocal echoes which are added as a slap-back reflection to her passages and are somehow enhanced. The main thing is this generates not an ounce of BA timbre……….and that my friends is the ultimate trick. The fact that a BA is used with-out any of the BA drawbacks. Pure Gold. Any (if there is any) BA sheen is somehow covered up, or it’s not there in the first place? Besides the vocals here, the guitar is also included in the perfect timber accessed. This one feature in a way makes the ORB timeless and of value to the IEM community long after the ORB was first launched on the world.


A few comparisons to the $549.00 qdc Anole V3 IEM



The ORB Graphical Response:


Treble:
While it could be said the treble isn’t exactly sparkly, yet it is crisp. While holding texture and pace, the treble is given this same (extra) body as the mids. It’s this thickness that’s endearing……..normally you don’t associate thickness to the treble, but the way it’s done is both smooth and rewarding. Reason being is that the treble is exactly bright enough and detailed enough. When I do reviews I actually center on this feature and then make a value judgment call as to the quality…………..and Yep, bright enough and detailed enough. Though the way I’m wording it must give you the clue………yes? That’s right, just enough….and not overboard with any treble tone; just barely enough. Such a stunt goes miles to make the ORB both forgiving of bad recordings and well rounded of any genre of music file you may drop on it. The final well-rounded feature is the ability to use any source. While the ultimate treble boost from the Sony Walkman WM1Z gifts the ORB an unarguable benefit, the ORB is going ahead and scaling-up an up to meet with the quality. At the same time more subdued trebles don’t (for-some-reason) don’t make anything dull or featureless? This in itself becomes another mystery to the ORB. Yet my job is to simply report on findings and to not give reasons as to why, even though it’s surprising? Also note, the very best IEMs are this way……..never needing to adjust to a different a DAP quality change out, or change EQ to get a desirable tone. It’s the spacial rendition that the spread-out treble takes hold in use with the WM1Z…………it’s that such replay of harmonics and crispness bring about the thoughts of grandeur and largeness. The replay is big, and maybe the single feature that had the ORB wins-out on the qdc Anole V3, that and the bass authority? The treble is simply bigger in size holding all elements of replay of that sector up-higher and further away form the center head-stage, to bring about simply more involvement and greater entertainment though presence. The next level is the actual timbre responsible, as reiterated in the last midrange section. This slightly laid-backness is fortified with still being responsible with full-range response, yet slightly set back in demeanor. The basic 6k to 7k dip is fully hearable, and gives the ORB its characteristic tone.

Bass:
There was maybe a time when many would actually choose the ORB just for its bass in relationship to its price bracket. And while that may still hold true in the time frame from June of 2020 to today...........I hold the ORB representing more. Meaning it’s the whole package that’s still a novel approach……….yep, these few years later the ORB still holds chops and abilities making it a still a value. How do I know? In reference to the 50 or so IEMs that have arrived at Redcarmoose Labs in the last 9 months, the ORB still somehow finds its way to such a place, that it fully still represents a bargain and a value. It’s just like anything in life, it’s an individual IEM, fully enabled with its own distinct personality. I would be remiss if I didn’t explain that yes, bass is a big part of that personality. Yet Penon in their wisdom put out the (the sub-brand) ISN and made bass more their forte. Where Penon IEMs focus more on the midrange, as the (midrange) meat and potatoes encountered. Does that mean the bass plays second place to the mids? Not at all, I mean you would just need to hear the ORB to realize the bass is a full-on emphasis. Just the size of the bass soundstage, makes for the unavoidable focus. Where I think the uniqueness here is a single 10mm graphite fiber silk paper dome soft driver is pushing most of the bass, yet it’s also combined with a full range BA. If you’ve ever heard a full-range BA they typically roll off the bass to a point that they can only do so much. Where in this case the 10mm DD is added to the full-range BA to accomplish the authority not physically possible with a single BA. This “size” for lack of a better word, is large and noticeable……..yet there is a doubling-up where the mids overlap and a complete, offering a barren desert where the treble takes place as the 10mm takes no part in that. Now if all this is simple speculation due to knowing the driver make-up before hand, I will never know? Still this is how the ORB sounds to me. But better than simply studying the make-up of the ORB, there is a freedom in knowing that the bass is holding the number one attribute that bass can hold……….fun. Yep, if the bass is fun, it cancels out any type of inquisitive investigation as to quality. And in fact it may still be due to that driver frequency over-lay that somehow the bass never feels exactly like an add-on. I know that I’m going out-on-a-limb here, describing a blending of middle frequencies, which fuses the tone, but I have no other explanation to how it was done? So I can guess it really doesn’t matter as long as those attributes are there? And while there is a doubling-up of tone, such spectacles go to add a style of thickness at hand. This singlehandedly gives the ORB both a logical technicality but also adds to the uniqueness in character. A wideness and forgivably, almost a softness, yet I won’t say that exactly. I have experimented widely as to somehow come to absolute terms to the bass character. As with fit, the ORB allows a multitude of tip choices, yes, long tips, low-profile tips and even wide-bore tips go the full gambit to showcase the bass into a multitude of responses. And somehow just like DAP choices, genre choices and cable choices, there can be found a forgiveness to ear-tips which goes ahead to gift you the listener, many different ways to skin-a-cat. In fact, it’s this well-rounded-ness that has moved forward, more forward than many IEMs to showcase this (easygoingness) as a single feature of workability to the ORB. As you know, at times we are in an environment of few choices, left with only one way to gain ground............to put out fires so to speak. Here there are a multitude of playful hobby encounters which offer a spectrum of tones and bass characters. Such a response from wide-bores offer a tighter and more subdued bass response, which as guessed, opens-up the midrange and treble to a more perceivable quality. In testing the wide-bore tips added to the overall soundstage, yet pushed the bass back a tad. Overall though, the pace was exhilarating to the point of perfection. In fact the bass was tighter and cleaner, and surprisingly more detailed. The crazy part here is normally an IEM enclosure enables only one specific placement or seating of the shell to be called good. Here laughably there are all kinds of choices……….due to the smallness or should I say medium-smallness of the actual IEM itself, combined with this amazing shape, there are many tip-choices. Now keep in mind, this choice of tips can be confusing. As if the wide-bore somehow allows even better air-tight pressure blockage, a more robust bass can be obtained just through a change in driver distance to ear-drum. There can even be the perception of better bass though separation at times, still that is not needed here ever with any tip combination. I will have to give the wide-bore tips the best award in my uses, where first I though I was getting a better air-tight fit with the longer barrel tips, yet no, this sound is the ticket. Where there is such a nice Goldilocks bass environment where you have the ultimate freedom to explore tip choices……..ending (for me) with the ear-tip that provided the best soundstage in the end. It’s the tail-off of the decay that’s magic. In fact it’s that and the overall midrange and treble note weight that is the cats meow. Where my single IEM comparison, the qdc Anole V3 universal comes with the notoriety of great bass for it’s time. Great BA bass is why I purchased it. Back in 2018, I was sitting in a shop and going through qdc’s full line-up, while the Anole VX was still a few months-out from being released, I found the upper range (of most of the qdc line-up) to be slightly to analytical and tame. Robust bass was what I was after, and I called the qdc Anole V3 home. But to call it like it is, the less than 1/2 expensive ORB was to come out two years later and fully beat-out the Anole V3 at it’s own game. While during this single review I have done multiple back-to-back tests, simply to try and get to the bottom of how each IEM performs, the 3 BAs of the Anole are slightly more cohesive and together, but they have less to hold together for starters. There is slightly more detail in the midrange of the $549.00 qdc Anole V3, but less overall size and stage. While obviously DD bass is better at showing decay of bass notes, the qdc is known for great bass, it’s just they can’t compete with progress.




