Introduction

 
Cypherlabs' new Algorhythm Picollo is the latest addition to its portable component offerings. It's a no fuss simple single ended input/output amp that charges via a standard microUSB 5V port in the rear. It's claimed to last for more than 24+ hours on a single charge. No OpAmps were used but instead a discrete component layout consisting of 10 pairs of matched triodes.
 
More manufacturer specs can be found here: http://www.cypherlabs.com/products/algorhythm-picollo/
 
A big thanks to Cypherlabs for this tour demo which will make its arounds around Tokyo and (South) Korea!!
 

Design & Packaging

 
As can be seen with its other brothers, the Picollo is more compact than the Theorem & CLAS/Duet. It is however as thick as the original CLAS. It's a CNC machined aluminium case that's laser engraved. Unlike other portable amps where access to the internals are on the end plates, the Picollo is accessed from the base as shown below.
 

 
The Picollo comes in a storage storage case with ample space for earphones, cables, tips, etc.
 

 
It should be noted that the package includes 3.5mm mini-2-mini and a USB charging cable.
 

Sonics

The Picollo has a somewhat more analytical signature. It has somewhat neutral bass that's tight without excessive bloom nor warmth which to my opinion contributes to the overall analytical sound. The mids on the other hand are more forward and when listening to vocals, gives a very front row presentation. However despite a more upfront presentation, it doesn't give a sense of a personal nor involving experience. The listener still feels that artist is merely singing in front of him/her but not necessarily to him/her. The trebles extend clearly and smoothly with articulate detail, however can sound a little congested and aggressive (more about this next paragraph below about its soundstage).
 
The soundstage: Here's where to me I think the cost difference between the Picollo and the Duet/Theorem 720 comes in and why the Picollo is not meant to be an alternative to it's other older brothers. The Duet & Theorem 720 have a wider and deeper soundstage compared to the Picollo. For those who are beginning their audio journey (or in the middle, depending on how you look at it), it's a natural progression going from the Picollo to the Duet and/or Theorem 720 within the Cypherlabs range of portable products. So using the Duet or Theorem 720 as a baseline, the Picollo by comparison, has a somewhat smaller soundstage but it's trebles are as extended as it's older brothers and therefore can sound congested as mentioned in the previous paragraph, most notably on a busy track. This case seem to hold true when compared to the Hifiman HM-901 balanced amp module and with the Apex Glacier.
 
There is one advantage the Picollo has over the Theorem 720 & Apex Glacier (possibly Duet too but I don't have my Duet with me at the moment) and that's a very low noise floor. It's whistle clean quiet even with the most sensitive IEMs. Another benefit of the Picollo in general is it's headphone impedance of under 1 ohm which further makes it suitable for IEMs. With the Dita Truth, it sounds linear with no roll offs on either end of its frequency response.
 

Overall

 
The Picollo is by no means a cheap amplifier but for it's price, it performs quite as expected - it's detailed, has a welcoming long battery life (especially these days when most components last for less than 10 hrs!), it's compact with really low noise floor suitable for sensitive IEMs, but yet it's scalable to be powerful for the slightly more demanding headphones. Although it's not at the level of its older brothers, somehow I feel that it wasn't designed to be in the first place. The Picollo is more beneficial to earphones or headphones with warmer signatures such as the V-Moda M-100 where the Picollo can bring out more sparkle in their trebles. But if paired with treble focused headphones or eaphones like the Dita Audio's, then the overall sound can sound more dry and analytical. Therefore matching and pairing is somewhat more critical.
 
If one is looking at the Picollo as an enhancement from their current iDevice lineout to an amp, or from their DAP seeking more grunt or cleaner headphone out then the Picollo does a wonderful job as an upgrade. It also provides a decent stepping stone to the next level (of external DAC/Amps) as one learns to appreciate the audio journey.

 

Introduction
 
Oppo Digital has had experience in making SACD players and in releasing it first headphone, the PM-1, also released a matching HA-1 DAC/Amp that comes packed with features taking in miscellaneous ranging fro USB, Toslink, AES, Coax, iDevice, & even Bluetooth. It can also be used as a amp only taking balanced or unbalanced line in. As for it's output, it can output balanced and unbalanced line out, in addition to its XLR balanced headphone out or 1/4" single ended headphone out. The HA-1 also supports up to DSD256.
 
Now I have to admit, prior to getting the loan from Oppo Digital Japan (thank you to them by the way!!), I was looking forward to the PM-1 but after receiving the set, I think I'm left by being more impressed with the HA-1 DAC/Amp.
 
The HA-1 DAC/Amp Features
 
 

As mentioned previously this DAC/Amp is jammed packed with features for inputs, outputs, and soft format support. It takes in unbalanced in, balanced in, digital optical toslink, USB, AES/EBU, even Bluetooth with a little antenna. It also has balanced line out, unbalanced line out, single ended headphone out, balanced XLR headphone out in the front.
 

 

On top of that, it has this large LCD panel in front with all these fancy display of information that makes the whole DAC/Amp just cool.
 
The UI is a little confusing for me though as the interaction is primarily though the source dial/button. At times I dial when I should press, etc. But that's just silly me. There is one other cool feature worthy of mentioning and that's the auto volume down when changing from low to high gain. That's saved my ears a few times.
 
But How Does It Sound?
 
Most of the tests were done via the USB Audio feeding in from my iMac. The software player used is the Audirvana Plus v1.5.12. Forcing on to DoP v1.0 the HA-1 is capable of playing DSD natively up to DSD128 (at least in Audirvana Plus, as the HA-1 itself is capable up to DSD256). All my DSD are up to DSD64 only. Trying out from the iPad with Onkyo HF Player into the HA-1's mobile USB input in the front however, the Onkyo HF Player can't play DSD natively on the HA-1. It's Bluetooth supports SBC and AptX although AptX was not tried.
 
Coming from my Invicta v1.0, I found the HA-1 DAC/Amp to be more treble focused for my other headphones straight from the headphone out. Now one may say that with the Invicta 1.0's headphone out has as different DAC (ES9016) from than from it's line out (ES9018) to explain the difference, however even comparing line out of both the Invicta 1.0 (ES9018) with the HA-1's line out (also ES9018) into my Zana Deux SE, the HA-1 still sounds a little more treble focused than the Invicta. This to me showed that despite both having the same DAC chips, implementation around it still could yield different results. The treble focus wasn't an issue for most of my headphones, however just not what I'm personally used to. On my Alpha Dogs (which hasn't been Doggie Treated), it can be a little hot for my tastes but fine for the TH-900's and for the SR-007/SR-009 (via the Eddie Current Electra).
 
With the PM-1 though, and this is where the Oppo HA-1 is perfectly matched with the PM-1 headphone, it strikes a balance, since the PM-1 is more lush warm.
 
Aside from the treble (and headphone matching), the rest of the HA-1 performs well. It's detailed & smooth, quite transparent in the overall signature. Although compared to the Invicta, it is a tad smaller in soundstage and slightly flatter in depth imaging.
 
Conclusion
 
As mentioned in the introduction, I think overall between the Oppo Digital PM-1 headphone and HA-1 DAC/Amp, I think I feel more impressed with the HA-1 primarily from the number of features it supports. In addition, for it's price of $1200, it's very good value for money. I think I'm walking away being more impressed with the HA-1 than with my formerly owned HP-A8. Having said that, now that I've experienced something like the Invicta, if I had owned the HA-1, it'll probably be stepping stone until I'm ready for the next upgrade.
 
 

 

Introduction
 
Oppo Digital is a name renown for their Blue-ray & DVD Players but recently branched out to the headphone world by releasing their very first planar magnetic headphones, the PM-1, and matching desktop DAC/Amp, HA-1. With the courtesy of Oppo Digital Japan, I received a demo set of PM-1 and HA-1 for just over two weeks. The PM-1 comes in an impressive wooden storage box and a suite of cable accessories for portable and home use, velour ear pads which offer an alternative signature, and a denim carrying case.
 


 

Headphone Ergonomics
 
Of all magnetic planar headphones I've tried, the PM-1 is the lightest and most comfortable to date. They are such a contrast from the current magnetic planar offerings which are large and heavy and it's as though Oppo is trying to make a point that magnetic planars can be compact, light, comfortable & portable - as such even a compact carrying case and 3.5mm cables come along with it. No longer does a planar magnetic have to stay at home. In addition the way the PM-1 is designed, it actually has a very low profile that hugs & stays close to the listener's cranium.
 
As if it wasn't enough, velour pads were also offered in addition to its leather. Both are comfortable and glasses friendly, but the velours add a further softness to the comfort. However there's a little more to just comfort to the velour offering.
 
 
 

 
The PM-1 Headphone Sound Signature
 
Considering this is Oppo Digital's first attempt at headphones, the result is actually quite a decent effort. It has, as it's advertised, a natural and pleasant sound signature. At least to my ears the Oppo doesn't  shout analytical nor clear cut surgically perfect reproduction of a mastered track, but instead more of a lush and musical presentation that is easy to like on an initial listen. It doesn't attempt to wow by having deep pounding bass, nor by having sparkling trebles, but instead focuses more on being calm and mellow with it's midbass and midrange focused signature, whilst the lower trebles seem to take a quick dip but comes back neutral enough to grab the listener's attention. There is a light touch of texturing and layering which is more easily heard with the balanced cable through its complimentary HA-1 DAC/Amp.
 
The signature can be tailored by switching to the velour pads which seems to tone down the midbass and midrange to have an overall more neutral signature. The cost of doing so however seems to be  a slight loss of depth imaging.
 
Whist on the topic of depth and width perception, the PM-1 does have a more up-front close and personal presentation, and it's not shy about it. One does feel they're sitting close to the performing artists in a very private performance. Depending on the DAC/Amp combination that perception can be further tailored a little.
 
Overall Sound Signature of the Combined Package
 
As a package, I find that the two compliment each other into producing an easy listening sound that one can like very quickly. It does this so at a very reasonable price point too especially with most other magnetic planar headphones demanding higher quality DAC/Amps to help them shine. However, the sound signature to me isn't one for critique or articulate listening. At least for how I'd consider such a sound signature to be leveraged in my environment, it'll probably in a situation where I just want to kick back and listen in the background whilst I'm focused on other activities.
 
Conclusion
 
Oppo Digital has given other magnetic planar headphone makers some food for thought by producing one that is lighter than it's competitors, and at a very reasonable price point - all packaged up in an impressive storage box with very practical and needed accessories. Meanwhile with their HA-1 DAC/Amp, they have packed it with full of features and as with the PM-1 headphones, priced it accordingly too. I can easily see how such a package would be suited for portable audiophiles who want to take the next step and dabble on a home magnetic planar desktop gear but not fully step away from portable audio at the same time.
 
Having said that, (and rather unfairly) coming from my collection of Stax SR-009s/SR-007Mk1 setups to Fostex TH-900s & Alpha Dogs, I find the Oppo to be just merely pleasant sounding but lack the "wow" factor for my expectations. It makes a decent stepping stone but as for myself I see it to be an interim setup. However if I'm limited to $1100 to spend, I would prefer to spend it on this than on other open backed magnetic planars of similar pricing.

Introduction

Tralucent Audio is a name that's appeared on Head-Fi only since August 2012 but has quickly made a name for themselves with their ability to challenge other IEM makers when it released it's 1Plus2. I reviewed that IEM last year as a love/hate relationship as I felt it excelled every aspect of audio technicalities an enthusiast or an audiophile seeks sonically but overall, didn't sound musical to my ears. My expectations of the 1Plus2 was eventually managed when I bought the earphone again but with the Tralucent Uber cable on the 2nd round. In short it took a little while for the 1Plus2 to get a little loving from me.
 
Now onto 2014, Tralucent Audio has done it again with a new model, the Ref 1 and this has taken a much shorter period of time for me to fall in love with - and with its stock cable, even more so with the Uber coupled with it, and in my impressions I'll tell you why.
 
The Ref 1 (I believe is the first to Edit: As per @shotgunshane, it seems Audio Technica has done isobaric before the Ref 1) employ an interesting isobaric design for it's pair of 9.2mm dynamic drivers, coupled with a pair of balanced armatures - so this is a 3-way, 4 driver, hybrid & isobaric IEM. But it seems Tralucent Audio didn't just want to go for unique in design, it further challenged it's own older brother, the 1Plus2, in technical excellence and improved on it's musicality.
 

 

Design

The Ref 1 in many ways are very much alike the (latter version of the) 1Plus2 but just smaller. The socket design, the stem design, faceplate, position of the port, etc. are so similar it's the two models are easily mistaken for each other. As such comfort for me on both the 1Plus2 and the Ref 1 are very similar maybe leaning towards the Ref 1 for a slightly more comfortable due to it's size.
 
When popped into my ears, they do angle outwards at the bottom whilst the top inwards towards my skull, and this is due to the angle & length of the stems & tips into my canal, whilst the cable at the top of the IEM pulls the upper part of the IEM closer to my ears. As such the seal it creates is a light seal, of which if I move a lot, the earphone can pop out easily. However if I'm sitting, everything sits in place naturally. I can create a better fit by tightening the neck sleeve on the cord.
 
Whilst on the topic of seals, the isolation is similar to the 1Plus2. Due to the light seal and the vented port, isolation is average for my fit.
 
Thanks to @burtomr, he did remind me that with the demo Ref 1 unit I had, there was a driver flex on the right IEM only. This sounds like a crackling sound when putting on IEM and if I were to push it. It didn't bother me much as once I had it on I was listening to it for it's SQ, however I can see how others could find it annoying for an expensive IEM to have such an issue.
 

Sound

 
Tralucent has basically done it again by making an earphone that’s technical perfection but tailored for a different taste. This earphone is all the detail demon that the 1Plus2 was yet further incorporates musicality into it - which was what I was seeking in the 1Plus2. It has more “body” than the sound of the 1Plus2 but still remains technical.
 
One of the first things I noticed about the Ref 1 is how fast it was. Music just sounded more positive, lively, and slick overall. Articulate sounds transition so quickly yet naturally - slick and speedy. This provided an overall very refreshing sound across the board for all genre I was listening to. I'd very much like to see the waterfall plot of this IEM but I suspect it to have rather short decays across its frequency response.
 
