Greetings!

Today we're checking out Astrotec's newest flagship earphone, the Phoenix 6.

The original Phoenix was one of my 2020 sleeper hits, eschewing a balanced sound for some of the most visceral sub-bass I have experienced to date. With a hand-crafted rosewood shell with aluminum and titanium face plate accents, it certainly looked the part of a flagship. With the new Phoenix 6, Astrotec has stepped up their game in a big way. Instead of “just” two electrostatic tweeters and a single dynamic, the 6 ups it to four electrostats, one balanced armature, and one dynamic driver. The Phoenix 6 is a heck of a lot easier to drive now too, unlike the original Phoenix which was more at home with a full-sized headphone amp than anything portable. The entire shell is now a titanium alloy with further improved ergonomics and durability. The (imo) mediocre fabric wrapped cable has been replaced with a marvellously thick 4.4mm balanced option, as well as a more traditional silver-plated 3.5mm unbalanced cable as backup. These enhancements and upgrades come at a price though, with the Phoenix 6 commanding a much more flagship-like 1,559.00 USD compared to the original's “paltry” 799.00 USD point of entry.

Do all these changes make the Phoenix 6 a worthwhile addition to Astrotec's lineup, and more importantly, does it compete with similarly priced gear? Let's find out!


What I Hear

Tips: Anyone in this hobby looking to buy an earphone of this calibre should know by now that tips are the most important part of having a positive experience. It doesn't matter how much it costs, how snazzy your amp is, how premium your cable is. If the tips don't seal properly, your earphone is going to sound off, wrong, bad, overrated, whatever. Thankfully, Astrotec includes a wide variety of tip options that should suit the vast majority of users. The included memory foam tips seal brilliantly but for my tastes result in a bit too much warmth. The bass ear tips use a semi-stiff silicone with a smaller opening. They give the low end LOTS of punch and impact and make for a good pairing with the Phoenix 6. I found they lost seal too easily though, so not my preferred companion. The vocal tips use a softer silicone and have a wider opening. This reduces punch, sucks up some of the treble, and results in the vocals being pulled forward a bit. This is more in line with my preferences, and along with a more reliable seal made them my preferred set to listen with. My ear canals do not play well with deep insertion tips. As such, I couldn't use the triple flange as it pinched the opening, cutting off all sound when they were inserted all the way. Bummer. In regards to third party options, Spinfit CP100 and Sony Hybrids were good alternatives to the bass tips as they sounded similar but provided a more reliable seal. Spinfit CP145s were my preferred alternative to the vocals tips for the same reason. I didn't enjoy wide bore sets like those from JVC as I felt they threw off the tuning balance by reducing sub-bass presence and bumping lower treble.

Tuning for the Phoenix 6 feels like a mix of Harman and diffuse-field curves with the former's pumped up bass and the latter's upper mid bump, though one that is considerably more mild than say, Moondrop's take on it. As a result, I found the overall presentation to be well balanced, offering plenty of low end for bassy tracks, forward mids for vocal-focused tracks, and reasonably mellow treble to give it an all-rounder quality some so strive for.

Starting with the low end the Phoenix 6 is not shy on bass. It's no original Phoenix (read about that Monster here), but then nothing I've heard can quite keep up with that beast in the low end, so no surprise there. Extension out of the Phoenix 6 is stellar with plenty of high quality, visceral sub-bass to go around. Mid-bass is plenty punchy and adds just the right amount of warmth throughout the overall signature. It's quite rapid too, taking on the fleeting notes inherent to drum and bass and metal tracks without secreting a single drop of salty body water. The ending drum and bass section of Skrillex's “Ragga Bomb ft. Ragga Twins” sound flippin' epic through the Phoenix 6. The dynamic used in the Phoenix 6 also does a great job with texturing. It's not crazy detailed or grimy, but more than enough to satisfy my needs with tracks from juggernauts like The Prodigy and Malibu Ken. One track in particular I've been rocking to the Phoenix 6 with is Alex McGee and Axel Boy's “Another Level” which is rife with thumping basslines and gorgeous female vocals, leading us neatly into our next section.