Build and design:
In all of the IEMs I've ever encountered, the Penon ORB is different. Probably the first thing you notice is the clear transparency, next the smoothness in touch. One of the main features to the touch is the fact the the 0.78 two-pin holes are absolutely flush to the sides. The 0.78 two-Pin is not in a socket, but actually rounded into the existing form-factor.........yet the apex of the curve is the center of the installation....so the pins sit perfectly flush. How much thought in design is that? And the fact that it's a first here for myself, remains a mystery.

The next thing you notice is the nozzle, while crafted entirely of resin, it holds a tip on well, not like those nozzles that don't contain a lip. While not really small in length, or long the size, the shape fits me perfect. This results in a multitude of features. Number one, being you should find yourself with a wide range of ear-tip choices. This level of freedom is rare in an IEM, actually almost never found. What it means from a user point of view you don't need ear-tips to get perfect fit. The IEM itself has perfect fit and the tip is simply going along for the ride and offering an air-tight placement. Literally this means ear-tip selection is incredible, it means whatever ear-tip you happen to stumble upon you can use. This results in much more than first guessed, as wide-bore, or narrow-bore, even a choice of (ear-tip) materials soon becomes of use in your daily experience. Believe it or not this results in more tone choices as your not dependent on the ear-tip for fit. Different tips can often surprise the listener and not be the same sound you found with prior IEM uses. Meaning just experiment, as the last ear-tip you think will work, may come out to fit you the best. There is a theory to this, but it is truly best to simply go for random tests. With that said Penon themselves have gone and supplied you with 9 sets of great fitting ear-tips.

While there is a single vent off the right under the faceplate, it turns out such a vent is actually directly under the faceplate seam, it holds what looks like a small metal tube fully protected by a screen. There behold inside shows to be a small electronic crossover filter to the BA/DD and a small dot of red paint for the right IEM, blue for the left IEM. While the tubes exciting the BA driver and DD driver are submerged in clear resin, the whole top portion of the IEM is open to the resonate chamber. Such craftsmanship is a first in my time with IEMs. Meaning most IEMs have such insides hidden by smoky plastic which hides a less than stellar display of quality. I even found an ant glued inside one (other) IEM that would have gone fully unnoticed if it wasn't for me and my love of looking at IEM build. Here we are gifted with the finest craftsmanship in that there is no excess glue to be found, no wires out of place, or even smudges of clarity inside of the IEM. I tried to show this in photographs, yet the ORB is even more spectacular in person. Pride of ownership starts right at this ground level, and works it's way up in attitude with a solid week of burn-in......finally coming to fruition upon getting used to the sound, all this apparatus was designed to produce.

The included complete Penon ORB package:
The package comes with everything you need. If you are just starting out, you only need a DAP or low powered desk-top rig to get you into the action. Remember the ORB can be ordered as Express Shipping for just $10 more. The only other choice is you cable plug style. The ORB comes with a 3.5mm, 2.5mm or 4.4mm balanced plug. Included is 9 pairs of ear-tips, a shirt clasp, a cable tie, a cleaning tool and a pouch.