Tonally to my ears the Ref 1 further carries on from the 1Plus2s but with slight differences. As with the 1Plus2, the Ref 1's bass extends deep with a nicely controlled rumble, into a tight mid-bass region which to me contributes to the speedy response mentioned previously. The way the bass is rendered, is one of the most addictive - it sounds realistic, clear, & taut.
 
As for the midrange, this is where to me the Ref 1 differs a little from  the 1Plus2. Overall, it has a fuller midrange which renders vocals in full bloom. However slicing into a little more detail, my ears seem to notice little dip in the lower region of the midrange which I think gives the overall vast soundstage for the whole signature. It's therefore able to achieve 2 goals simultaneously - provide a huge soundstage presentation yet with the rest of the midrange having a full sound give vocals a rich and blossoming body.
 
The trebles are personally to me the most welcoming especially when I found the 1Plus2 to sound sibilant with certain recordings on the stock cable. The Ref 1 manages the sibilance without sacrificing the treble extension. Trebles maintain it's airiness, crispness, detail, and smoothness.
 
 
As mentioned before, the slight dip in the lower portion of the midrange seems to contribute to the Ref 1's overall soundstage. The soundstage can't be emphasised further - it'a huge and vast, just like it's older brother. It's even more so with the Uber cable plugged into the Ref 1. I'd dare say that the soundstage would sit between my (former) Signature DJ's and TH-900's and that's where I feel the Ref 1 starts to challenge some closed back headphones.
 

Ref 1 with different DAPs

These days there's quite a bit of questions on synergy of the earphone with various amps, DACs, and DAPs. I've tried the Ref 1 with the Cypherlabs Algorhythm Solo -dB/Duet combo, AK240, HM-901 and NW-ZX1 and I feel that it works well with most of those combos with maybe the only exception being the NW-ZX1 where it starts to be more track and genre fussy. The NW-ZX1 tends to have a somewhat more treble-focused sound and combined with the Ref 1, on certain tracks can start to sound sibilant for my tastes. On the other hand tracks that aren't treble focused, on the NW-ZX1 the trebles can sound crisp and airy.
 
However for multi-genre and multi-purpose, I personally prefer the Ref 1 out of the AK240 or CLAS -dB/Duet in my collection.
 

Closing Notes

 

 
Personally for me, I feel Tralucent Audio has excelled in this new IEM. It's not only got a very innovative design by incorporating drivers in an isobaric configuration coupled with BAs for an overall hybrid design but more importantly producing a sound that has maintained Tralucent's house signature - technical excellence. It gives a fast and slick signature with a highly addictive bass and yet maintains the technical excellence of its older brother, the 1Plus2. It's provided a sound that I've not heard in other makers which make the overall experience very refreshing.

Introduction

 
Before getting into the AK240, I'll need to thank Amos/Currawong for bringing this back from the SoCal 2014 show, and also a very big thanks to iRiver USA for being so generous on letting Team Tokyo have a loaner of this product. Where we can test in the comfort of our environment rather than standing in a shop with limited time for testing.
 
Is one needed for this DAP really? It's gained more attention before it was released than when it's available!! This is iRiver/A&K's latest addition to their line but it's also their flagship. The AK240 specs can be found below so there's no necessity to regurgitate in this review :-

http://www.astellnkern.com/eng/htm/ak240/ak240_spec.asp
 

 

Design

Below was the AK240 launch in Japan. It shows how the design of the AK240 was conceived. Sadly I don't understand enough Japanese to understand what was said in the presentation, nor do I understand enough about design concepts.
 

 
When the AK240 was first released I thought the design looked awkward and many others thought so too. However having one in my hands right now, with it sitting side-by-side with some of the other competitor DAPs, there's something attractive and appealing about it's very space-age design looks. Even walking around in the streets and having a cup of coffee, passer bys do take a glance at it wondering what this James Bond-looking gadget is. It's not that I'm ashamed of looking geeky with my multi-stack DAC/Amp hanging off my iPad but it's also nice to have something that's modern looking that actually looks trendy to the non-audiophiles but yet produce audiophile level sound quality.
 
The positive side-effect of this is that then the general audio listeners will also start to take an interest in good SQ as the products not only appeal their sonic palates but to match their image lifestyles too. If there's any opportunity to raise awareness to the general public of how good music could sound to their ears, I'd be happy to support such an opportunity - even if it means designing something visually striking and easy to use around a audio component that delivers great sound quality.
 

 
Ergonomically though how well does it fit in one's hands? At least in mine, averaged size palm, it actually fits in quite well. When I first saw the AK240 on the forums, I wondered why have the smaller screen with the bigger base? One may as well make it a rectangular box design and put in a larger LCD. However when I have this in the palm of my hand (and I'm left handed), I can actually wrap my fingers and rest on the slanted bevel below the volume knob which provides me a more secure yet comfortable grip, which is a nice feeling to have when holding a $2500 item.
 
The AK240 also feels solidly built and robust - I feel that it's something classy in my hands. The volume dials are light with distinctive clicks signifying a 0.5 jump increments (of 0 -> 75). The power, back, pause/play, forward buttons are also distinctive and don't feel loose. The 3.5mm jack holds in quite firmly but not excessively. 
 
Aside from the external design and ergonomics, I thought I'd put in another picture from the Japanese slide presentation I attended. This has is a little more about the internal architecture of the DAP and how it uses the 2xCS4398 DACs for each channel :-


 

Features

The AK240 is loaded with features which has made it a rather versatile DAP. It supports optical out, balanced out, functions as a DAC/Amp from a PC (not from Android), has WiFi for wireless upgrades, and online streaming, Bluetooth 4.0 support, and if 256GB internal storage is not enough, a microSD card slot with up to (the current) 128GB microSD can be further added.
 
I won't dwell too much on the WiFi MQS Streaming (hires) nor native DSD support as that's been discussed in the forums (although I will comment on it's SQ later) but I'd like to drop in a word or two about another service which hasn't been talked about much, mainly because the service is currently quite limited. The AK240 also supports online purchasing and downloading of hires quality music via the same MQS Streaming but through the Internet with some online music stores iRiver/A&K have partnerships with. Currently this service is available in Korea and (as I've been told) Germany. It's my understanding iRiver Japan is trying to provide this service in Japan too and since they had eOnkyo talk in their AK240 press release, I can only hope that iRiver Japan has a successful negotiation with them to provide hires and DSD downloading to the AK240 too.
 
Another feature which seems to be in the works is using the AK240 as a DSD DAC from the PC. Currently on firmware 1.09, it hasn't been very stable for me (the Audirvana Plus on the Mac side resets if I change volume on the software player, but it seems to work if I just let it play through without trying to change anything) but hopefully future firmwares will fix this and all the format supported on the DAP will also be supported as a DAC/Amp.
 

 

Sound Quality

When iRiver/A&K released the AK100, AK120, and AK100Mk2, they were (to me at least) revolutionary that they could make an audiophile level sound in a neat package that's aesthetically trendy and easy to use. But the SQ was still a little hit 'n miss that made me feel the makers were still experimenting a little (admittedly less so with the AK120 which was quite a solid product on its own). But the fact that they could be modified and improved internally meant to me that that the makers still hadn't nailed it. As such with the AK240, I think the makers has finally come up with something where (if we forget about the price), is something that sonically is it.
 
Personally I was skeptical myself of how "good" could a self-contained unit that fits in the palm of my hand could be, and my experiences with competing DAPs in the past had been minor incremental sonic improvements over each other that the reign of a DAP usually isn't very long lasting. The AK240, however was a jaw dropping easily noticeable marked improvement over it's predecessors. Not only that, but also given stiff competition to its peers.
 
The main primary sonic features I've noticed with the AK240 is how smooth and fluid it's musical presentation is. As I listen to quite a bit of older 50's & 60's west coast jazz, some vocal jazz with mainly few supporting acoustic instruments, the AK240 renders each instrument with precision, clarity and detail. Vocals are also very clear, involving, and smooth. However despite the precise distinction of each of these components, the AK240 pulls them all together that they all work in harmony together that it feels like I am listening to one single musical piece. Should I choose to focus on a particular instrument, I can hear it with ease with copious amount of detail but should I sit down and relax I can take it all in without any odd component standing out over the others.
 
I think this is helped by the large spacious setting the AK240 is able to create. The soundstage is wide as the imaging is deep. Placement of instruments and vocals on the stage are easily identified. But again, each component uses that space well. There are no pockets of 'vacuum' where the presentation sounds odd.
 
I find the AK240 to really start trickling into the multi stack portable DAC/Amp component space. Except for maybe the HM-901, I find comparing the AK240 to other DAPs to be an easy challenge and it has been more intriguing to compare it with the separate portable DAC/Amp products instead. Although there are some high end portable DAC/Amps that still have an edge over the AK240, the AK240 still puts up a good fight.
 
[Added: 7th Apr '14] The AK240 is not forgiving to poor recordings. In some older recordings and mastering, I can hear more background noise and imperfections during the recordings. Any skepticism I had with the CS4398 as a DAC from my older Marantz DV9500 SACD player are changing and I understand more that it's the implementation around the DAC that is just as relevant as the components used.
 

AK240 & NW-ZX1

Sadly my favourite NW-ZX1 was easily toppled by the AK240. Again we should, for the moment, forget about the price of the products. The AK240 to my ears sound smoother, greater depth, and that fluid presentation makes my NW-ZX1 sound somewhat less refined by comparison. That's not to say the NW-ZX1 is a terrible product, as I opted it over the AK120 which I subsequently sold. However the AK240 is a noticeable step up over both the NW-ZX1 & AK120.
 
Why would I choose the AK240: Greater storage, better SQ, greater flexibility with balanced output
Why would I choose the NW-ZX1: Great value for money, UI more dummy proof, open Android platform. Won't cry so much if I lose this since it's cheaper than the AK240.
 

AK240 & HM-901

This is one where it does get a little more interesting. The AK240 sounds more coherent than the HM-901 where I find the HM-901's separation to be a little too distinctively separate left & right (especially vocals). The HM-901 does have a deeper and greater sub-bass impact, with a mid-bass bloom. As such the HM-901 does sound somewhat more warm and mature, whilst the AK240 seems to focus more on the upper mids to treble space. I do find the trebles in the AK240 a little more compressed compared to the HM-901, but not offensively so. Overall FR though, the AK240 comes back though by having a greater sense of space in width and depth whilst the HM-901 sounds more intimate by comparison. When I have these two DAPs side-by-side, the HM-901 feels like the more older mature CEO of a large business, whilst the AK240 more the slick & smooth yet precise banker.
 
Why would I choose the AK240: Faster and more logical UI, more standard charging interfaces with its microUSB, longer battery life (just), good for HipHop, R&B
Why would I choose the HM-901: Cheaper than the AK240, more mature sound for the slow easy going, Jazz, vocals, golden oldies, 80's pop 'n rock. Can drive those harder-to-drive cans, modular amp options. A more standard(??) 3.5mm TRRS socket for balanced headphones.
 

AK240 & the CLAS -dB/Duet

The AK240 comes close to the Cypherlabs component stack and puts up a good fight against it. The -dB/Duet is able to match the staging width and imaging depth but also has the bass depth similar to the HM-901 in comparison to the AK240. The Duet is also has a more powerful amp section than the AK240.
 
Why would I choose the AK240: Compact, greater storage than any iOS or Android device with the -dB/Duet stack
Why would I choose the -dB/Duet: I'll sitting in some cafe for an extended period of time with my obnoxious large cans. It'll charge my iPhone whilst I'm listening to it. A more common socket with the Kobiconn for balanced headphones.
 

AK240 & the VentureCraft DD OPA627SM 12V LE/Apex Glacier

The AK240 still provides easier instrument separation and a mid-row from stage presentation, whilst the VentureCraft DD/Apex Glacier has a more front row stage presentation. (Typical of OPA627's??) There's more bass warmth to the VentureCraft DD/Apex Glacier but this stack also seems to have smeared details when compared side-by-side to the AK240.
 
Why would I choose the AK240: Compact, greater storage than any iOS device with the DD/Apex Glacier stack (note the DD is an iOS-only device), sonically more detailed and precise. I have a balanced headphone option if I want.
Why would I choose the DD/Apex Glacier: cheaper than the AK240, more configurable that I could switch amps.
 

Summary

 
As I mentioned earlier, before this product was in my hands and all I saw were pictures, I was a skeptic. Whilst I thought that it'll be a good product, I didn't think it'll be a great product. The price will deter most from even trying the AK240, and maybe the design may too. However if one were to put those pre-conceptions aside, and just get to touch, feel and hear the AK240, hopefully they'll see its inner beauty. Whether that is worth the asking price, that is up to each individual.
 
For me at least. I believe in bridging the gap between the image of geeky audiophiles with their geeky looking products with the more mainstream audio enthusiasts and where in the past these audio enthusiasts get turned off by audio products that may sound good but look horribly designed, products like the AK-series show that one could get good sound yet still not look awkward. Whilst it's true that the price of the AK240 may still make it prohibitive to the general consumer, it's closer within the reach of some of the audio enthusiasts and enlighten them a little more on what audiophiles are raving about - without looking too awkward.
 
Where the AK240 excels, I feel, is that as a complete self-contained package - sonics, capacity, usage, functionality, visual and feel aesthetics - the AK240 is a winner. It sits in one's pocket unobtrusively, it's basic functions are easily accessible with external buttons, it can function as a DAC/Amp with a notebook, it supports balanced headphones out, it supports line out, it has copious amount of storage, it can stream high quality music wirelessly, it even supports online download in countries where the service is available, and it doesn't sacrifice quality in doing all these things.

I've had the privilege of Charles Wong send me this prototype amp a few months back but didn't get a chance to listen to it until recently. Charles worked on this particular unit himself so it is still very much a prototype unit that I have in my hands. There were a few issues with the unit but since it's prototype, I won't dwell on that.
 
Overall, the unit is quite blocky due to the 9V battery it houses and the wooden case does have some thickness to it. The actual circuit board inside is actually quite small. Operation is quite simple, only a volume pot that acts as a off/on switch too. No gain switch option either. I did encounter an issue that any source with a "high voltage out" seems to introduce distortion in the amp. Therefore sources such as the HM-901 line out is too powerful for this amp. However other DAP/DACs (AK120, VentureCraft DD)  I've tried seem to be fine.
 