The Phoenix 6's mids are pretty darn spectacular. Timbre is pretty much spot on with instruments sounding accurate to their real-life counterparts. Amusingly, I've listened to more live music than ever since the macaroni pandemic hit. Go figure... Anyway, this earphone is right at home with vocals of all styles. Detail and articulation are quite good and I never have an issues making out what the artist is saying, something I oft struggle with since I'm not really the kind to aim a lot of focus on that aspect of a track. As with everything there are exceptions, such as with basically anything from Aesop Rock who is a masterful lyricist offering up some of the most interesting, dense lyrics in the industry. That said, one thing he has struggled with on recent releases is sibilance and generally hot vocal mastering. The album 'Spirit World Field Guide' (SWFG) is a particularly strong offender with the opening track “The Gates” being a total sizzle-fest. “Hello From The Spirit World” is technically the first track, but it's just an intro and doesn't count. Listening to SWFG through the wrong product can test even the most dedicated Aesop fan. Thankfully, the Phoenix 6 handles it like a professional, taking some of the sibilance and rounding off the sharpness. The aggression is still there, it's just not painful, something I can't say when listening through some of the 6's competition.

Leading into the treble I find the tuning of the armatures and electrostats to be pretty much spot on. Compared to other flagships, the Phoenix 6 handily matches them terms of raw detail and clarity, with notes being tighter and better defined with virtually zero splash to speak of. Similar to the presentation of like a good dynamic, but better. While I'd personally like more upper treble shimmer which would spice the presentation up a bit, I can't complain with how well-rounded the tuning is. Most importantly, it's not boring, a complaint I levy at Harman-style tuning all the time. The presence region is boosted enough to provide excellent clarity and detail, while avoiding coming across as harsh or grating. The small 11k bump offered in the brilliance region is enough to mix in some shimmer and sparkle, yet restrained enough to avoid being jarring or causing fatigue, even at volumes I'm not comfortable with.

Sound stage is where the Phoenix 6 wraps things up and truly earns it's flagship status to my ears. Default positioning for vocals is just outside the ear with sounds spreading out plenty far from there. Tossing on “Szamar Madar” from Venetian Snares, you feel completely embedded in the music with strings, horns, vocals, etc. swirling and sweeping all around. I get an even more impressive sense of space and immersion from BT's experimental album ' If The Stars Are Eternal Then So Are You And I'. The opening track “13 Angels On My Broken Windowsill” is an amazing staging showcase and complements the 6's technical abilities perfectly. Channel to channel imaging is pinpoint accurate. Instrument separation is outstanding too with zero blending or smearing present. Layering is also top tier with tracks having appropriate depth to the various elements. For gaming the Phoenix 6 is complete overkill. Sound is important and can give you a serious advantage in some games. Highly recommend for this purpose. Overall just a killer spacial experience with few equals that I've come across.


Compared To A Peer

Campfire Audio Solaris 2020 (1,499.00 USD): Starting with the low end, the quad-driver hybrid Solaris 2020 takes a more reserved approach with less of a boost overall, and a more linear transition from sub- to mid- and upper bass. I found the Campfire to provide more texture but lack punch and visceral feedback in comparison. Both are plenty nimble and can handle rapid notes and quick transitions without breaking a sweat. Traversing into the midrange we see the Solaris embracing the centre mids versus the Phoenix 6's diffuse field-like upper mid emphasis. Here I find the Pheonix 6 superior to the Polaris 2020 in basically every way. Vocals are warmer, more natural, and both cleaner and more articulate. Timbre sees much of the same advantage with the Phoenix 6 being the more accurate and natural of the two. Treble out of the Pheonix 6 is tighter and more refined with better edge definition. This is where the new-ish electrostat tech and tuning focus really earn their keep, because the Solaris 2020 has some of the higher quality treble I've heard. Thanks to considerably more upper treble presence, the Solaris brings additional sparkle, shimmer, and overall energy to the table, though this comes at the expense of long term listening fatigue which isn't really an issue with the Phoenix 6. The Solaris 2020 pulls more detail out of tracks, and slightly ups clarity over the Phoenix 6. Sound stage is an area where Campfire products usually dominate. While the Solaris 2020 was good, it's predecessor was better, and the Phoenix 6 even more so. The Phoenix 6 comes across wider, deeper, offers more black space between instruments and notes, and in general gives off the impression of a more spacious listen. Add to that similar technical qualities, like pin-point accurate channel-to-channel imaging, nuanced layering and instrument separation, and the Pheonix 6 is quite impressive indeed.