The Cable:
The Penon Globe/ORB supports 4 shares of silver plated OCC being one of my favorite Hybrid cables. Alone the cable comes in at a special value at $18.90. Outside of use with the ORB, what is cool is it can be ordered in both 0.78 2 pin or MMCX, and have your choice of 2.5mm balanced, 4.4mm balanced or 3.5mm single ended. It's a very well rounded cable in its own right. It can be even ordered with media transport controls and a microphone. Probably the most striking feature is the cable texture, the physical texture in your hands. Such a cable rests in the top tiers of ergonomic usability, simply due to the flexibly and pliability contained!

https://penonaudio.com/penon-globe-orb-cable.html

Copy and pasted from Penon Audio site:
Penon Orb Balanced Armature + Dynamic Driver Hybrid 2Pin 0.78mm HiFi Audiophile IEM

Description:
The use of medical grade resin material, light and beautiful, comfortable to wear, no strange feeling in contact with the skin.

Made by hand, the earphone shell is solid and more durable.

Balanced Armature+ Dynamic Driver Hybrid 2Pin 0.78mm Detachable Audiophile IEMS

Exclusive customization,10mm dynamic driver, graphite fiber silk paper dome soft, grainless overhanging diaphragm, long-stroke, high-sensitivity surging bass.

Brass is processed by precision lathe, the size is accurate to 0.1㎜, and the surface is specially treated to prevent oxidation. Compared with stamping parts, the cost is higher. And the sound is especially improved in the low and middle frequencies.

Specifications:
Brand: Penon
Model: ORB
Driver: Balanced Armature full frequency + 10mm Dynamic driver
Impedance: 10 Ωm @ 1kHz
Sensitivity: 112 ± 3dB @ 1kHz
Frequency response: 20hz-20Khz
Connector: 2Pin 0.78mm
Plug: 3.5mm, 2.5mm balanced, 4.4mm balanced
Cable length: 1.2M

Technicalities:
Such features can make or break an IEM response. And while I'm not listing a full-on list of what the technicalities are, let's just say they are everything besides Frequency Response that adds to realism in response. Believe it or not this also goes along to provide entertainment. Yep, music the more real the music is, the more entertaining it is......who would have thought?

Anyway with out going into too much, the actual timbre is really good, way better than the price would have you believe. Timbre is the character of instrument tone which goes to differentiate themselves from instruments of the same tone value. Now while showing the BA timber (maybe) ever so slightly, it's something that you can tell Penon Audio have addressed and somehow figured-out a way around. I have a whole collection of BA infused IEMs which will go ahead and display this technicality trait more vivid.......meaning bad......we don't want BA sheen to offer a style of unnaturalness to the tone.

Pace:
Interestingly enough pace is great, yet there is the double edge sword as much of the midrange is holding this "dual driver" character, this even maybe spills into the bass too? It's not really a bad thing.....but bass and drum attacks offer only a slight loss of edge. Now what makes-up for that is the sheer size of the response. Meaning the emotional results of a big sound can go far to make you forget of any of this nonsense. The problem for me as a reviewer is I have heard all styles of responses and my goals are always to keep this cost relative. Which means judge an IEM accordingly to price and always keep entertainment value as a priority, never worrying as to IEM being exactly perfect. But some are more musical than others.....and some are more natural than others. The interesting thing is that this slight blurring goes and smudges the detail while possibly adding to musicality. As the tones are doubling up and creating harmonics fully above the price asked, normally with this doubling you would think would askew tone, but it does the opposite, it seems to enhance tone. It's this smooth agile projection of soundstage out to the edges which gives the feeling of a grand stage, all from only two drivers?

Conclusion:
While not made of a lot of parts……….looking nonchalant………….and not costing an arm and a leg, the ORB delivers. It really delivers on all fronts. If you read my past reviews I don’t always blend with the IEM I’ve been given………what does it take to get approval at Redcarmoose Labs? An even, correct and complete Frequency Response character, that’s what it takes. But more than that, it’s attitude, yep the little ORB has attitude…….the attitude to be simply more than the sum of its parts…….delivering more than cost would have you guess and feeling/fitting better than most IEMs.

Due to scale in size, the ORB is on the medium small size, yet the soundstage has you guess something totally different. In fact the smoothness and soundstage was the very first attribute I found when placing the little ORB into my ears for the first time. Yet I never though I would ever reach this (special) point with the product? Almost all products are first met with suspicion and skepticism upon first finding them in possession. It’s only after time and trials do they ether prove their worth or prove their inadequacy.

In fact I will say it again because it’s surprising. The ORB doesn’t have any business sounding as big as it does. The ORB has no business having the midrange as complete and vivid as it does. The ORB has no business sounding this good in relation to cost. If you don’t believe me, simply don’t take my word for it, buy a pair, see for yourself what’s up. It’s probably one of the best sounding under $250 IEMs I've ever heard. Not only that, but it fits like a million too. It’s built fantastically, and has a cable with any termination you choose. The ORB comes with a 18 month warranty, and you can choose $10 express shipping if you can’t wait for the fun to begin!