The sound of the amp is actually neutral with a slight treble bias. It's actually quite a reasonable amp to use if one wants to "cleanse their sonic palate" in preparation for critical listening of other amps. The soundstage is somewhat smaller than what I'm used to but at the same time I don't really hear congestion. It's price of $200, it's actually reasonable for what it delivers.

Introduction

V-Moda's VAmp VERZA has been out for quite some time now and these days the audio lifecycle has been getting shorter and shorter with some makers churning out replacement upgrades with a longevity of an ant. So this is more a long term review of the VERZA. As many may have known the origins of the VERZA from VentureCraft Go-DAP X. But there are fundamental differences between the two as the VERZA much more than just a rebadged Go-DAP X. The collaboration between V-Moda and VentureCraft resulted in a re-imagined product that incorporated specifications stipulated by the V-Moda engineers. Some of the fundamental differences of the VERZA from the original Go-DAP X include (but not limited to) :-
 

1. VERZA's 10 ohm output impedance vs Go-DAP X's 47 ohm (which the later revisions of Go-DAP X were also reduced to 10 ohm)
2. VERZA's 6-layer PCB for RFI management vs Go-DAP X's 2-layer
3. V-Moda's continuance of using OPA1612 vs Go-DAP X's basic offering of Muses8920 & OPA2134 (but offered LME49860 optional upgrade)
4. VERZA's 2x130mW for iOS and 2x150mW for Android vs Go-DAP X's 80mW (again VentureCraft offered a modification to match the VERZA)
5. VERZADOCK mechanism to support the METALLO sliding cases vs Go-DAP X's later support of the VentureCraft BB5 aluminium case

 

 
 

Specifications

The VERZA uses 2xDACs, one for iDevice support whilst the other for PC USB or (some) Android device. For iDevice/iOS the AKM AK4353 whilst PC/Android leverages on a PCM2902C. Both feed into the same OPA1612 OpAmp pairs though (left/right). The VERZA also has a 2200mAh battery which can power the VERZA as a DAC/Amp for approx 7 hours (in my realtime use at least) or can be used to charge the iPhone/Touch or Android. There's also an optical out to use the VERZA as some kind of DDC transport out to an external DAC/Amp that supports optical in.
 
As mentioned the VERZA supports iOS devices, PCs via USB DACs, and some Android devices, notably the former Samsung Galaxy S3. What is interesting is that recently NTT Docomo released the Samsung Galaxy J (SC-02F) which has the same specs as the Samsung Note 3 but in a 5" screen like the Galaxy S4. I had no issues with the Galaxy J & the VERZA. So the VERZA is capable of supporting some current Android devices too.
 

Sound

Finally! That's what we're here for. I've had a few different setups but the VERZA (naturally!!) and the FitEar TO GO! 334 IEM being the common denominators. The difference is therefore in the transport used: iDevice (my trusty old 30-pin iPhone 4S & newer Lightning iPad Air), and Android NTT Docomo Samsung Galaxy J (SC-02F). Both pretty much using the same tracks except the players are different too (iOS Music player & Android Google Music player app).
 
As most of the readers in HF will already know, I do believe various listeners hear differently depending on their influences, preferences, sensitivity to different frequencies, etc. As such this is my disclaimer of stating what I personally hear.
 
The overall signature in my experience with the VERZA is a slight warm rich tube-like signature. The mid-bass is full and quite controlled, not boomy, excessively wooly, nor thin. However towards the sub-bass there is some rolloff and this is presumably due to the 10 ohm ZOut for a low impedance for the TG!334. On the other hand with FitEar's MH335DW flagship CIEM that's very bassy, the rolloff actually helps control the DW (double woofer) very well. Therefore impedance matching between this DAC/Amp and headphone is relevant in making the most out of each component in the chain.
 
The mids are also full without being too forward. Vocals, as with the midbass also sound rich and smooth. Whilst the trebles are airy, detailed, and clear but not too forward. There's also a slight rolloff at the higher trebles (again presumably due to the 10 ohm ZOut). In fact for headphones that are somewhat U-shaped, such as the Signature DJ, the VERZA does well in managing either ends of the FR.
 
Using the Galaxy J & VERZA leveraged on the PCM2902C USB DAC instead and the overall presentation sounded darker than with the iOS equivalent tracks.
 

 

Summary

The VERZA followed up where the Go-DAP X left off and in a few ways the Go-DAP X re-adapted itself through mods/upgrades to leverage on the features that popularised VERZA. The size of the VERZA and the supported devices were very form fitting without awkward mismatching shapes and sizes between the transport and DAC/Amp yet remained compact enough to be pocketable. Although in recent months other makers have released newer DAC/Amps, none have provided options to integrate their devices with the phone/player transport like the VERZA and it's METALLO optional case.
 

Thank You Note

V-Moda Asia was kind enough to loan me the VERZA for a good 4 months for my use and for this review. A big thank you to them for the opportunity.

 
The TUR-06 is the smaller brother of the TU-05b reviewed here. This hybrid tube amp was added to the offerings of Analog Squared Paper earlier this year around late January 2013. The differences between the TUR-06 and the TU-05b are :-
 

1. Hybrid Tube/Transistor Amp
2. 482g (vs 1kg for the TU-05b)
3. 2x1U4 (1T4)
4. estimated price to be USD$600 vs $1070 for the TU-05b

 
The TUR-06 is actually more practical due to its size by comparison to it's larger brother.
 

 

Sound Signature

 
As mentioned in my TU-05b review, I have had little experience with tube amps (portable, desktop, or speaker) until this month. My thoughts about the sound signature of the TUR-06 is compared pretty much directly with it's bigger brother. As I've not owned any portable tube amps before, I can't comment on how it sounds in comparison to, say, the likes of the ALO Continental series.
 
As with the TU-05b, I found the TUR-06 to really deliver a very full sound that's almost comparable to a desktop level amp. Although it's a hybrid amp, it still has a distinct tube-like signature to its presentation. The trebles extend very nicely and are smooth and airy with exquisite detail but no hint of sibilance whatsoever. Whilst the midrange, like the TU-05b, presents robust fullness especially in vocals. Listening to Jazz vocals from the "Best Audiophile Voices" series of CDs, I feel the artists are singing from the bottom of their lungs rather than just from their throat.
 
It's the sub-bass level of where the TUR-06 is different from the TU-05b. The TUR-06 reaches much deeper with a nice classy rumble that's very nicely textured in its rendition. Upon hearing it, the Vorzuge AmpDuo with it's Bass Boost lever flicked on came to mind as a comparison. The difference is that the TUR-06 still maintains the tube-like signature in its presentation of the bass with that analogue purr.
 
Although the soundstage and imaging of the TUR-06 is still wide (probably wider than some of the other solid state portable amps I've heard and owned), it's a wee-bit smaller than it's bigger brother. However all is easily forgotten just with the rest of the quality presentation the TUR-06 is able to deliver.
 

Conclusion

 
Again, I have to highly praise this amp. Although it's less than 1/2 the weight of it's bigger brother and it's hybrid tube amp as opposed to a Class A it's able to deliver most of what the TU-05b can and areas such as the bass, could deliver more. If one isn't concerned about it's size, SQ-wise I personally feel it'll be one of the most satisfying amps amongst it's peers (price-wise). Of the other amps I've in my possession, and for my preferences in SQ, I feel this delivers more than what my current portables can and is just midway between what my desktop tube amp (Zana Deux) can deliver. I wouldn't have any hesitation in recommending someone who wants an introduction to (trans)portable tube amps to at least give this product a listen.
 

 
Analog Squared Paper is small business run by Kageyuki Shikada. He makes each one of these amps by hand and they're effectively made to order. I won't belabour the specs and details of this amp as ianmedium has done a wonderful job at covering all of that in the Analog Squared Paper thread and in his review of this product. But I'll get into what this amp has done for me.
 
Shikada-san was extremely generous to loan me the TU-05b and TUR-06 for reviewing and I'm very thankful to him for such an opportunity.

Getting Straight Into The Sound

 
I'll admit from the start that I'm a noob when it comes to tube amps at the time of writing this review. I've only purchase my first headphone tube amp (Zana Deux) beginning of May 2013, and I've borrowed my friend's Shindo Labs Corton Charlemagne for my home speakers during the same duration. Prior to that, I've dabbled a little with the Woo Audio WA7 and an occasional demo of the portable ALO Audio Continental series, as well as Fostex HP-V1.
 
Although those portable tube amps were nice, the TU-05b really is in a league of its own and borders on being a desktop tube amp instead. It delivers a full sound that gives a large sense of space in terms of soundstage and imaging. The amp was pre-tuned to low/mid gain and I didn't need to turn up the volume to get that fullness and richness of the sound. Another immediately notable quality is the smoothness in rendering that's typical of a high end quality tube amp that's often read about. This tube amp reinforced what I've always read about the infamous "tube signature".
 
In terms of its frequency response, my particular TU-05b capped at around 30Hz however the maker assures me that with some modification the sub bass can extend lower. However, even for what it can deliver at 30Hz is extremely pleasing with the fullness and richness of it's bass presentation. There's this purr to the bass which almost gives it a life of its own. The quality continues to extend to the midrange and vocals especially are, again, rendered smoothly with an analogue-like texture. I've read a lot about how some amps can sound "digital", by listening to the TU-05b, I can understand the contrast much better. The treble continues with it's smoothness and airy highs without any sibilance. It's probably one of the clearest trebles I've heard in a portable/transportable (irrespective of OpAmp or tubes).
 

 

Practicality and Use

 
This amp though is by no means a practical amp. It's about 1kg, and at least for me, probably not so easy to walk around with. However if I'm going specifically to sit down at a coffee shop for an hour or two, that could be a case scenario of practical use. In Tokyo where "anything goes" no one would probably care if one had something like this on the table but in other countries, it may catch a stare or two. It's definitely quite a funky looking amp which probably screams out a certain level of geekiness but also style (to my mind anyway ).
 
I did have a problem with the TU-05b and I need to deeply apologise Shikada-san for my clumsiness. In taking pictures, I removed the PostIt labels from the ports. I accidentally attempted to plug the headphone cable into the charging socket as I wasn't paying attention and inadvertently short circuited the TU-05b. Of course I'd offer to pay for the damage I've done to it but it also got me thinking of how the charging port could be improved to prevent idiots like me doing such a thing again. I must say that I've never done such a thing before to other devices (well most other devices are USB charging) but looking at something like the CLAS -dB, Rx Mk3, or DX100's round charging socket, it's not so easy to short circuit the batteries for those as at least one of the two connection points are more recessed. I think this is one area that could be room for improvement. Again, most people probably aren't as clumsy as me but further prevention couldn't hurt.
 

Conclusion

 
To my mind and my ears, this amp will not fail to impress and for the kind of sound it's able to deliver, and will continue to satisfy for a long time. As such, I personally see this amp to be a worthy investment. In addition, if one wants to play with the sound for a little variety, this amp is very open to tube rolling. ianmedium has done quite a lot that which he's shared in the thread. This amp will not bore.
 
TUR-06b on the left (to be reviewed later), TU-05b on the right

 

 

Introduction

In the past 2 years VentureCraft has been successfully creating amps and DAC/Amp packaged components with their GD-03, Go-DAP 4.0 for iPhone 4(s), and Go-DAP X for their multi OS (iDevice, Android 4.1+, PC USB Audio).
 
This is VentureCraft's first DAC-only product but with a twist. Leveraging on the existing AKM AK4353 used on the Go-DAP 4.0 and Go-DAP X, they have continued with the trend of using the same DAC in their DD. The difference between this iDevice DAC with it's competitors is the multiple choices of pre-amp OpAmps offered - OP275 (base standard), OPA627AU, Muses01, and Muses02.
 

Features

 
 
As with the other Go-DAPs, the DD Socket 1 comes with a 2200mAh Lithium that can be used to charge the iDevice during play, or dedicated for the DAC use. It sports a Toslink optical  and coax out and therefore can be used as a digital transport. It also sports a 9Vrms output to drive the internal OpAmps.
 

The Setup

The different OpAmp pre-amp options are rather interesting. Each OpAmp ever so slightly influences the output from the DAC prior to feeding into the amp. In this case the loaner DD1 Socket 1 I have from VentureCraft is the OPA627AU. As such I've paired it with a matching Leckerton UHA-6 MkII with a pair of OPA627AP installed.
 

 
 
iPhone 4S
DD Socket 1 with OPA627AU OpAmp pre-amp
Leckerton UHA-6MkII with also a OPA627AP OpAmp.
Headphone Lounge (Chris_Himself) Silver/Gold OCC cables with Rhapsodio RDB+ v1 and FitEar tips
 

Sound Signature

With the aforementioned setup, the DD seems to present a mild and mellow signature that seems quite suitable with Jazz, Classical and generally slower genre. There's also a touch of lush warmth to the signature giving a slight sense of richness to the overall signature. Despite that lush richness, detail isn't lost but more subtle rather than a glaring "right in your face" approach.
 
Despite being warm though, it doesn't focus on deep sub-bass but "warms up" more from a mid-bass to upper bass area. MIdrange is also rich with detail which starts to show its' emphasis in upper mids -   tracks with strong female vocals benefit from this. The trebles extend high and maintain a sense of airiness without any harshness.
 
Aside: For no logical reason, I'm a believer of burning in amps but not DACs. This DAC with an OpAmp pre-amp is therefore somewhat unique. I've opted to burn it in to smooth out the highs. As such my comments the absence of harshness or brightness.
 

Conclusion

This DAC definitely presents an interesting alternative to the current Fostex HP-P1, CypherLabs Algorhythm Solo, and other iDevice-supported DAC offerings. In terms of it as a DDC, it supports both Toslink optical out like the HP-P1 but also with a Coax like the CLAS. An added feature which is shared with the current CLAS but not with the Fostex HP-P1 is that it can charge the iPhone. Some of the idiosyncratic charging operation is that it has to be "switched on" to charge and the operator must remember to switch off when disconnecting the microUSB charging cable (or the battery will drain). Its DAC function is also disabled whilst it's being charged - as such the use and charging operations are mutually exclusive.
 