Earsonics Grace Platinum (1899,00€): The 10 armature Grace Platinum is a beast of an earphone when it comes to specs, performance, and price, outshining most of what I've heard over the years. Not the Pheonix 6 though. While bass quantity is similar between the two, the Grace's armatures just can't match the slam and punch of the Phoenix's dynamic. While the Grace's armatures are no slouch in terms of extension, it does fall short of the outstanding extension achieved by the Pheonix 6's dynamic driver. This results in the Grace being a hint more mid-bass forward than the Phoenix 6, though I still hear both as sub-bass skewed overall. Speed and articulation are slightly ahead on the Grace. The Phoenix pulls back some love by matching the Grace's killer texturing. Peeking into the midrange we find very difference presentations. The Grace is leaner, cooler, and somewhat dry. This leaves its timbre accuracy behind the Phoenix 6. The Grace pulls back your attention with near class-leading detail and clarity which are a small step beyond the already impressive Phoenix 6. That said, I still prefer Astrotec's presentation in this regard thanks to the additional warmth and improved timbre quality, both of which are achieved without a significant sacrifice in quality or performance in other areas. Treble on the Grace is pretty chill until you hit a strong ~11k peak which gives the earphones its character. That peak gives the Grace considerably more edge and shimmer than the Phoenix 6, almost as if there is a metallic sheen coating the upper ranges. I can see this being a polarizing quality for those that are treble sensitive, one that the Phoenix 6 avoids. Output on the Phoenix 6 is tighter and cleaner thanks to those electrostats, with speed being similar. The Grace has a harder attack though.


In The Ear An earphone costing as much as the Phoenix 6 should look and feel special, void of the sort of corner cutting you'd expect from more affordable products. Thankfully, the Phoenix 6 is every bit as nice to look at and hold as the price tag would suggest. The shells of the Phoenix 6 are made from a titanium alloy. Fit and finish is outstanding with no sharp edges or misaligned parts. The turtle-shell like design on the face plate serves to give the Phoenix 6 some visual intrigue, and harks back to one of my favourites from the brand, the Delphinus 5. Laser etched on the inner half of the shell, ensuring they do no rub off, are L and R markings to denote channel. Phoenix 6 is etched on the rear in the same classy font used on the packaging. Up top near the 2-pin ports are single vents. While they do create some wind noise when out and about, it's minimal and not overly distracting. Lastly, stainless steel nozzle covers protect dirt and debris from entering the earphone.

The Phoenix 6 comes with two cables. The secondary cable reminds me a lot of the one TinHiFi shipped with their T2 Plus. Like that cable, the wiring is reasonably thin with fairly loose braiding. Strain relief at the 90 degree angled jack is plentiful, but absent leading into the y-split. Astrotec added a chin cinch which helps make up for the loss of relief, a feature which also helps with mitigating what little cable noise is present. Leading up to the 0.78mm plugs are preformed ear guides which work well to keep the cable in place behind the ear. When plugged into the earphone, they sit flush. Overall a decent cable, but it absolutely pales in comparison to the 4.4mm balanced cable. If you were planning to pick up the Phoenix 6 and use the unbalanced cable, don't. Instead, factor in adding a suitable amp module (ex. DDHifi TC44C) so you can take full advantage of running the Phoenix 6 balanced, unless you already own one of course.