If you’re reading this (whole) review and you wanted to know what the issue was, if you want to know the dirt and the thing that separates the ORB from more expensive IEMs, it simply the upper-end details and separation. There is a place where the top-end (while clear) doesn’t have every last quota of delineation or itemization. Even though you can focus on that aspect and realize the reality present, there is still a stance where the ORB glosses over such inadequacies, and somehow becomes interesting and listable, none the less. In fact, if you didn’t have way more expensive IEMs to do direct comparisons with, you may not even be aware of such drawbacks. Also it has a subtle BA sheen, yet everything is so well puzzle-pieced together that you actually get used to it. While offering a hybrid sound, there is maybe a slight disjointedness to how the sound is presented, but it’s all done in such a way to remind me why Hybrids are my very favorite driver methodologies. Big-wide sounds that hold a kind of attitude where the soundstage doesn’t go off and thin-out to the sides, but goes out and opens up with big interactive items of musical invention. That’s the thing………this isn’t one of those IEMs which offers a quite expanse into the stage, no........what we are given is full-on note-weight and structure to inhabit that note-weight. What it ends with is sound replay size. Sadly the ORB full-on won out on my $549.00 qdc Anole V3. Those 3 qdc BA drivers offer a slightly more cohesive sound due to all being BAs, still the DD decay of the ORB wins out not only offering more natural decay, but the bass is just bigger. And while the ORB bass is not as authoritative or dynamic in relation to spending way more money, the bass is still totally complete. Of course there is more defined and sculpted bass out there, except it cost a lot more money!

There is a way about the midrange where the whole sound-signature gives the illusion at times of being all consumed by midrange frequencies, that is of course until the bass slams show-up offering its own little soundstage outside of the soundstage. All this goes to provide a relaxed yet totally entertaining IEM experience. It’s even a great sports IEM in that the thickness (in sound) it puts out is the perfect tone to battle incoming noise pollution. It’s the perfect sports IEM in that it fits totally snug against your ear. It’s the perfect sports IEM due to offering really good natural sound occlusion. Such a stance truly becomes the ultimate out-and-about IEM due to staying in place and offering a style of all day listening. All day because the ORB is not only entertaining, but slightly relaxed which gets you the (all-day-long) longevity and musicality. It’s this thickness of sound that never asks for more volume. If you just happen to be the type that lets the music play on random, the ORB is so well rounded, that it playsback every file quality and every genre of music. Older thinner files have a nice body and modern full-frequency recordings come-off even better. Yet this LO-FI playback has me truly inquisitive, in that I guess it does it by offering extra smoothness? So those thin and harmonically challenged songs are still totally accessible and fun, and better than fun as they sound great. Though your true audiophile favorites come in loud and clear. Big natural displays of detail, and the size that comes with bigness. Bigness and the subtle ways imaging falls into its natural areas of separation. It’s the bounce that’s priceless, in fact if a person reached over a whole slew of more expensive IEMs to choose the ORB, it’s more likely the groove he was chasing………….that and the genuine smoothness at hand.

Get them for $249.00 here:
https://penonaudio.com/penon-orb.html

Disclaimer:
I want to thank Penon Audio for the love and for the ORB review sample.

Disclaimer:
These are one persons ideas and concepts, your results may vary.

Disclaimer:
I have spent a total of 20 days listening to the ORB, learning the ORBs ins and outs.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
UA3 Dongle DAC/Amplifier 4.4mm

Introduction

Once again, I have the pleasure of reviewing a model from Penon, the well known portable audio retailer. As many people will already know, they also design their own products, and it's not just cables or earbuds. This time, it's an ambitious project, given the price range in which it moves: a hybrid model that uses a 10mm dynamic driver and a full-frequency range balanced armature driver. Of course, it has a 2Pin 0.78mm connection and the capsules are made of medical grade resin, completely transparent, with a very pleasant shape and ergonomics. Of course, it is accompanied by a good silver-plated cable and an extensive number of accessories of remarkable quality. I will now go on to describe all these details at greater length, as well as its sound, of course.



Specifications

• Driver Type: Balanced Armature Full Frequency + Dynamic driver 10mm.
• Frequency Response: 20Hz - 20kHz
• Sensitivity: 112 ± 3dB @1kHz.
• Impedance: 10Ω @1kHz.
• Jack Connector: 3.5mm SE
• Capsule Connection Type: 2Pin 0.78mm
• Cable length: 1.2m

Packaging

The Penon ORBs come in a yellow box, relatively compact in size. Its dimensions are 130x103x61mm. The colour of the outer cardboard is yellow, with some orange tones under the realistic photo of the capsules. On the main side, top left, is the logo of the brand. In the centre, the photo of the two capsules. On the bottom right, the description of the model, in black letters. On the back side, there are only the brand's contact details, also on the bottom right. Once the cardboard has been removed, a simple rectangular box appears, with purple on the larger sides and red on the lateral sides. On the main side is the brand's logo, in the centre, in gold lettering. On the back is a short description of the brand, the specifications and, again, the manufacturer's contact details. All in white lettering. The specifications are on a sticker. Inside the box are all the components and accessories. In a nutshell:

• A blue zipped case with the logo inscribed in gold on the lid. It is rectangular and tall.
• A leather pouch with a clip closure.
• ORB capsules.
• One cable with 3.5mm SE plug, 8-strand silver-plated copper.
• 3 pairs of grey silicone tips with orange core, sizes SxMxL.
• 3 pairs of grey silicone tips with green core, sizes SxMxL.
• 1 pair of bi-flange tips, single size.
• One metal clamp.
• One cleaning tool, with brush and mini fork.

The cable is available in a 2.5mm balanced version as well as a microphone version.

The presentation is simple, even austere. The packaging may look generic. But the contents, its carrying case, accessories and cable, live up to the price. I do miss some foam tips, but they come with the excellent branded carrying case and a mini leather envelope pouch, which is useful for storing other accessories. The tips are slightly different from each other. Finally, the cleaning tool should be common in many other presentations, due to its great usefulness. It's a nice touch that Penon includes it on a regular basis.
The packaging is a point of attraction for customers. Audiophiles may be curious about them. But for us, it's all about the content. I prefer a compact, generic design with quality accessories and variety rather than a large, empty package that takes up a lot of space in my cupboards.
So that's simple, but very effective - why bother?