Sound-wise, despite all 3 aforementioned iDevice DACs are from the same manufacturer of DAC by AKM, the models are different and in addition with the DD Socket 1's ability to swap OpAmp pre-amps provides some flexibility to the DAC that the others can't. The different DACs can influence the lineout before getting fed to the external amp. As such instead of swapping DACs altogether, one could just swap the OpAmps to have a slightly different flavour.
 
The DD Socket 1 is a refreshing addition to the portable iDevice DAC world.
 

 

 

Introduction

Tralucent Audio is known primarily for it's 1Plus2 Hybrid Universal IEM of which those who may have read my review, I had a love/hate relationship with this IEM with it's stock silver cable, and with the next level up, silver/gold cable.
 
I actually heard about this cable some time ago but paid no notice of it 'cos of it's rumoured price of USD$1300 (which is incidentally the base price of the 1Plus2 with silver cable!). Months after my review, and my return/refund of the 1Plus2, I gave the IEM another demo but this time with this Uber cable, thanks to Musica Acoustics.
 
The base silver cable that comes with the 1Plus2 is a 6N OCC silver cable, whilst the next level up is a silver/gold (presumably OCC too?). Then finally there is the hardly mentioned but extremely high end cable of which Tralucent has yet still to name. For the interim, I had named it the "Uber" cable (I'm not certain if I picked it up from someone else or if I was the first to name it - regardless it's since been unofficially known as the Uber cable).
 
There's quite a bit of proprietary technology in this cable but the publicly publishable specs are that it's a solid core silver and gold, teflon coated, and further SPC-ed. 
 

Care and Ergonomics

As with other solid core cables from other makers, a quite a bit of care is needed to look after the cable. With too much flexing, it can break. Tralucent provides a set of instructions on how to care, wear, and maintain the cable. It's definitely not a cable to be used when literally on a walkabout. But really to be used when seated or immobile. The cable can't even be coiled and when uncoiling care should be taken to avoid any kinks. I actually have a little rectangular box to store the cable during travel. The coils are large (no more 3 finger coils - in fact, not even fist-size coils!). 
 
As for ergonomics, it is surprisingly more flexible than the other Tralucent cables, however, it doesn't mean you should flex it. It's fabric sleeved as such can get microphonic - this isn't a problem 'cos, again, the listener shouldn't be moving around so much when using this cable.
 

Sound

 
As mentioned above, I wrote a review of the 1Plus2 with the standard silver and silver/gold cables and I still wasn't convinced by this IEM. However, when given the opportunity to listen to the Uber cable, (and forgetting about the price), I was truly stumped as to how much this cable could change my thoughts about the 1Plus2. To my ears, it basically transformed it to a much more likeable earphone to listen to.
 
Compared to the silver, gone was the sibilance that I despised. Granted the silver/gold did shed off some sibilance but with certain tracks I had, I still concerns for the sonics. The Uber cable on the other hand maintained the treble extension but smoothed it out completely. The presentation of just the treble alone was airy and classy. Meanwhile the mids were pushed slightly more forward making vocals more lush and rich. And finally the bass extension deepened further but in a very well controlled manner. Overall, the IEM sounded much more natural, maintained the detail of the 1Plus2 but removed the agressive presentation.
 
However, that was only a part of the Uber cable's capability. If current 1Plus2 owners feel they have heard a wide soundstage with their standard cable (and to be fair, when I first heard the 1Plus2 with silver, it was the widest I had ever heard in an IEM), the Uber cable will give a completely new perspective. Whilst A/B-ing the silver and the Uber cable, the silver cable felt congested by comparison. The presentation is ridiculously enormous and so spacious - in width, depth and height. Instrument separation was even more distinctive. This Uber and 1Plus2 seriously rivals some high end headphones.
 
As with my conversations with the maker, this cable rivals some DAC/Amp components we love to add to the audio chain. And in many ways, surpasses what some of these DAC/Amps could do. Naturally though for the "Money's no object" setup, one could and would still add a DAC/Amp along with the cable.
 
For a test, I did pair the Uber cable with the Rhapsodio RDB+ v1 and again transformed that IEM too. I've learnt my lesson to respect this cable and that the magic of the Tralucent 1Plus2 or Rhapsodio RDB+ v1 isn't in solely in the IEMs.
 

Summary

 
It's without a doubt that this cable is expensive - so expensive I can't even mention a price. It's literally a "call for pricing" category. It's really for those who simply want to make the most out of their IEM and not care about much it takes. However, personally for me, this is the TotL cable I've heard that has improved every IEM I can connect it to (which incidentally is a Westone pinout - no UE IEMs please or you'll get phase issues).

For me personally, I can say finally I'm satisfied with the 1Plus2 - but only with the Uber cable.

This review is somewhat different from my other reviews as my Go-DAP X was personalised to my requirement. This service is offered by VentureCraft of which many other Go-DAP X owners have taken advantage of. Therefore this review may not necessarily be completely applicable to the base Go-DAP X model.
 
 

 

Introduction

The Go-DAP X was released last year around early October 2012 & was the somewhat more universal version of the Go-DAP 4.0 which was iPhone 4/4S specific.
 
Back then, the Go-DAP X was the first portable DAC/Amp that officially supported not only Apple's iDevices but also Samsung Galaxy S3's (and subsequently Note's) iteration of Android. And as such it also supported USB Audio for PCs, & notebooks.
 

Internals

 
 
The X actually sports two DACs, AKM AK4353 & PCM2902C Stereo Audio Codec with USB interface. The AKM is used for iDevices whilst the PCM2902C for USB Audio (Android 4.1+ Jelly Bean & PC Audio).
 

 

 
My particular Go-DAP X's amp was customized by VentureCraft. Instead of the base offerings of OPA2134 or Muses8920, both with output impedance of 47 ohm, mine was customed to use the LME39860 OpAmps & headphone impedance out to 10 ohm. This by default also meant my power output per channel jumped from 80mW/ch to 130mW/ch (for iDevices & 150mW/ch for USB Audio).
 

 
 
The Go-DAP X also sports a 2200mAh battery which can be used to charge the iPhone during play mode. It could also be used to charge Android phones (or other USB devices) but would be in battery-mode only during such purposes.
 

Other Features

 

 
There's is also a bass boost option for iDevice transports, and a 3D surround sound simulation.
 
As with the Go-DAP 4.0, there's an optical out to use the Go-DAP X as a DDC. The optical output seems to lock to 48kHz sampling rate.
 

Sound Signature

 
As I use the X primarily with my iPhone, the following applies to the AKM AK4353 DAC. This DAC seems to have proven itself as it has been used by VentureCraft for their past Go-DAP 4.0, the Go-DAP X, as well as their Go-DAP DD. The DAC is able to retrieve quite a decent amount of detail but present it in a subtle form instead of flat "wham-in-your-face" impact (which may grab one's attention at first but then loses the ability to present a depth imaging perception nicely). Soundstage is also quite nicely presented with sufficient width.
 
The original amp in my X was the base OPA2134. Possibly it wasn't burnt in well enough but it sounded somewhat grainy. The LME49860 OpAmp option was much smoother to my ears and to my preference. Possibly (most likely) due to the 47 ohm to 10 ohm mod, the bass of the LME49860 also extended deeper with a smooth layered rendering. The mids are lush although possibly somewhat less detail than dedicate multi-component DAC/Amp stacks. Meanwhile the trebles are airy but not bright.
 
I particularly enjoy pairing the X with my FitEar MH335DW which is known to be a warm & bassy IEM. The 10 ohm output impedance actually tapers off the bass but still in a controlled manner. I've tried other amps with a 22 ohm output, or the original X with 47 ohm and the roll off with those setups were too much but with the X it was perfect to my ears.
 
On the other hand, if a user has a somewhat more neutral ear/headphone and seeks a little more bass, there is a bass boost option which will fill in the bass very nicely and naturally. I'd like to stress that at least to me (who generally doesn't use EQ or bass/treble boost), this bass boost isn't gimmicky to me. It adds subtly without sounding artificial.
 

Conclusion

As a portable package that can be used with not only iDevices but with Android Jelly Bean (4.1+) and PC Audio, not to mention it can be used as a portable battery for iPhones and other small USB-charged devices, it's hard to fault the Go-DAP X. Naturally the sonics cannot be compared to other dedicated multi-component stacks (which cost a lot more and are larger and less portable), however it's a neat portable integrated DAC/Amp for those who want a step up from audio straight out of the portable phone.
 

 
Edit: VentureCraft actually seem to have the Go-DAP X with LME49860 by default now as their base OPA2134 stock seems to be running low. However their LME49860 versions are still at 47 ohm. Therefore one has to explicitly request them to mod OI down to 10 ohm.

Introduction

 

The Rhapsodio RDB+ 2v1 (formerly known as RDP+ v2) is the baby brother of the RDB+ v1. It's still a 2xBA & 1xDD but instead of a 10mm driver that the older brother has, it sports an 8mm driver instead. As such the overall shell of the RDB+ 2v1 is smaller. In addition, the sound of the RDB+ 2v1 isn't necessarily a successor of the RDB+ v1. Talking to the makers, the RDB+ 2v1 is meant to have a more accurate sound signature, a goal of which I feel they have achieved.
 

[size=1.5em] Design & Ergonomics[/size]

As can be seen, this isn't a very big IEM. Used with Ortofon tips, it fits snugly and comfortably in my ears and don't protrude out that much. Despite movement from walking or head motion, the IEM sits in place in the ear. Unlike the RDB+ v1, the bass port is placed next to the cable socket instead. At least for my ears, the port doesn't get blocked. However the IEM is prone to wind noise especially in a wind tunnel situation (subway exits, etc.). On normal days though, isolation is decent. I can hear external ambient noise however are easily ignored and not distracting when music starts playing.
 

The construction material is the same as other IEMs and seem durable although it seems more recently it's been revised with an even more robust shell. Note also the goove in the nozzle seems to hold the tips reasonably well. Having said that, My Ortofon tip has fallen off twice early on but haven't fallen out recently.

[size=1.5em]  [/size]

[size=1.5em] Sensitivity[/size]

The RDB+ 2v1 is an easy-to-drive IEM which is easily driven by an iPhone or other mobile device. It doesn't require an external amp, however one still can be used to suit the listener's signature preferences. Although not particularly sensitive to hiss, it is sensitive to poorly mastered recordings however not necessarily sensitive especially with live recordings. However, I've not encountered any issues with poorly ripped tracks.

[size=1.5em]  [/size]

[size=1.5em] Sound Signature[/size]

Tests were all done with the Ortofon tips. Overall, as mentioned in the introduction, I find these IEMs to fulfill it's designers' objectives. The signature is almost somewhat neutral. I'd venture to say that, as per the maker, mostly accurate too. The reason why I mentioned mostly is that occasionally, I find the upper bass/lower mids to be just a tad lacking but not by much. Usually the other positive features of the signature distracts from noticing that lacking point.

[size=1.17em]  [/size]

[size=1.17em] Treble[/size]

I never realised until recently that I'm particularly sensitive to bright trebles. This is coming from someone who used to enjoy the Edition 8's and owned one for 9 months! As such with the RDB+ 2v1, I find the trebles to be sitting on the fence really depending on how the wind blows. Given the right conditions (cable, amp, DAC), it has a very airy and smooth presentation - one of the highlights of the IEM in fact. However with a bright amp + pure silver cables + bright musical tracks, then the trebles could sound harsh. However I don't actually encounter that latter combination that much which means most of the time I'm actually enjoying the airy trebles quite a bit. I also suspect that the mids have a big part at play to the relative perception of the trebles (which is why I may not find the trebles sibilant most of the time).

[size=1.17em]  [/size]

[size=1.17em] Midrange[/size]

To my ears the mids are also quite flat except for the lower end where I personally feel it takes a little bit of a dip but not by much. In fact due to the rest of the frequency and the airy trebles, I actually don't notice it most of the time. Vocals sound detailed yet rich and musical. In fact vocal tracks seem to shine with this IEM's signature. Listening to the Norah Jones' Come Away With Me album, there's a lush richness in her voice with an intimate presentation. Listening to Taylor Swift's "Ours" and vocals are great whilst guitars to be quite crystal clear. Similarly with A1's When I'm Missing You, the vocals & guitar at the introduction is quite musical. With Adele's 21 album (possibly more particularly to the "Set Fire To The Rain" track, I personally could do with a little more upper bass/lower mids emphasis. However it's ever so slight that the other positive features of the signature seem to distract me from noticing this little dip.

[size=1.17em]  [/size]

[size=1.17em] Bass[/size]

The bass is an area where I think most listeners will perceive this IEM to be lacking. However what I find rather interesting about the bass is that most of the times when it's truly called for it's there, but's just not forwardly present all the time. Back to the Taylor Swift's track, the bass there fills nicely without being overpowering. However with the A1 track, although the bass is tight, the sub-bass does feel somewhat lacking, therefore lacking the fun-factor too.

[size=1.17em]  [/size]

[size=1.17em] Soundstage and Imaging[/size]

The soundstage is decent. These days with the likes of FitEar MH335DW or Tralucent 1Plus2 with their supermassive soundstage, the average IEM's pale by comparison. Having said that, it doesn't sound congested by my standards at least. But not exactly super vast either. I feel it performs well amongst its peers. The imaging on the other hand is another forte of the RDB+ 2v1. This is more prevalent with album's such as "This is Chris Botti" with the live recordings.

[size=1.17em]  [/size]

[size=1.17em] Airy Presentation, Timbre, & Speed Response[/size]

I'm probably repeating the airy presentation again however this is one of the great features in addition to timbre that stick to my mind. String instruments such as violins or acoustic guitars, and percussions just sound so natural with this IEM. I feel they are presented crystal clear and accurate. The response of the IEM also sounds quite fast. Listening to Cher Lloyd's Sticks + Stones album, the tracks don't sound slow at all and keep up pretty well.