The 4.4mm balanced cable is drop dead gorgeous with thick, weighty strands, braided evenly top to bottom. The straight jack is reasonably compact given the 4.4mm balanced connector and features minimal strain relief. Better than nothing I suppose. And instead of knurling to provide grip, a brass coloured, hexagonal ring does the job. Astrotec is laser etched into the body of the jack as well, further adding to the premium feel. The y-split echoes the jack's design with a stainless steel body and brass ring. A beefy metal y-split sits above and does a good job of tightening the cable under your chin. It combined with the preformed ear guides also do a decent job mitigating cable noise which I found slightly more prominent than on the secondary cable. The 0.78mm plugs are all metal, but lack strain relief. Also missing is colour coding to denote channel. A raised dot on one channel is also absent, something the vision impaired would benefit from. L and R are etched into the metal, but they're only useful in good light. Overall a killer cable, but one that is missing some common features.

Ergonomics and comfort of the Phoenix 6 are fantastic. The length and angling of the nozzle feels very natural to my ears. Not too short, not too long, with a natural distribution of weight and material around the ear. The interior rests naturally in the outer ear thanks to the custom-like curvature, similar in design to the previous Phoenix model, but somewhat more prominent. Thanks to the proper distribution of weight and lack of sharp edges, this earphone is one I can wear for long periods without needing to rest my ears, at least due to discomfort. Of course you should take breaks every once in a while to protect your hearing, and stop listening so dang loud!! Yeah, I'm talking to you -_-


In The Box Packaging for the Phoenix 6 is on the large side with a thick cardboard sleeve protecting a matte black box within. The front of the sheath contains an image of the earpieces set on a black backdrop with the brand, model name, and driver configuration placed in the corners. To the rear are additional product features and specifications. Sliding off the sheath, opening the magnetically sealed box, and removing a cardboard insert, you find the earpieces, carrying case, and some of the accessories set within a foam insert. Lifting out the dense foam earpiece tray reveals an additional accessories box. In all you get:

• Phoenix 6 earphones
• Leatherette clam shell carrying case
• 0.78mm High Purity OCC 4.4mm cable
• 0.78mm Silver Plated 3.5mm cable
• Memory foam tips (m x 2)
• Tri-flange tips (s, l)
• Bass ear tips (s, m, l)
• Vocal ear tips (s, m, l)
• Cleaning tool
• Velcro cable tie
• Cloth earpiece bag
• Key chain cube pendant

Overall a pretty outstanding unboxing experience. While the package is large, the size is warranted given the quantity and quality of the included extras. Everything is stored securely and attractively presented without any unnecessary drawers or compartments that would increase the amount of material needed, thereby creating additional waste. I suspect the majority of users will find the included accessories perfectly satisfactory, swapping them out only for aesthetic purposes or personal preference as I did with the ear tips, despite the included sets fitting well and feeling plenty durable.


Final Thoughts The Phoenix 6 is a large step forward for the Astrotec brand. While they're no strangers to premium segments thanks to their top-of-the-line earbuds, the Phoenix 6 raises the bar for their earphone lineup. It is a showcase of their technology and tuning capacity, securing Astrotec a spot among respected upper echelon brands like Campfire Audio and Earsonics. The refined design and premium materials of the Phoenix 6, along with the brilliantly tuned, high tech tri-brid driver setup justifies the Phoenix 6's status as Astrotec's top tier offering and ensures it is a more-than-worthy choice for those looking to try an earphone of this calibre.

Brilliant work Astrotec!

Thanks for reading.