Construction and Design

The capsules are completely transparent and one can see all their contents, the connections, the internal cables, some components and the drivers. Also visible are the conduits from the drivers to the outside of the mouthpieces. The shape of the capsules is semi-custom, classic, with a medium-high thickness. With an external face in the shape of an African continent, in the centre of which one can read the model name (left) and the brand name (right) in gold lettering. The 2Pin 0.78mm connection is integrated into the inside of the capsules, at the edge. The inner face has a slight protrusion at one end, although smooth, not as pronounced as on other models. The mouthpiece grows naturally and is relatively wide at the base. At one point it narrows rapidly, forming a ring, from which the last section of the mouthpiece emerges. The length from this point is almost 4mm and its thickness is 6.3mm. It has no external grille, but two ducts leading to each driver. The conduit that goes to the BA driver has a small brass tube (it seems) inside. While the duct that goes to the dynamic driver also has another small tube, but closer to the outside. If one zooms in on the inside of each duct, one can see that there are grilles in each. The BA driver grille is brass coloured, while the dynamic driver grille is white.
The inside of the capsules is mostly empty. A point of higher density is at the connector, where a build-up of resin can be seen to give solidity to this important part of the design. Rounding the corner of the connector, also at the edge, is another conduit with a metal tube inside and another white grid. The other point of greatest density is near the nozzles. The drivers are carefully resin-bonded and carefully arranged to fit into the ducts leading to the mouthpieces. There is a curious but well thought-out detail: the cables seem to be secured to the drivers, thanks to a kind of hardened blue paste on the left side and red paste on the right side. It is an easy way to distinguish each capsule, thanks to the high level of transparency of each one. This paste falls on the back of the dynamic driver.
Capsules with such a high level of transparency do not allow for any faults. Any error in their internal assembly could be seen. The quality control must be exquisite, as well as their manual manufacture. It must not be easy to make each capsule perfect, as you can see.
The SPC cable consists of 8 intertwined, handmade strands. Inside, the cable has a number of silver-plated copper wires. The whole thing is very manageable and has no stiffness whatsoever. The sleeve of the 3.5mm SE connector is a silver-plated cylinder, which tapers gently in the middle. Lengthwise, the brand logo can be seen in white lettering. The cylinder tapers at the cable exit and the cable is covered by a few millimetres of plastic sleeving. The splitter piece is of a similar style, but half the size. The adjustment piece is a small metal cylinder, inside of which there is another transparent cylinder, which has just the right inner diameter to perfectly perform the function of fixing the cable. It has a guide on the ear and the sleeve of the connectors is of the same type and material as the rest of the metal parts of the cable. It is worth mentioning two thin rings of little thickness, close to the guides and a white letter marking the side of each connector. The connection is 2Pin 0.78mm.
As I said, the design leaves nothing hidden, therefore, the quality of its assembly is totally evident: it is excellent.



Adjustment and Ergonomics

The classic semi-custom shape is an ergonomic life insurance. The protrusion at the end of the inner side is soft and never bothersome. The shape is compact, but stubby, due to its relatively high thickness. The design of the mouthpiece, somewhat wide and short in its last section, favours a superficial insertion, which can be medium, if one's canal and morphology allow it. In my case, with my large foam-filled tips, the insertion is totally superficial, but very occlusive, reaching a high level of isolation.
The weight of the capsules is minimal and thanks to the perfect seal I get, the fit is optimal and very durable. The design and size of the capsules prevents them from rotating and there is no possibility of movement. This is probably one of the most perfect fits I have ever tested, despite the thickness of the capsules.
On the other hand, the over-ear guides are soft and barely touch my ears. The cable has no microphonics and is very manageable. The comfort of the set is very high.



Sound

Profile

I would go so far as to say that the profile of the Penon ORB's resembles a diminishing W. There is a sub-bass boost at a point that I find very much in line with my Bass Lover preferences. Then, there is a gentle emphasis on the mid-highs and, finally, a sparkle in the mid-treble. The result is a signature with a gently diminishing balance, with a warm but respectful tendency.