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[size=1.5em] Summary[/size]

Overall to my ears, these IEMs are as what the maker has told me - accurate. To me they also sound mostly neutral of which I'd love to compare them to the UERM one day. They don't have a warm signature, nor are these bassy or hi-fi fun sounding IEMs and if a prospective buyer is looking for those kinds of signature, I'd have to politely recommend looking elsewhere. However if one is looking for a mostly neutral IEM, to my ears they're closer towards being the "monitor" styled signatures - at least tonally. Finally but not least for the price I paid, they are extremely great value for money.

 
I apologise for the late report on the initial impressions of the Fostex TH-600. I spent early part of last week burning the headphone in. But when that was complete I was hit with the flu and high fever. The above photo was actually my bedroom rig during recovery. Post recovery, I actually managed to make some time to have a listen to the TH-600 a bit, and compare it to the Signature Pros and the TH-900. Over the weekend my friend & I attempted to find a pair of Denon AH-D7000 but there was none! Tokyo may be great with the latest and the greatest but they're also quick to stash away succeeded models. So sadly, no comparisons to the D7000 - not even 2nd hands.
 
Please note that these are very preliminary listening over the past 3 days and I've got another 1.5 days with it before I should probably return them back to Fostex.
 

Introductory Highlights

 
The way I'd quickly summarise the TH-600 is that it introduces the Fostex TH-signature to those who are curious about how Fostex TH house sound sounds like. It shares many qualities physical and sonic to the TH-900, but at the end of the day, this is still the little baby brother of the TH-900. The price of the TH-600 will retail for approx Y84,000 in Tokyo whilst the bigger older brother retails for approx Y130,000 street price.
 
 

 

Construction and Design

 
The TH-600 shares the same design, headband, earcup size, and ear pads as the TH-900. The fundamental differences between the two are the drivers are now 1.0 Tesla whilst the bigger brother is 1.5 Tesla. The cables are also 6N OFC whilst the other is 7N OFC. Visually the biggest difference is the magnesium textured black ear cups. The 1/4" plug is also sliver textured and is heavier than the TH-900's fingerprint prone chrome.
 
Overall the TH-600 is more stealth and understated but yet very classy. The textured magnesium cup is actually very feels rather industrial to touch.
 

Sound Signature

 
 

 
 
I'll start off by saying that aside from a few snippet comments here and there, I won't be doing a thorough sound comparison between the TH-600 and the TH-900 as I've previously mentioned in this thread that I feel it won't do the TH-600 justice. However I will say it's SQ matches my expectation for its given price. I was lucky enough to have Bootsy1 loan me his Ultrasone Signature Pro which to me is more similarly priced. Thank you Bootsy1.
 
The TH-600 shares similar tonal signatures to the TH-900 that it's a somewhat mild U-shape. I won't really say that one has more bass or treble quantity than the other, nor ones mid more recessed, laid/pulled back from the other. By comparison the Signature Pro has a more prominent mids, slightly less sub bass, and slightly more forward treble.
 
Overall the TH-600 has a more laid-back sound especially compared to the Signature Pros. I find it excels in slower vocal jazz (take your pick out of the Best Audiophile Voices series), whereas in more modern vocals Jazz or strong vocals where there's potential for some speed (such as Michael Buble, Adele, etc.) I prefer the Signature Pros. With slower paced genre, the TH-600 feels it has room to move and ease into music. Instruments and vocals are well separated and have room to breath. Whereas strong vocals like Adele where there's a varying pace, the TH-600 doesn't have the intimacy of the Signature Pros. As such the Signature Pros feel more engaged.
 
The soundstage and imaging of the TH-600 is by far larger and deeper than the Signature Pro, which shouldn't be a surprise. However, and this was something I didn't notice before with the Signature Pro, is the S-Logic's 3D feels more simulated whereas the TH-600 feels much more natural. Along with that, the resolution of the TH-600 is also greater giving a smoother presentation whereas the Signature Pro can occasionally feel somewhat grainy.
 
However, the tables are turned when the TH-600 is compared to the TH-900. The older bigger brother gives a bigger sound. Despite having the basic similar tonal signature, the TH-900 is more expansive, even greater soundstage, imaging, and more immersive. That's where the almost-double price show it's true value (instead of the Urushi cups as most may think).
 
These are my raw notes I made during listening :-
 
 
 
 

Conclusion For Now

I think for those who are curious about the Fostex TH-series house sound, the TH-600 will please. It actually performs well for a headphone of it's price range. I actually can't think of another closed back (I personally do not believe in comparing open to closed) of that price that would sound nice and articulate.
 
Having said that at least for my ears I do have preferences of certain genre where the TH-600 will shine more than others. Ideally one would own different types of headphones for different types of genre (the TH-600 for laid back tracks, the SigPros for strong vocals, the SigDJ for pop/hiphop/electronic). However if I had to choose only 1x closed-back headphone for home use of around this price range, the TH-600 would make me very happy.
 
 

 
Big Thanks To Bootsy1 For Loaning Me His Signature Pros!

 

Tralucent 1Plus2 Summary

 
Ever wanted to know what all the fancy audiophile jargon means audibly ? The 1Plus2 can cover most of what you've read in a single pair of IEMs - soundstage, imaging, detail, high airy extensions, tight & deep bass, clarity, transparency, and the list goes on. 
 
1Plus2, Beat Audio Cronus Cable balanced, iPhone 4S, CLAS -dB Balanced, ALO Rx Mk3 (real use case in low gain setting, despite what the photo suggests)
 

 
 

Physical Design and Comfort

 
Before we go into the sonics, I'd like to describe more into the physical aspects of this IEM for my ears. The 1Plus2 looks more like a custom IEM with a universal tip and its made up of 2xbalanced armatures & 1x10mm dynamic driver.
 
Despite it's bulky and awkward appearance, it's actually average in weight. Fitting for my ears at least wasn't exactly perfect (I'm using large sized Orotfon tips), and due to the thick gauge of the silver cables, they aren't exactly flexible despite having a wire memory guide - the memory guide wire is actually too flexible that the thick silver gauge wire defines the bends more than the wire.
 
At least for me, I kept fiddling attempting to loop it around my ears and have to tighten the neck loop to keep the IEMs in place. To add, aside from fiddling, due to the gauge of the cable I find it somewhat microphonic too.
 
I also found wind noise to be a slight issue with this IEM. Funnily I've owned other ported hybrids and not noticed wind noise, this is the first hybrid that I have heard.
 
In terms of aesthetic appearance too, I have to admit it doesn't exactly scream finesse for a $1300 pair of IEM. However depending on your priorities this may or may not be important to you 'cos after all, it's all about the sound, isn't it?
 
In terms of what's going under the covers, there seems to be quite a bit of proprietary design going in inside the IEMs. As such please note that even though you think you can see through the translucent shell in my photos, you can be sure that I've photoshopped them somewhat to hide anything it may reveal. However, despite the average looking shell, that awkward stiff cable is a clear indication of true quality being a part of the IEM package. This was easily tested by swapping cables with a cheap $50 OFC copper of a thin gauge and the sonics changed dramatically. By the way, this also means the connector used is a typical UE-styled connector making the IEM to be quite cable-agnostic.
 
Red Wine Audio AK100 Mod, 1Plus2 Silver Cable
 

 
 

Sonics - That's what we're here for aren't we?

 
Before going into what it sounds like, I'd like to add a few brief statements of the journey to getting to the final sonics. Over the past 2 weeks, I've developed a love/hate relationship with this IEM.  I'll start with the love 'cos I heard it before purchasing it and it obviously it performed well enough to get my attention, however as some of you may have read in the Tralucent thread, I had some pretty major concerns of a new company charging so much for a pair of IEMs.
 
However, investment choices are eventually up to each individual so I decided to take a risk, bite the bait, focus only about the product and bought one. During the burn in process though the love-hate juggled from day to day. I have to give Tralucent a lot of credit and a thousand apologies for the daily e-mail exchanges, at times with the most undeserving analogies to some infamous headphone companies. Despite what appeared to be a chap having some major hormonal issues, Tralucent was extremely patient with me very step of the way and I truly appreciate them for it. The sonics mostly settled around the 160 hr mark and continued to change subtly until the 230 hr mark where I feel it's fully stable.
 
I won't go through what I heard during the burn-in as the signature then was merely transient.
 
So the real question is what do I hear now that it's settled? As mentioned in the introduction, if we look through most of the audiophile jargon, the 1Plus2 comes up with top marks for them. This IEM screams detail, transparency, airy trebles, deep tight bass, wide soundstage, nice 3D imaging, etc.
 

Soundstage and Imaging

 
When I listen to Vivaldi's Four Seasons (take your pick on any conductor & orchestra…Isaac Stern & The Jerusalem Music Centre Chamber Orchestra, or Moskow Chamber Orchestra, etc.) the soundstage presented by this IEM is wide akin to say a good closed isolating high end headphone like the Ultrasone Signature DJ/Pros or Edition 8's. I will say though the Fostex TH-900s do have a wider soundstage but the TH-900s, despite being closed back, are not isolating. Even listening to John William's Star Wars Trilogy, I could imagine myself in a huge hall with the the orchestra performing before me.
 
Imaging performed reasonably well too. It struck a nice balance between it's wide soundstage and it's 3D depth perception. I have to admit that I'd actually prefer the imaging of the FitEar TO GO! 334 however, doesn't have the wide soundstage of the 1Plus2. However I felt with these two aspects, the choice of which IEM it would vary from genre to genre - e.g. I personally preferred vocals such as Lana Del Rey, Adele, Michael Buble, and Anne Murray with the TG!334 than the 1Plus2. But with classical, electronic, and even pop I'd prefer the 1Plus2.
 

Detail

 
These IEMs are no doubt very detail. In fact even rather unapologetically! It will scrutinise the mastering quality of the track. It will further scrutinise the ripping quality, etc. At times I felt some tracks were excruciatingly painful to listen to due to too much detail. At least to my ears, I find that the 1Plus2 does this through the forwardness and extension of the trebles. For subtle music such as classical, this is fine. However for music such as Michael Jackson's Billie Jean from the SACD version of Thriller, or the 1992 Australian Cast Recording Highlights of Jesus Christ Superstar, I felt daggers were thrown into my eardrums.
 
At this point, one may question what source/transport and amp I'm using and I found even using the RSA SR-71b which is known to have a somewhat darker/warmer signature it was barely tolerable.
 
As such, I feel the way detail is portrayed on this IEM through trebles primarily is pushing my eardrums to the limits. At best on a rather mellowed track, the detail is simply amazing. At worst with some brightish recordings, it's unlistenable.
 

Clarity/Transparency

 
I feel these factors also are closely related to my thoughts about the detail feature. With classical, acoustic instrumental, and simple vocals even, the presentation is impeccably clear and transparent. It's as though the microphone & pop filter is placed just next to the instruments or the lips of the artist. Everything is unbelievably crystal clear. Listening to Tony Bennett's "The Shadow Of Your Smile" from the Ultimate Tony Bennett, you can hear him smack his lips before singing, and even every breath he takes before he sings.
 
But like a doubled edged sword, if you have something that's (again) badly recorded, this IEM will pick it up. It doesn't even have to be the recording quality but possibly just the way the master was mixed. Listening to Cher Lloyd's Sitcks + Stones album, at times it's hard to discern between poor mastering or if it's how the mixing engineer intended it to be.
 
It gets to the point whether you're listening to detail, clarity, and transparency, or if you're listening to music.
 

Separation

 
Due to the wide soundstaging, detail retrieval, clarity and transparency, I feel these features have a great influence on instrument and vocal separation. As mentioned before, it feels each instrument and vocalist was recorded directly and independently then put together later by the mixing engineer. Separation is also impeccable.
 

Frequency Range

 
Along the lines of all the other aforementioned aspects of sound quality, the 1Plus2 screams quality. It has a deep reaching bass that's tight with little decay (unusual for a dynamic driver?!?), it's treble as mentioned before extends high and has a very airy presentation. The midrange is pulled back somewhat for my personal tastes. To be more precise it's the cusp of the upper bass to low midrange that feels more pulled back whereas the upper midrange. I'd personally prefer a low midrange that filled a little more. This slight pull back in the upper bass/lower midrange gives a somewhat more analytic signature rather. By comparison something like the FitEar TO GO! 334 feels more warm, rich, and immersive.
 
At least to my ears, contrary to what other 1Plus2 owners feel, I find the 1Plus2 to be somewhat U-shape in signature. As such, I'd actually disagree that this is a natural sounding IEM. At least to my ears, it's far from natural - however the exaggerated features of this IEM makes a quick immediate impression.
 
By comparison what I'd personally consider to be more is the Stax SR-009. Naturally it is unfair to compare a $5000 pair of headphones to a $1300 IEM, however I'm merely challenging the definition and use of "natural" in the Tralucent thread to be quite different to what I perceive to be "neutral".
 

Sonic Summary

 
I feel overall, my impressions is somewhat of a mixed bag. It seems I'm praising each aspect of the IEM but at the same time criticising it. If I were to surmise my thoughts into a few quick sentences I'd say that despite this IEM performing well in each discrete components, I have a hard time integrating all these components into one single musical piece. Somewhat more descriptively, I feel like I'm listening to each musical instrument independently but playing together, instead of taking a step back and listening to an entire orchestra. In contrast to the FitEar TO GO! 334, the Stax SR-009, or the Fostex TH-900, I find those other earphones/headphones to be more natural sounding and (especially with the SR-009) a more accurate representation of music than the 1Plus2 which at least to my ears, feel somewhat exaggerated. As I've told some members privately, every individual aspect in the 1Plust2 is almost too perfect, and somewhat too upfront (or as another listener said to me, too aggressive). I think for my personal tastes, I'd prefer a more natural sounding IEM that educate me these components of sound quality in more subtle ways rather than, wham, right in my face.
 
1Plus2 Silver Cable, Ortofon MHd-Q7, iPad 3
 

 

Where does the 1Plus2 Succeed to my ears?

 
A quick learning lesson on what detail, soundstage, clarity, instrument separation means.
 

Where does the 1Plus2 Fail to my ears?

 
The ability to present a musical piece as a whole with natural presentation.
 

Update 1st February 2013: 1Plus2 Impressions Update With The Silver/Gold Cable

 
 
I managed to get my hands on a pair of sliver/gold cables today and can compare the silver & silver/gold side-by-side - well can't A/B immediately since I only have 1 pair of 1Plus2's.
 