Bass

I feel that the tuning of the low end has been taken from a theoretical plane to a real plane in a cathedral-like manner. I believe that there are few IEMS that have such a smooth and linear decrease in intensity as the ORBs. It is clear that theory is one thing and reality is another. But, in this case, the tuning result is a success. The depth of the sub-bass is commendable and its sonority totally natural, physical, sensitive and perceptible. The timbre, mixed with the soft warmth of the ensemble, plays in favour of enhancing the naturalness of the bass, enhancing its realistic, yet powerful character. The texture is favoured by the speed of the strike and by a not-so-fast decay. On this occasion, this slight point of greater extension in time sweetens the bass and enhances its texture, turning it into a very pleasant murmur, a soft purr that is never gimmicky, but caresses the eardrums with its excellent descriptive power and its great musicality. This is how the basses are utterly pleasing and euphonic. They are able to assemble structured layers and well layered planes, without losing realism or sounding forced. They retain a thickness to the notes that provides a very enjoyable weight and forcefulness, expanding their presence within the soundstage, to fill it but without crowding out the other elements and without sounding oppressive. Despite the power of the lower range, the bass is gentle on the midrange. The power and presence of the LFOs cannot be denied, but there is room for everything in the ORBs and their technical qualities allow the bands to be represented with good harmony and independence from each other.
Finally, in my classic very low frequency pure tone test, which I use to determine the loudness, depth, naturalness and realism of the bass, I thought I noticed some influence of the BA driver. It is clear from the specs that the BA driver is a full-range driver. So it would not be surprising if there is a beneficial support of the BA driver over the dynamic driver. If so, such a combination, in inexperienced hands, could be disastrous. But the result is nevertheless highly beneficial. It is a well-known fact that depth, punch and realism are not the forte of the balanced armature drivers to represent the low end. However, they do possess other qualities that are very beneficial for the lower range, such as speed, accuracy, quickness, fast decay and... texture. This may be conjecture, but I believe that this test has revealed a certain influence of the BA driver to enrich the texture, the surface, the relief of the bass, its level of definition, its resolution... In short, to enhance them in those aspects that the dynamic driver alone cannot reach. If this is so, the overall result has an explanation. But, on the other hand, it also increases the value of the ORBs, because on this occasion the combination of the drivers is not about divide and conquer, but to complement and conquer. And I think they succeed.



Mids

Starting from a powerful and present, but never oppressive low end, the middle range begins with warmth, body and forcefulness in its first bars. The smoothness and linearity of the transition allows the musicality of the initial phase to be deepened, achieving a performance characterised by a good density, while still maintaining a fundamental harmonious thickness, but without being fat or flabby. Again, the tuning design comes to the rescue, to avoid negative consequences. In this sense, the presence of the first mids is full and effective, not forward, but with a compact and regular presentation, without any hint of sluggishness. This is how the male voices manage to emancipate themselves from such a stellar lower section, but without being the protagonists. The restraint of their situation, both on stage and in the presence of the audience, is established in the middle, but sweet. And I say sweet, because they possess an ambivalence that allows them to be savoured in both short and longer shots. The distance of the male voices is such that the nuances and textures can be appreciated in a very complete way, but without occupying a main space in the image. This means that the resolution of the ORBs makes it possible to enrich elements that are not in the foreground and are not bass notes. It is clear that this ability is also transmitted to the rest of the instrumentation, conjugating and mixing elements with a wise harmony, which achieves a highly melodious, pleasant, sweet, enjoyable sound, but without losing any descriptive attributes, nor nuancing the resolving power of the drivers as a whole. Again, I think that the BA driver is capable of adding precision and delicacy to the notes, to extend the definition beyond smoothness, avoiding falling into a musical facileism, lacking technical rigour. Not so, the ORB drivers again complement each other to bring their virtues, to overcome mediocrity and unfinished performances. In this way, the midrange is much fuller and richer, broadening the descriptive level, extolling nuances, but without losing that warm, rounded and smooth character. That is the great achievement, to unite softness and definition in a measured representation in all the dimensional axes.
However, it is also worth noting that this level of resolution does not go into an analytical level. There is a remarkable level of clarity, but the tuning does not seek to enhance the mid-highs in order to gain presence, transparency or proximity to detail or micro nuances. In this aspect, the tuning seeks more fluid patterns and a more organic, neutral and analogue exposition of the elements. In this way, the BA timbre never appears and its technical capabilities have a tendency to be more complementary than protagonist, as at no time does it seem to expose all of its nature uniquely. As a consequence of all this, the first impression of the ORB midrange may seem slightly toned down or muted. But, in reality, it's just an anecdote, a process of adjustment of our ears, coming from tunings with overexposed mid-highs, to gain clarity and technicality. None of that will be found here. The upper midrange has just the right emphasis to bring closer, to clarify, to highlight and to demonstrate that a theoretical drawing can be equally impressive in reality. This is the result of a winning tuning, which seeks to linger in our memory, leaving a pleasant, but also tasty and captivating aftertaste.



Treble

The decreasing tuning character of ORBs tends to be represented to a greater extent in the high range. Undoubtedly, the treble has a smooth, fatigue-free face and a pleasant representation. The brightness is respectful, it is a definition that is still rich in expressive level, but not in emphasis or presence. The result is a balanced top end, consistent with the rest of the range, which does not seek to highlight or stand out.
The upper phase begins with a measured flare and energy, which quickly enters a weighted control zone, and then spreads with relative joy into the air zone. In this way, the treble pattern has a perceptible, but inoffensive, comfortable edge. They are not muted and have the necessary information to give the sound the vigour required by the upper range, but without being obtrusive or overbearing. It is not a complementary upper part, since the treble has the necessary character to last in the atmosphere. But do not seek absolute prominence.
On the other hand, such characteristics do not imply a reduction in the level of precision or definition of this range. ORBs are quite capable of exposing the elements of this phase, in a clear way, with sufficient vivacity, experience, insight and refinement required. However, it is in the air zone that they are not as extensive or present. Perhaps this is the weakest point in the sound of the ORBs, which prevents a clearer, more crystalline and resplendent presentation. The sum of all the properties of the upper range give the sound a more organic, relaxed, balanced, sweet and melodious character, lacking a hint of polish and enough sparkle to raise the level of resolution in the micro details.



Soundstage, Separation

The Penon ORB's representation of the scene is, above all, realistic. The width is above average and, from the front, the image is perceived as large and wide. The distances of the elements feel well defined and it is easy to locate them in space and to guess where they come from. It is easy to mentally separate and isolate each musical component. But it is true that there is a slight aftertaste around, a subtle lack of air that gives a less dark and transparent background. This is the anchor that fixes ORB to a natural reality and separates it from a more analytical or cold sound. It is clear that they have a warmer, organic profile, also with an analogue feel, where the separation is built on these parameters.
The very good corporeal feel of voices and instruments incorporates a sense of the three-dimensional formation of these pieces on the frontal plane. The holographic feel is not great and the vaporous feel is average. Again, the soundstage feels structured and alive, without getting out of the head, but with very good laterality. The axes that stand out most are width and height, while depth has a duality to add volume to the mids, but without reaching the size of width.



Comparisons

Yanyin Aladdin

One of my absolute references in this price range are my prized Yanyin Aladdin. A priori, I thought that both shared more similarities than differences. After a quick test I have seen that this is not the case, at the sound level, I mean. In the shape of the capsules these similarities are present. It is true that the ORBs are transparent and the Aladdin are opaque and have metal mouthpieces. But, you could say that the capsules share a very similar mould, including the side grille. I don't have a precision scale, but I would say the ORBs are lighter.
In terms of profile, the Penon ORBs have a slightly warmer profile, with a more noticeable and perceptible low end in their texture. The ORB's body excels in a quick change, as well as a more homogeneous and tapering profile. Whereas the Yanyin has a bit more sparkle, liveliness and projection. Not that the Aladdin does not possess a certain warmth, but it is represented in a different way. There is a superior emphasis on the upper mids and a technical edge provided by the BA, which gives it tighter definition and a more accentuated brightness and clarity. But this penalises the corporeal presentation of the elements, and this is where the ORBs offer their virtue, as opposed to a more cleanly defined sound in the Yanyins.
It should be noted that both models drive very well and have an equal impedance, as well as a very similar overall sensitivity, although the ORBs have a higher sensitivity.
In the low end, both IEMS have a clear sub-bass accent. But the Aladdins are somewhat more concise, tighter and drier. The ORBs are more textured, slightly thicker and rounder, with a slightly slower decay. This gives them more overall presence and the ability to produce a more pleasing tingle in my eardrums. Technically, the Aladdin's bass is more technical, while the ORB's are more organic, robust, wide, broad and noticeable.
The ORBs' mids are characterised by the warmth they carry, the fuller body and their more natural and comparatively muted timbre. The Aladdin's greater emphasis on the high-mids offers superior projection on vocals, especially female vocals. But they also feel more isolated. Whereas on the ORBs they are perceived as tighter and denser. More edges and edges are noticeable on the Aladdin, the more precise character of the larger number of BA drivers can be felt. The ORBs gain in musicality and are more melodious, more focused on macro detail, while the Yanyins reveal more micro detail on a shallower, yet brighter and more luminous listen. But, on closer listening, the level of descriptive background can become similar, although the Aladdin is more expressive at first glance.
The higher explicit level is more easily revealed in the high end of the Yanyin, more because of the technical character of its higher driver count than because of an obvious difference in tuning in the high end. In this respect, there are slight differences and more sparkle in the Aladdin. Although there is a more perceptible sense of air, which helps to expand and extend the treble over time, giving a more standard feel. Neither IEMS is a headphone to boast enhanced treble, but the more stretched and slightly more energetic range of the Yanyin does it a favour.
The scene has similarities in the X and Y axes, while it seems that the depth is more effective in the Yanyin, as well as its holographic capability is more apparent. While the ORBs have a more pronounced frontal corporeal recreation, something that could be called micro three-dimensionality or the virtue of recreating volume in a smaller space. In this aspect, despite the greater sense of air and vaporousness, the Yanyin's elements are perceived as flatter, although well separated. The bottom end is cleaner and more discernible in the Aladdin, while the mellowness of the ORB's sound weaves through the lower fabric.
In conclusion, both are great IEMS and I feel fortunate to own both. One is more technical and one is more melodious and pleasant. But both are capable of similar sonic quality, but with different nuances. Although the level of prolonged and pleasurable enjoyment is assured in both models.



Conclusion

The Penon ORBs are possibly the best matched single hybrids I have ever heard. In this sense, the drivers are not a "divide and conquer", but rather a "complement and conquer". I think that the marriage of a full-range BA driver, to a powerful dynamic driver from the low end, is felt from the inferior region, expands in the mid-range and culminates in the high end. The harmony of the dual tuning and the mastery of the combination of both drivers imply a clear and strong synergy, which results in a full, melodious, harmonious, warm, euphonic, defined, textured sound with a remarkable resolution. The consequence is direct, the music is fluid, very pleasant, lingers in our ears and in our memory, activating a very pleasing, attractive and desirable memory. I want more.



Sources Used During the Analysis

• S.M.S.L Sanskrit 10th MKII + iFi ZEN CAN.
• Hidizs AP80 PRO-X.
• HiBy R3 Pro.
• Earmen Colibri.
• xDuoo Link2 BAL.
• Burson Audio Playmate.

Ratings

• Construction and Design: 91
• Adjustment/Ergonomics: 95
• Accessories: 85
• Bass: 93
• Mids: 91
• Treble: 80
• Separation: 85
• Soundstage: 87
• Quality/Price: 92

Purchase Link

https://penonaudio.com/penon-orb.html

You can read the full review in Spanish here:

https://hiendportable.com/2022/05/15/penon-orb-review/

Intro

The Orbs are the first In Ear Monitors (IEM) from Penon which I have heard. The Orbs are a hybrid, Dynamic Driver (DD) and Balanced Amature (BA) set of IEMs.