 
Let's get the quick summary out of the way, then delve in a little bit into the details.
 
So I find the silver/gold still somewhat sibilant but different and in a way more acceptable. The reason is that the silver/gold (as previously mentioned by others here) alter the sonics of the IEM quite differently. Is it noticeable? Yes quite so - although I never was a skeptic on cables causing sonic changes, trying these two silver vs sliver/gold cables merely confirms my beliefs.
 
A few noted comments others have made about the silver/gold is that it's warmer, slightly smaller soundstage, not so sibilant, etc. I'd agree with most of them but I may describe my thoughts somewhat slightly differently.
 

Frequency Response

 
As with others, I'm finding that the upper bass or lower mids are filled more which makes it nicer for vocals. Others have said that it's more TG!334-like. Although I won't say that they're (the 1Plus2 and TG!334) alike but with the silver/gold cable, the signature starts to sway more towards that TG!334/XBA-3 direction.
 
Whilst with the silver cable, I described quite a bit of sibilance, I didn't really put down too much detail but (and here's where I may start pulling numbers out of thin air), around the XkHz and above, the trebles start to sound quite forward. Whilst with the silver/gold cable, it's more around the upper trebles of YYkHz that starts to exhibit sibilance.
 
As such I find I have less sibilance issues with the silver/gold than I did with the pure silver cable. There's more about sibilance later.
 

Soundstage and Imaging

 
Others have noted that with the silver/gold cable the soundstage is less. In the short time I've had with the silver/gold, I'd say that the apparent soundstage does sound somewhat narrower. But this isn't bad - where I found the silver to be unrealistically wide, If find the silver/gold to be more realistic. In general though with other headphones/earphones I've tried, I've noticed that with more pronounced U or V-shaped signatures, the apparent soundstage sounds wider than those headphones/earphones with a more forward midrange.
 
On the other hand, a more prominent midrange doesn't always necessarily mean deeper imaging but well made IEMs with rich mids (coupled with rich bass) do seem to exhibit a deeper imaging. I find that the 1Plus2 with the silver/gold cable to have a deeper imaging naturally.
 
Now back to the sibilance topic again, with the silver cable the soundstage was unnaturally vast and at least to my ears seem to start earlier on in the treble frequencies. As such the sibilance on the silver cable seems to me to be "all around" which is probably where I had a problem with. On the other hand with the silver/gold cable, as mentioned above the apparent soundstage seems narrower (and more realistic), and the treble forwardness seems to start later in the upper treble region - therefore the sibilance seem to be more focused rather than "all around". I actually feel there's more room for other instruments to breath, and therefore doesn't feel overshadowed by the sibilance.
 
This inadvertently seem to imply that instrument separation seems to be more distinct with the silver/gold cable.
 

Detail

 
I can't remember if I read somewhere that the silver/gold has less detail. If someone did say that, I'd have to say that my ears disagree. The details and micro-details aren't as obvious smacked right in front of your face, but it's there in a more subtle form that you'd hear more naturally. This is something I learnt through my ownership of the TG!334, TH-900, and SR-009, and as such appreciate in the silver/gold cable more so than the silver.
 

Silver/Gold Cable Conclusion

 
As such, I actually find the silver/gold cables of the 1Plus2 to be more agreeable to my ears. Though the upper treble region forwardness is still there, most of my music genre don't venture that far (at least excessively).
 
Does this mean there's no room for the silver cable for my 1Plus2? Well, not entirely....the silver cable is quite useful in determining the quality of a rip or mastering of a CD/SACD. However, that's more critique rather than listening for enjoyment.

Ortofon Japan and MHd-Q7 Introduction

 
Aside from importing and distributing Ortofon's global products such as turntable needles, their Japan office also makes some local Japan-only products such as earphones and amplifiers. Ortofon Japan produced their Hd-Q7 a few years ago and was already reviewed here.
 
Around early 2012, I was privy to the development of a portable amp Ortofon Japan. But for about 6 months I hadn't heard of any further progress form it until the e-earphone event in mid October where I met my Ortofon contact who then told me that he will ship me the MHd-Q7 for a review.
 
 

 

Physical Design and Signature the MHd-Q7

 
In a current portable amp market these days, there seems to be a trend to make more powerful amps that can drive high impedance headphones. Raw power seems to be requirement to get some attention and to "fit into the club".
 
Although Ortofon is a new participant to the portable audio bandwagon with this new portable amp, they have opted to stick to their philosophy of an analogue sounding signature that focuses on subtleties rather than just raw grunt power. As such this amp has a somewhat hint of a tube-ish taste.
 
As with it's older bigger desktop amp brother, the Hd-Q7, this small portable amp was designed with very stylish and clean-cut lines. It's very simple yet very classy. Although not a very practical shape, it's definitely attractive.
 

Functionality

 
This amp weighs at 150g, measuring 82mm (from the knob to the back), 67mm wide, & 27mm thick. It charges via a miniUSB at the back and a full charge leaves the MHd-Q7 running for approx 22 hours. The input and output 3.5mm jacks are in the front next to two leds (green for power on/off, and red for battery level low). The volume knob acts as a power on/off too.
 
There was a little weirdness to the circuitry of the amp that when it charges, it will automatically stop charging when it's fully charged. It doesn't trickle charge. So during simultaneous charging and operation, you may find that even though the miniUSB is plugged in, the amp may run out of charge after 22 hrs. You'll need to swtich off/on disconnect/reconnect the miniUSB to charge it again. I've mentioned this to the maker and although they can't make anymore circuitry changes, they've updated their manual to reflect this.
 
The MHd-Q7 & JDS Labs ODAC combo :-
 

 

 
As with the Hd-Q7, the volume knob is firm yet smooth. No channel imbalance was noticed at -any- setting. There's no sense of scratchiness nor static or noise during the volume knob operation. I wonder why other makers can't do this.
 
The MHd-Q7 is not a powerful amp. It will drive IEMs and low impedance headphones really well but not designed for high impedance headphones like Sennheiser HD800's, Hifiman HE-series, nor Audeze LCD-series. However headphones like the Fostex TH-900s, and naturally its own IEMs eQ-5 & eQ-7 are fine.
 
Update [30th April 2013]: The output impedance of this headphone amp is 0.38ohm. This further makes it suitable for the low impedance ear/headphones.
 

How Does It Sound?

 
If Ortofon Japan has aimed for a really clean sound that suited for classical and jazz, I'd say that they've done it and very well at it if I may add. The MHd-Q7 maintains very analogue almost tube-ish sound. It's extremely transparent, clear, and has a very airy presentation. It's bass has a nice warm touch to it. The midrange and vocals are also extremely warm and intimate.
 
Most of all it does a brilliant job of creating a deep 3D imaging and wide soundstage presentation. I must say that in single ended mode, for most of the genre I listen to, I actually lean more towards the MHd-Q7 over the ALO Rx Mk3.
 
 

 

Buena Vista Social Club

 
Listening to the Chan Chan track the MHd-Q7 sounds richer than the ALO Rx Mk3. It edges out in clarity, transparency and staging. The Rx Mk3 actually sounds flat-ish and un-engaging by comparison. Meanwhile the RSA SR-71b has never really been my favourite amp and remains the same in single ended mode. The SR-71b sounds murky by comparison.
 
The MHd-Q7 has a nice warm midbass and highly involving vocals whilst the Rx Mk3 has a deeper sub bass but sounds thin in the midbass and mids by comparison. The highs on the MHd-Q7 also sound more airy with clarity and detail by comparison. But probably the combination of the 3D imaging depth, and wide soundstage that grabs my attention. It has a more immersive impression than the Rx Mk3.
 
Similarly with the El Cuarto de Tula track, the MHd-Q7 sounds more immersive and engaging. Due to the wide soundstage, the instrument separation sounds more distintive yet coherent.
 

Lana Del Rey's Born to Die

 
On listening to strong vocals like Lana Del Rey's Video Games, the 3D depth difference is somewhat less but still edges out to the MHd-Q7 than the Rx Mk3. Again, Lana Del Rey's voice is filled with bloom and extremely immersive.
 

Cher Lloyd's Stick + Stones

 
For a change, I tried something modern like Cher Lloyd's Want U Back. For fast songs such as this (and the rest of Cher Lloyd's album), the MHd-Q7's tube-ish signature starts to show its weaknesses. The Rx Mk3 responds faster whilst the MHd-Q7 seems to feel laggy.
 

Summary

 
As such the MHd-Q7, as the makers intended, is not a general purpose amp but catered really for those who like classical, jazz, and slow deep vocals. I do enjoy my Vivaldi collection, 50's/60's West Coast Jazz, Bossnova, and some country vocals such as Anne Murray with this amp.
 
On the other hand, as previously mentioned, more modern genre like hip hop, electronic, and dance the MHd-Q7 isn't suitable for such genre.
 
Although the MHd-Q7 has a rather awkward shape for most of the DAC/Amps out, it does work out with some combinations. The JDS Lab's ODAC was already shown above to work quite well and even the new iRiver AK100 seems to match pretty well with the MHd-Q7; resulting in a more cube stack.
 
 

 
Alternatively just using it with an iDevice has also been quite rewarding :-
 
 

 

 
This amp is quickly becoming my default amp to throw into my satchel. It works well with most of my DACs and earphones I have and most importantly for the easy going genre that I listen to most of the time.

The Signature DJ is the new addition to Ultrasone's Signature series. It's basic exterior design is based on the  Signature Pro design sharing many components together (except colour) however the driver is a new 50mm mylar driver.
 
A very big thank you to TimeLord Japan for loaning me a pair of Signature DJs and Signature Pros to do this impression and review.
 

 
 
 

What's Included?

 
The Signature DJ comes in a hard case just like the Signature Pro. It also comes with 2 cables (3.5mm and coiled 1/4" jacks), both with locking mechanisms into the left cup. The jack that goes into the left headphone cup is a 2.5mm mini-jack. 
 

Fitting and Comfort

 
Like the Signature Pros, the Signature DJ are true circumaurals. Since there's so many similarities to the Signature Pros, I found the isolation to be extremely comparable (that is - good isolation). Similarly the clamping pressure seems to be the same (which is strong clamping pressure). I feel I can't really wear these headphones for more than 2-3 hrs at a time.
 
 

 

 
The headband and earpads seem to be the same thickness too.
 

The weight of both the headphones are the same. I guess the weight of the larger driver is negligible.
 

Differences To The Signature Pro

Here's where the Signature DJ's start to differ from the Signature Pro. Ultrasone has managed to fit in a 50mm driver into a cup housing the same size as the Signature Pro (which is a 40mm driver). For that the S-Logic has shape and size has to change.
 

 
Below is a comparison of the S-Logic between the two. The left being the Signature Pro, whilst the right is the Signature DJ.
 

 

How Does It Sound?

Having enjoyed the Ultrasone Edition 8 Limited Edition for 9 months, I sold it to buy the Signature Pros which I felt were sonically more to my liking. However I never did get around to buying them. As such when the Signature DJ's came out, I was very keen on giving it a listen, and to my ears, they don't disappoint.
 
Sadly the Signature Pros loaned to me seemed to sound different from some of the other Signature Pros, as such I wasn't able to do a direct comparison between the two. But from memory at a very very high level, the Signature Pros seem to have a more forward mids than the Signature DJ's.
 
I was on the other hand able to compare the Signature DJs to the V-Moda M-100 which I recently gained possession of and with the Fostex TH-900 which I bought a few months back. And yes I am fully aware that the Signature DJs are 3.38x the cost of the M-100s, and the TH-900s are almost 2x of the Signature DJ's.
 

Signature Summary

 
To my ears, the Signature DJ has the U-shaped signature reminiscent to quite a few of the headphones released in the 3rd quarter of 2012 - but each to varying degrees. The first and foremost impression I get of the Signature DJ is its ability to deliver a crystal clear and clean presentation. As with other Ultrasones, with the S-Logic plays its part well in these headphones too.
 
As the name implies being a DJ headphone, bass is one of the primary features of this headphone. It reaches deeper than the Signature Pro but manages to control it tightly. There is no boominess, not bleeding into the mids. In addition, like the Signature Pro, there's a nice reverberating texture to the rendering of the bass. Interestingly though, despite the bass reaching in deep, it's not as deep as the M-100. It almost seems like a conservative deep bass.
 
I'd describe the mids to be recessed, however the clean and clarity of the overall signature, I personally don't find the recessed mids to be an issue for my tastes. Only some songs I find the Signature DJs mids don't work well with (e.g. Kenny Loggins' Top Gun - but I'm very sure Ultrasone didn't have that soundtrack in mind when they developed the Signature DJ ). On the other hand, the M-100s which I personally felt also had its mids pulled back somewhat (but not recessed like the Signature DJs) weren't as clear. Vocals on that headphone sound like the vocalist has his/her mouth right over the microphone. Whereas the Signature DJ's mids just deliver the voice more cleanly. The TH-900 on the other hand does have more forward mids than either of those but deliver cleanly.
 
The trebles on the Signature DJ are forward, and again, crystal clear. But there's no sibilant (however I may add possibly borderline...anymore and it would be sibilant). The trebles are smooth too unlike the Edition 8s which had a reputation of being harsh. There's also a sense of airiness to the treble that, to my ears, is well received.
 

S-Logic, Soundstage, and Imaging

 
To me there's something special about S-Logic. At least for my ears they work and they work well with the Ultrasone headphones. The Signature DJs are no exception. When I listen to jazz on this (yes I know, they're DJ headphones), I feel like I'm in the band with the music and instruments around me. Along with the soundstage and imaging, I feel how wide and deep the stage is. This is naturally more apparent for certain genre that employs acoustic instruments, rather than modern music with electronically produced sounds (I'm not limiting this to electronica). As such the reference of listening to jazz earlier. With modern music, I don't feel there's any congestion in the presentation too.
 
At least for my music preferences and these pair of headphones, this is another big feature of the Ultrasone Signature series. In all honesty though, I haven't really worked out in my mind how this feature plays a part in a DJ scene - where these headphones are intended to be used.
 
The M-100s on the other hand, despite having a wide soundstage and decent imaging, isn't as wide, and presents the music in front of you. With the TH-900s too, I feel the music is presented in front of me, however has a vast soundstage and great depth image.
 
 

[Added: 19th Nov '12] In Comparison To Its Signature Pro Older Brother

 
Earlier I mentioned of the 1st demo Signature Pro didn't sound correct especially compared to the Signature Pros in the shops. I went back to the distributor and told them of my findings and they pulled out 2 other Signature Pros for me. One with an older serial number (in the early 100's, and another in the high 400's - whereas the first demo I had was in the low 500's. All 3 sounded different and they didn't appear to be batch ro serial grouping related. The 500's sounded closer to the low 100s whilst the best of the 3 was the high 400's. As such I swapped the initial 500's demo for the low 400's.
 
Doing a comparison between the two Signature DJ and Signature Pro, as DigitalFreak replied in the Signature DJ thread that the the DJs hit the bass with a bigger slam than the Signature Pro. That is to be expected as these days, the trend of DJ headphones seem to be hard hitting bass.
 
I feel the mids to be somewhat more recessed than the(se) Signature Pros - more specifically the lower end of of the mids. Whilst the higher end of the mids seem to be somewhat comparable.
 
As for the trebles I feel they both are about on par on how forward they are. Now on initial listening the Signature DJs seem to have more forward mids however I feel that this is more merely relative to the recessed low mids and in other soundstage and instrument separation factors.
 
During my A/B-ing (and I'm still doing it now) with the two Pros and DJ, it wasn't the bass difference that I noticed first but I feel soundstage. Again, I don't know if it's my particular unit of Signature Pro or if it's consistent across all Signature Pros, but they feel congested in comparison to the Signature DJ. On the DJ, the instruments and vocals feel they have more room to breath and as such instrument separation also is better to my ears. Furthermore, since they are clearer separated, I feel that I can hear more details. As such back to the treble difference, I think that initial impressions that the DJ's feel more forward is actually isn't the case. I feel the congestion tends to "hide" the trebles of the Pro.
 
Having my wife as a 2nd pair of ears, for the kinds of music we listen to we prefer the Signature DJ over these pair of Signature Pros. So far the only exception to this is with classical. The Signature Pro does sound more natural and airy whereas the DJ has a more "Hi-Fi" kind of sound.
              

Conclusion

As a pair of headphones for the audiophile consumer, along with it's Signature Pro brother, I feel both of these are a great introduction to high end quality sound. It's not just a matter of its frequency response signature but the little details such as texture rendering, good quality imaging, airiness, etc. that start to show - of which the other higher ended headphones carry on and emphasise.
 
To me the Signature DJs present such a classy sound that I actually wonder where it plays in the DJ scene. It's almost too classy for the average nightclub scene and am more inclined to think thats sound would suit more in a high end classy nightclub or lounge rather than just standard one down the street. For consumers seeking quality sound, on the other hand, these should impress.

 
OK, I have an "almost complete" impressions of the MDR-1R. If you guys are ok with something that's almost, but not completely done, here you go. sNaturally I'll be padding this post and updating it as I complete it and will inform readers of the update :-
 
Notes: No unboxing pix. Go see Jude's Gallery for it's unboxing.
 

Comfort And Design

These are extremely comfortable headphones. Probably the most comfortable headphone I've ever worn. They are a true circumaural that encompasses my ear however, they're not excessively large (i.e. they're not like the Denons D2/5/7000, nor Fostex TH-900) and the pleather is really soft on the earcups as well as the headband.
 
 
 
 

 
Sony was extremely nice enough to give us a presentation about the design of the MDR-1R and they spent a lot of time thinking about comfort during the design.
 

 
As you can see from the pictures, despite a thick frame earpad, where it's coupled to the actual earcup itself is only a thinner frame. Sony explained that the logic behind this is to allow the inner portion of the earpad (the part closes to surround one's ears) to be the softest part of the earpad and they were bang on the money on that - at least to my sized ears.
 

 

 
Note also the angle of the driver. This was done on purpose for prominent ears and the driver angle actually is parallel to mine.
 

 
 
Another detail Sony highlighted to us was the way the cups swivel, it was designed to swivel at an angle. This was to ensure a decent seal.
 
 

 
Whilst walking around though I did some microphonics from the squeak of either the headband or one of the swivels creaking. It was a little distracting but I've not determined the source of the squeaks.
 
Overall comfort and design though, it's an extremely comfortable headphone to wear around the head and hang around the neck. I've not actually tried another headphone that's that comfortable (and I've tried quite a few). The 235g weight contributes to the comfort quite a bit.
 
Having said that, at least to my experience, I do feel that it's a delicate headphone. The materials used does make me wonder about the durability of the product. Let's just say that I probably wouldn't cramp it into my bag of hefty Nikon camera body and lenses, nor would I simply throw it around.
 

Accessories

The MDR-1R comes with a rather simple ballistic material softcase with two pockets (one for the headphone and the other for cables), and with 2xcables for straight audio and for smartphones (3xbutton). For both cables, the amp/source end is a right-angle plug. Sony mentioned one of the issues with cables in general is getting tangled up. So they have designed the cables to have mini parallel grooves all laterally back to front which prevents sticking. I'm not certain if this actually works or if the groves help, but I've not had tangles with these cables so far.
 
 

 
 
I have had a problem with the plug loosening out of my player quite a few times especially when I'm walking. This doesn't happen to my other headphone cables and I've not measure the diameter of the plugs to see if they're they same or smaller than other 3.5mm plugs. Another possibility is the right angle plug may not be a natural position especially when I have the DAP in my pocket or pouch.
 

Sound Quality

In my honest opinion, Sony is going to have extremely stiff competition releasing these headphones out now with their current pricing (approx $300?). There's a wave of headphones released all around now - V-Moda M-100, Sennheiser Momentums, Ultimate Ears UE6000/9000 - some priced less, some the same, and some more than the MDR-1Rs but all around the same category. Each of them have their unique SQ targeting to the similar audience. I myself have the M-100s and Momentums which I can compare directly against the 1Rs.
 
To my ears (after spending a few weeks with the M-100 and Momentums), the MDR-1Rs have a somewhat more flattish signature. Whilst in my opinion former two were more U-shaped (one more than the other), the MDR-1Rs seem to have more mids - typical of a Sony signature. Although from memory not as much as the Z1000. I'll need to head to the shops to do a direct comparison so please take that comparison with the Z1000 with a large grain of salt.
 
Sony mentioned that the MDR-1Rs were designed for the current style of music. They had a slide presentation which showed how over the past 3 decades, bass in popular music had shifted lower into the spectrum (primarily due to digitally produced music) and the MDR-1Rs were to designed to accomodate this trend. They consulted experts in the industry in UK during the defining of the MDR-1R signatures.
 
So with that said, the MDR-1Rs do seem to have more bass than the past Sony headphones I've heard (as such my remark about taking the comparison with the Z1000 with a large grain of salt 'cos I'm not certain if the Z1000 has more mids, or if the MDR-1R's bass/treble forwardness has given the apparent illusion that the MDR-1Rs has less mids than the Z1000 - if you follow my meaning).
 
Here's where I start comparing the MDR-1Rs with the other new headphones I have on my shelf. Despite the MDR-1Rs having more bass and still some forward extensions to the trebles, I find that they're conservative. As mentioned in the 2nd paragraph, to my ears and my interpretation it feels flattish because of this conservative signature. From Sony's presentation, I have a feeling this was meant to be their more bassy headphone.
 
 

 

 

 
Comparatively the Sennhesier Momentums have a more forward bass and treble. And the V-Moda M-100 have an extremely engaging lush bass. As such by comparison the MDR-1Rs to my ears don't feel as exciting as those other headphones. Having said that, I'd probably describe the MDR-1Rs to be more accurate in presenting acoustic instruments. Again this is probably contrary to Sony's expectation as from their presentation, I get the sense that electronic music was what they had in mind.
 
Aside from the frequency response, the soundstage and separation is quite decent. It's not as wide as the V-Moda M-100 (which to be honest, is unusually wide for a closed headphone in this price category) and leans more towards the Sennheiser Momentum's more intimate presentation, but somehow doesn't feel as congested as the Momentums. Instrument separation is still quite distinct.
 
Imaging: [Yet to be filled]
 
I find these headphones to benefit from amping. At least for my iDevices, I find the bass to feel somewhat thin but after having something like the V-Moda VAmp or VentureCraft Go-DAP 4.0 drive the MDR-1Rs the bass fills in more nicely.
 

Summary

 

 
As per above, in summary from a physical comfort perspective, I feel these are one of the most comfortable headphones I've ever worn. And it's isolation is also very decent, way above average and one of the better ones. In terms of balance of isolation and comfort, I'd have to say this is the best next to the Denon D7100/5100's. Sound quality-wise however, I'd categorise it to be more of a flattish accurate sound signature. It lacks the "fun" factor however to my ears, it represents the music accurately. Despite being designed for more modern music, I find myself liking older music with lots of vocal and natural acoustic instruments. Such examples include :-
 

1. Nicki Parrott's Sakura Sakura
2. Lana Del Rey's Born To Die (Video Games good rendering of the voice but harpsicord lacks detail)
3. Billy Joel (most of his albums actually)
4. And the only electronic music I like that goes well with the MDR-1R is Hideki Matsutake's Digital Moon Album (for those who don't know, Sony's very 1st Walkman came with a demo tape with Hideki Matsutake's version of "Diamonds Are Forever")

 
EDIT: Added macro pix of the grooved cable

 

 

V-Moda M-100 Unboxing Picture Post

 
Warning: Picture Heavy
 
Today I received a production version of the V-Moda M-100. As I was not a part of the pre-release run these aren't the VTF-100s with additional accessories, etc. As such there are no pictures of the additional accessories. This is the retail on-the-shelf stock package.
 
I also have to thank you very much to the V-Moda team (Val, Gavin, Bill), and to VentureCraft (Hamada-san) for making this happen for me. I feel very privileged to be able to get these in my hands so early post production. I deeply and truly appreciate this gesture by them.
 
As mentioned in other posts in other M-100 threads, I won't be giving a sonic review in this post. I'll make one after the M-100 has been run in overnight at least. As a end-user, I personally do believe in burn-in, some headphones required more than others, some longer than others too. But at least in the past V-Moda headphones I've owned, I gather the M-100 will be similar to them where most of the changes are within the first few hours and thereafter, the improvements taper off over time (diminishing returns).
 
Along the picture post, though, I will be giving my thoughts about the construction, fit, comfort, etc. in note form.
 
Packaging
 
As can be seen, V-Moda has pretty much kept to the similar concept & design of the packaging as with their other models. The exception is the colour now is orange rather than deep blood red. As always the product is packaged with style.
 

 

 

 
The Clamshell Case & Contents
 
The carry case now has more clamshell design since the M-100 can collapse. As with the other cases for other models, it's a reasonably hardshell. Aesthetically it looks really clean and classy. The zipper slider is now seamless and the zipper tab (at least for this white M-100) is the same as the white M-80 zipper tab - note that the M-80 shadow case, the zipper tab was more normal. V-Moda has added more style to their packaging.
 

 

 
With the clamshell open, included (aside from the headphones of course), are 2 cables - a 1 button SpeakEasy cable, and a SharePlay audio cable. Also included is a 1/8"->1/4" 24k gold pro adapter. And of course a carrying spring clip.
 

 

 
I'd like to add a quick note about the cables. Not microphonic!! I wonder if this is the reason the material weaving pattern had changed from the M-80's.
 

 
The Headphones
 
The Hinges
The way the M-100 collapses is unique and well thought of.
 

 
These hinges are heavy duty. I remember when I first saw these at the Tokyo Fujiya Spring Festival, I mentioned in the forums that I thought they looked chunky and they don't seem to flow with the V-Moda lines. However I look at them now and they don't stick out like a sore thumb the way I first thought. It's probably as simple as their colour blending into the headbands and fork.
 

 

 

 
A close up of where the headband forks attach to the cups. I think these have remained the same as the other V-Moda headphones :-
 


The Headband
Having seen a few different M-100 prototypes, this is one component where I've seen it changed back 'n forth. In the May '12 Fujiya Spring Festival, the M-100 had an LP2-styled wider headband. Whereas in June '12 with Val & Gavin's visit to Tokyo the M-100 prototype then had a more M-80 slimmer styled headband. This final white production version has gone back to the LP2-styled headband. I know that the M-100 will be offered in Shadow too and I'm wondering if that will have the M-80 slimmer styled headband or not.
 

 
The Cups
At least with the thee white M-100s, the cups have a satin white texture. They do seem to be quite durable ABS too (ABS??). Although I'm not about to try any destruction tests on my first day of having them in my hands.
 

 
The face plates are vented with the standard 3-V ports (sorry, not peeling off the skin protector yet).
 

 
Now really the important side of the cup. Here's your 50mm driver protected by a thin diaphragm porous material (sorry, at this stage I'm out of technical jargon ...I'm tired). The foam memory cushions seem to be the same as the LP2 (Val to confirm?).
 
I'm sure readers will ask about isolation and for I would rate their isolation as average (as with LP2 and M-80). In later planned reviews when I compare the M-100 with other competing headphones, I can give an isolation comparison too. The clamping force is strong and I may need to adjust it for my head size.
 
As for fit, to me these are true circumaural and my ears fit inside the cups. However I'd say that it's a just perfect fit. i.e. if you do have large ears, then your ears may not necessarily fit inside the cup. This however is true for the LP/LP2s too.
 

 
The other features which I've glanced through but not talked much about is the dual headphone jack port, one per cup. I've tried switching back 'n forth but I have not attempted to have both plugged into different sources. That may be an interesting test later.
 
Pictorial Conclusion
 
I think V-Moda has given the M-100 a lot of thought into every detail from functionality to styling. All else, the M-100 has followed the trend of it's predecessors and sister models of aesthetics, durability and comfort.
 
However I feel competing products are quickly learning from V-Moda's design and aesthetic philosophies and stepping up to the challenge very quickly. It would be interesting to see what V-Moda comes up with next to stay ahead of the challenge.
 