Disclosure and Note
Penon Audio provided me with a set of Orbs for review. I provide my honest opinion of the Orbs without limitation, nothing I say is given to anyone for approval. All views I express are my own views. I am not influenced by anyone, and I am not paid, and I have never been paid, to express any views positive or otherwise on any product.

Form, Fit and Function

Form

The package: The package is mid sized colourful cardboard sleeve which covers another more solid cardboard box. The inner box contains a Penon labelled storage box, the IEMS, cable, impedance adaptor, generous selection of tips, no less than three pouches of varying sizes, a brush and shirt clip. You can be in no doubt that Penon wants to ensure that you are provided with everything you need to get started.


The IEMs;
A silver cable;
A capacious faux leather rectangular case;
Two fabric pouches;
An impedance adaptor;
A selection of tips,
A cleaning brush; and
A shirt clip.

The Orbs are a hybrid, with one dynamic driver (DD) and one Balanced Armature per ear piece. The DD is a graphite based fire silk paper dome.

The shells are hand-made medical grade resin, which is light in weight. As the name suggests the Orbs are completely transparent and quite striking. A useful touch is to have a tasteful blue blob on the dynamic driver in the left earpiece and the same in the right ear piece except the colour is red, obviously to denote the right earpiece.

There Orbs come with a two-pin, 8 wire woven silver cable. The cable is soft and supple. They are a bit chunky but they fit my ears well.

Once inserted, the isolation is on the higher end of the scale, cutting out, my guess is close to, 70% of external sounds.

My setup for this review
I paired them with Samsung galaxy note 10 Plus and Fiio M11, as my source, and for amplification variably, The HAA FEE HA11, Fiio BTR5, the Littlebear B4X tube DAC/Amp, Rod Ran Audio DAC/Amp and Xduoo MT604 tube balanced Amp, using mostly 2.5mm and 4.4mm. I also used Amazon Music, YouTube Music, but primarily UAPP music player.

Synergy
The Orbs are easy earphones to drive and work perfectly well on a smartphone with or without a dongle (where the option exists). I used various portable DAC/Amps and the sound was good, so was the synergy between the Orbs and Fiio BTR5. The fixed (not portable) Xduoo hybrid tube amp fed through the Rod Rain DAC/Amp (solely as a DAC) sounded quite very good and I would say provided the second best synergy with the Orbs after the BTR5.



The sound

Instrument separation, Imaging, Stage, and Timbre,
The Orbs produced good clarity and detail retrieval. Separation of instruments is very good, and sound stage is perceptible depending on the track being played but not exceptional.

Above all, timbral accuracy on the Orbs is exceptional, instruments sound incredibly realistic on the Orbs. To my ears this is one of the strongest qualities, if not the strongest quality, of the Orbs.

You may want to check out the discussion on the “Random Thoughts” thread on Headfi, where an interesting group of people (from all walks of life, including musicians, of course). The discussion was whether earphones have timbre, and consensus was, “no”, musical instruments have timbre not earphones, or any other monitors, I paraphrase, and I agree. Each instrument has a particular “voice” just as human instruments, our voices are unique, each has a particular sound.

It is therefore arguable that headphones and earphones are at best, instruments of reproduction of that unique sound, timbre and for me, the Orbs just shine in their ability to make the instruments sound so realistic, to the extent that they probably accurately reproduce the sound of instruments. I do not know what the original instruments sound like, but when the earphones make the piano, guitar or saxophone sound just so realistic, I am prepared to wager a bet on the Orbs being close to an accurate reproduction. I digress!

Sound check
You may want to put on your monitors of choice and check out the music using the links.

Bass
Sub-bass on the Orbs is huge and so is mid-bass and the quality of the bass is very very good. I initially thought the mid-bass was a bit much, but with time the quality shone through, still hard hitting but with good quality and realism of the timbre of the instruments it felt more like vibrations you feel at a live concert (limited to your ears rather than whole body) visceral sub-bass and palpable mid-bass.

London Philaharmonic Orchestra - Adagio in G Miinor -

I know this classical piece is not for everyone but the sub-bass is worth listening to. The sub-bass is almost thunderous in this piece. The orbs tuning delivers the sub-bass with ease and that sub-bass backbone is softened with beautiful violins and organ.

Dr. Saxlove - Use Me -

Mids
The mid frequencies are not forward, but that is not to say they are shy. The mids are quite full and generous, both in relative volume, compared to the other frequencies, and quality. To my ears both male and female vocals are full and lush without bias to either, instruments plying their trade in the mids are rendered beautifully.

Barcelona Gipsy Klezmer Orchestra - Djelem Djelem -

Caro Emerald - Tangled up -

Carlos Santana and Sarah Mclachlan - Angel -

Treble
Treble is detailed and clear without being sibilant. The treble on the Orbs give you plenty of information and will match anything under the $300 mark, these are just wonderful treble . Notes which were missing on other sets I had previously heard sound came through on the Orbs, mellow and absorbing on the Orbs. They are not over stated and yet giving you the minutia of the sound.

Schindler’s List - NL Orchestra -

The Dave Brubeck Quartet - Take Five [ Check out the cymbals] -

Conclusion
In conclusion, the Orbs in my view are, for someone who likes good quality bass in large quantities, with slightly, but only slightly, less prominent mids than earphones tuned to highlight mids and highs which are just absorb you into your music, the Orbs are worth picking up But requires burn-in (and for those who do not believe in burn-in.....time) to tame the mid-bass quantity.

Enjoy your music!