 
Next Post Review - SQ
 
But after I've burnt in and given the M-100 a good listen. And so the burn-in begins.
 

 
P.S. Please let me know if any inaccuracies, inconsistencies, or clarification. I'd be happy to fix this post.

Edit #1: Added circumaural fit comment.
M-100 Sonic Review
 
The M-100 is probably one of the most long awaited headphones this year. Ever since it's announcement a year ago, Val has kept his customers and e-audience updated and involved throughout the entire development process of this headphone. This frequent interaction is a risky and daring move as it leaves very little room for the product to fail and still expected to impress upon delivery. And has he pulled it off? Now as the early-bird VTF-100/M-100s are being delivered on customer doorsteps throughout the world, I believe he has!
 
Disclaimer: My M-100 review has been based on my personal sonic capabilities, and in addition, my sonic preferences based on the genre of music I like.
 

Headphone Fit

 
I have an average headsize and the M-100 fits quite well on me. The ear cup-size is just the perfect fit for my ears. There's little room to play though which means that if you have large ears, then it may be a tight fit. The headband and clamping was initially tight however as advised by Val, flexing the headband and wearing the headphones regularly, the pads eventually mould to one's head shape. This not only makes the headphone more comfortable but by having a proper seal, also improves sonically. After 2 weeks of having the headphones this was an accurate advice.
 
When I'm home I wear my glasses and the M-100s don't cause any discomfort even them on. The arms of my glasses also arch out a little (i.e. they don't sit flush on the sides of my face) but I'm still fine with the M-100s sitting on them.
 
I find the isolation on the M-100 to be on par with the LP2s. They're quite decent but using it on the trains, some higher frequency ambient noise leaks in enough to be distracting. However there's very little leakage out. The person sitting next to me can hear "noise" from my headphones but not identify what kind of music I'm listening to.
 

Sound Signature

 
By far the strongest sonic trait of the M-100 is it's rendering of its bass. At least to my ears, this is the defining signature of these headphones. Before getting into the nitty gritty details, overall I felt the headphones had a somewhat U-shaped signature. In my conversations with Val, it's really more the prominence of the bass and slight forwardness in the trebles give this perception. The mids are somewhat more neutral/flat however due to the characteristics of the bass and trebles, the perception appears U-shaped.

Bass
 
As mentioned previously, the bass rendering is the most prominent feature I picked up in the M-100's sonics. This was the same trait I personally fell in love with even on the June M-100 prototype. I can't say honestly if it's the same then as now or if it's improved (my sonic memory can't go back that far) but I can say that it wow-ed me then and continues to wow me now in the production model. I won't call myself a bass head but the M-100's bass traits have enlightened me on how to appreciate good quality bass. It has resulted in an addiction that has led me scouring for new tracks that emphasise on this quality.

The bass on the M-100 to me has done something few headphones have achieved before. It's reached deep (and I mean really deep!) yet extremely well controlled. Where other headphones attempt to reach that deep resulting in boomy or bleeding bass into the mids, the M-100 maintains a tight control of the bass. However it doesn't end there and only gets better. On tracks that do emphasise on bass, there is this beautiful 3D rendering that's fluid and reverberating. I've called it the "rumble" but Val has more accurately described it as "purr". 
 
Mids
 
To my ears the mids are somewhat pulled back and as mentioned above Val describes it to be neutral/flat which I can see where he's coming from. For me, I find this particular signature less ideal for strong vocal tracks but good for more modern R&B, Hip Hop, and Electronic genre. Because of the bass are well controlled and doesn't bleed into the mids, my ears still can focus on it and there's clarity and detail in the mids. However, for my personal sonic preferences this factor has made my M-100s to be more genre specific.

Trebles
 
The trebles make a comeback but just above neutral. Back to my conversations with Val, he confirmed my opinions. It's approx 1-1.5dB but nothing like the other treble-forward competing brands out there. This in itself is a positive trait especially for those who are sensitive to sibilance. From around 8kHz onwards it peaks up and mostly flattens. I would state that in my early days of listening to the production M-100, I felt I wasn't getting enough treble however, over time I don't know if the earpad moulding, the burning in, or me getting used to it's signature I found the trebles have been creeping up to be a little more forward and I'm appreciating it a lot more than 2 weeks ago. It's airy, transparent and micro-detail.
 
Soundstage & Imaging Presentation
 
When I first heard the soundstage I felt it was large but nothing to be impressed about. After getting my hands on a few more headphones that are in competition to the M-100, I realised I was wrong! I had merely been used to very high end headphones. The soundstage actually feels quite large by comparison to other closed headphones around the same category. In addition, primarily due to the bass 3D rendering, the imaging is beautifully textured. The combination of these two factors make the instrument separation (and therefore ability to focus on instrument detail). The way I'd summarise the soundstage and imaging to my ears is that some of the other headphones sound like a big gig in a small pub/bar but the M-100 sounds like a gig in a concert with you sitting around the 5th row from the front.
 

Other Non-Sonic Features

 
Do I really need to comment on the durability? If not known already, the V-Moda headphones are extremely durable and V-Moda spends a lot of time on testing these headphones to ensure they meet their tight standards prior to production. Even with the new collapsing hinges, they feel extremely rugged and durable. When you hold a the M-100, it doesn't rattle, it doesn't shake, and it doesn't convey any sense of flimsiness. It's like German engineering with an Italian design.

Another special feature is the dual headphone jack. Val & I actually tried plugging in two different sources - each into each earcup. WIth the right kinds of source, you can actually mix if you wanted to! It's quite a surreal experience.
 

Conclusion for Now

I have to say, to my ears I'd still classify the M-100s to be somewhat coloured, and for my personal use, not reference headphones since I feel for my sonic preferences the M-100s are genre specific. I've mentioned this to Val and he understands. However this coloured-ness in itself is an extremely positive feature and in fact a great selling point for this headphone. As mentioned before, the strong deep bass is so well controlled and rendered that it's made me (and others I'm sure) wanting to find new music tracks to exploit this feature.
 
Combined with the ruggedness and compactness, and low profile of headphones, I do find myself grabbing the M-100s more when I go out and about the city. If I just want to enjoy music these are the headphones I'll grab.
 
Sample music I enjoy with the M-100's :-
 
TRON Legacy (check out the C.L.U track!)
Sting's Brand New Day (More specifically A Thousand Years track)
Bond's Viva!/Wintersun & Born
Vanessa-Mae's Art Of War
Alex Gaudino's Destination Calabria (ok I admit, I do like the video a lot too)
Il Divo Il Divo (makes my hair at the back of my neck stand!!)
The Postal Service Give Up (Such Great Heights track)
Jamiroquai A Funk Odyssey
Akon Freedom
Ne-Yo Year of the Gentleman
Sean Kingston
 

Where can the M-100 improve?
 

In my mind, the M-100 is the top in its class of which I wouldn't hesitate in recommending. However, it's also reaching up to the next level and category. There's potential for the M-100 to come close to competing with some of the higher end headphones. In my honest opinion, the next few features for V-Moda to focus on for the future would be (aside from the M-100s current features), are further detail and increased resolution.
 

A Little Durability Update

 
This morning, in attempting to take some extreme pictures of the V-Moda M-100, it decided to take a swim in an almost frozen lake. The headphone surprisingly still works but naturally sonics are affected.
 
 

 

 
Please bear with me, I'd consider myself still a noob when it comes to desktop DAC/Amps. Although I've heard a few DAC Amps in quite a few public headphone festivals, most aren't heard with my headphones nor my source tracks of music. And I'm still mostly learning from the gurus here in this forum and from Japan Head-Fiers.
 
So this initial impressions will be somewhat unstructured and a lot of it will be based on a DAC/Amp I'm familiar with, the Benchmark DAC1 Pre. I won't get into the specs of the HP-A8 as you can find the info easily yourself. Or please go here for its specs :-

http://www.fostexinternational.com/docs/products/HP-A8C.shtml
 
 

 
A little bit of background...
of my pursuit of this DAC Amp. I've owned the Benchmark DAC1 Pre for about 7 months and although it's a great DAC Amp, I was getting somewhat bored of it's 2D sound - both as as DAC to my Stax setup, and as a DAC Amp for my Fostex TH-900 headphones. Furthermore, since I took my Benchmark DAC1 Pre & Stax setup to the Fujiya Spring Headphone Festival 2012, other chaps from Head-Fi brought in other DACs (Yamamoto, Eximus, etc.).
 
Last month my wife & I went to Fujiya Avic to demo the HP-A8 but in somewhat more "controlled" environment. I brought my Benchmark DAC1 Pre, my DX-100 with optical cable, and my Fostex TH-900. My wife (who's not technically inclined but has as sharp ear) was my "other pair of ears". Spending about 30-40 mins there with Fujiya's HP-A8 demo, we listened to a few tracks rather carefully and concluded then the HP-A8 was more detailed, more 3D and basically a leap improvement over the Benchmark DAc1 Pre.
 
As such I went back the next day and bought the last HP-A8 they had on the shelf.
 
To my disappointment, at first listening, the new HP-A8 didn't sound the same as the demo unit. It sounded almost the same as the Benchmark DAC1 Pre. And so the burn-in began. Although SQ did change somewhat after 8 hrs, it didn't change much. A few days later and 100 hrs burn-in later, the SQ did improve incrementally but still not the vast difference both of us heard at the store. At that point, I felt the purchase wasn't worthy of an upgrade that I was looking for. However after talking to Currawong, whom advised burning in to 350 hrs at least, and we talked about power conditioners, strips and cord, I further ended up picking up the VH Audio Flavor 4 power cord, and Oyaide MTB-4 power strip.
 
The result after 250 hrs of burn-in and power source upgrade for the HP-A8?
 
 

 
The setup is as follows :-
 
DX-100 with 16/44.1 -> 24/192 tracks of 80's pop, classical, jazz, and country
Headphones/earphones used include the Fostex TH-900 and FitEar TO GO! 334
Switching between the Benchmark DAC1 Pre and HP-A8 involves the headphone jack naturally, and optical cable from the DX-100.
Again, as mentioned before, this has a lot to do with comparing it against the Benchmark DAC1 Pre that this DAC Amp is supposed to replace.
 
Despite the long in and power source upgrade, for most of the 80's pop music (Michael Jackson's Thriller, Footloose, and Top Gun all in 24/192)  it was very difficult to differentiate between the two DAC Amps. Even Michael Buble's It's Time (16/44.1) with a fair decent amount of vocals and acoustic instruments, the HP-A8 and Benchmark were very similar. At times it was difficult to tell the difference between the two. This was tested with both headphones/earphones and confirmed by my wife.
 
The difference between the two was much clearer with Isaac Stern's Four Seasons (24/192), Lana Del Rey's Born to Die (24/44.1), Buena Vista Social Club (24/96), and Anne Murray's The Best...So Far (16/44.1). The presentation of the HP-A8 sounded more 3D, smooth yet detailed, and more immersive. The difference isn't night and day, but at the same time isn't so subtle  - it's obvious enough to pick up after critical listening. Where in pop music or modern vocal jazz (Michael Buble) frequency response sounded pretty much similar across both DAC Amps, for tracks with strong vocals, or natural acoustic instruments the bass seem to extend a little more deeply and trebles sound more clear and transparent. But it's more the immersive 3D presentation that captured my attention initially.
 
Going by memory of the Eximus DP1, although wasn't as detailed HP-A8, I would place in between the Benchmark DAC1 Pre and the DP1 in my DAC Amp scale for specific genre and type of music. But for the 80's pop tracks I had, as you can guess I'd treat the Benchmark and HP-A8 equally.
 
Another note I'd like to add though, although the HP-A8 and Benchmark sounded rather similar, the HP-A8 was just a tad more mellow than the Benchmark. The way I felt was the Benchmark had more of a slam-in-the-face impact but somewhat 2D, whereas the HP-A8 was more 3D, it was also somewhat more subtle and mellow in impact. For example, with some pieces of Vivaldi's Four Seasons, I was anticipating the next (chord?)<whatever!> to come in with a wham (at least with the Benchmark) but with the HP-A8, it just creeped subtly.
 
However, on the other side of the coin, with the HP-A8's 3Dness,  found I could hear some instruments in some classical pieces more clearly. Whereas with the Benchmark's 2D slam, that instrument drowned in the slam and everything sounded more congested. This is more apparent in lower volumes.
 
Finally, I also did test the DSD capability of the HP-A8. After some fiddling with filename lengths and DSD formats (only DSF accepted, not DFF!!), the HP-A8 does play DSD files very nicely. Across the board on clarity and transparency, the same DSF file sounded better via the SD card than via Audirvana Plus (which does convert to PCM in real time before output via USB). I'm quite satisfied with the SQ of DSD playability.
 
Non-SQ Aspects of the HP-A8
Although DSD sounded nice, getting it to play it is a real pain. Firstly, only DSF is accepted, not DFF. Luckily my SACDs are in ISO as such I just have to re-extract into DSF. Then the next problem is a 30 character limit in the file name. For some strange reason even for some files with less than 30 characters, the HP-A8 wouldn't recognise it. Also all the DSF files have to sit in one folder. So really the DSD capability is really more a proof of concept than for practical use. Fostex is supposedly working on a DSD over USB driver but they're having some issues. Once they've released it, I'd be much more satisfied with my HP-A8.
 
Also having only unbalanced RCA output is a little tedious. I do wish Fostex included balanced XLR which I'd feed into my Stax setup. But for now, I have to use unbalanced.
 
 

 
Conclusion
 
Overall, I think the HP-A8 is a decent desktop DAC Amp in the similar grade to the Benchmark DAC1 Pre. As to whether the HP-A8 is worth it's price, I think it really depends on where you live. In US, the HP-A8 is USD$2000, whereas the Benchmark DAC1 Pre is $1400. In  that scenario, I personally don't feel the HP-A8 is worth the $600 difference of my money.
 
However, as I'm in Japan, where the HP-A8 is approx USD$1300, and the Benchmark DAC1 Pre is sold here for USD$1730, the HP-A8 worth it's value. If Fostex gets the DSD over USB driver working, the HP-A8 will show it's true capability.
 
P.S. Apologies for the very scattered and unstructured review. I may come back later on to clean it up.