- B9

Disclaimer Thank you to Astrotec for reaching out to see if I would be interested in reviewing the Phoenix 6, and for arranging samples for the purposes of review. The thoughts within this review are my personal, subjective opinions and do not represent Astrotec or any other entity. At the time of writing the Phoenix6 was retailing for 1,559.00 USD. You can check it out here; https://astrotecglobal.com/products/phoenix6

Gear Used For Testing Huawei P40, DDHiFi TC44C, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Specifications

• Driver: 4 Sonion Electrostatic Drivers / 1 Sonion Balanced Armature Driver / 1 Customized Dynamic Driver
• Input: 1 mW
• Max Input: 5mW
• Impedance: 5ohm
• Cable: High Purity OCC 4.4mm + Silver Plated 3.5mm
• Sensitivity: 108dB/1mw (S.P.L at 1KHz)
• Connector: 3.5mm stereo plug
• Frequency Response: 5Hz – 50,000Hz

Some Test Tunes

Aesop Rock – The Impossible Kid (Album)
Hail Mary Mallon – Are You Going to Eat That? (Album)
King Crimson – Lark’s Tongues in Aspic (Album)
King Crimson – Starless and Bible Black (Track)
Supertramp – Crime of the Century (Album)
Infected Mushroom – Legend of the Black Shawarma (Album)
Gorillaz – Plastic Beach (Album)
Massive Attack – Mezzanine (Album)
Fleetwood Mac – Rumors (Album)
Run the Jewels – Run the Jewels (Album)
The Prodigy – The Day is My Enemy (Album)
Tobacco – screw*d Up Friends (Album)
Felt – Felt 2 (A Tribute to Lisa Bonet) (Album)
Michael Jackson – Thriller (Album)
The Crystal Method – Grace (feat. LeAnn Rimes) (Track)
Jidenna – Long Live the Chief (Track)
Skrillex – Ragga Bomb (Track)
Big Grams – Run for Your Life (Track)
Funkadelic – Maggot Brain (Track)
Aesop Rock – Fishtales (Track)

Greetings!

Today we're checking out both forms of Astrotec's newest budget model, the Vesna.

Astrotec is probably best known for their premium earbuds, as they're one of the few brands still producing products in that niche segment. While they've certainly dabbled in more affordable, sub-100 USD products, the Vesna is their most affordable that I'm aware of. At 19.90 USD for the standard Vesna, and 34.90 USD for the EVO, they're tackling a busy, popular segment that is often full of hype, strong marketing promises, and plenty of solid offerings. The Vesna seeks to bring Harman-style tuning to the masses, affordably. The standard Vesna does this with a fixed cable, and the EVO with a removable cable.

Does it succeed? Let's find out.


What I Hear

Since the standard Vesna and Vesna EVO are tuned basically the same, minus the EVO coming across nearly imperceptibly louder, the impressions here will apply to both. The stock medium tips were also used since they fit me perfectly, and I liked how they sounded. You can bump bass further with something that has a smaller bore and/or softer silicone, like Sony Hybrids, or increase treble presence with a wide bore, such as with the Spinfit CP145.

Vocals are warm and thick, sounding especially good with heavily textured voices. The Vesna works quite well with commentary, audio books, etc. It is also well-suited to both male and female vocals without necessarily excelling with either. Timbre is rich and full with a realistic representation that should please fairly picky users that typically avoid budget gear for this reason. Detail is presented well but lacks fine nuance. It comes across somewhat smoothed over compared to some other single dynamics, but especially hybrids like the KZ ZST X.

Bass on the Vesna is well rounded overall with good extension and sub-bass rumble. Deep notes satisfy with a visceral rumble that should please most users. This is backed by a welcome warmth and punch provided by a full mid-bass region. It has slightly above average speed and texturing which enables it to handle rapid notes without smearing, unless the rest of the track is providing a lot of competing information. In those instances it loses some of it's composure, though still well within acceptable standards for such an affordable product.

Heading into the upper ranges we find the Vesna's focus is on the upper presence/lower brilliance region with just a bit of sparkle added in via a light 10k+ peak. Notes are tight and well-defined with very little splash or slop. Detail and clarity are rock solid, neither lacking nor overblown and veering into a clinical presentation. While lacking character, the Vesna's treble isn't offensive or boring. Attack and decay qualities are handled realistically and are neither too harsh or unnaturally quick. Completely satisfying.

The Vesna's sound stage is quite average with a default vocal position around the edge of the inner ear. From there sounds spread out with a convincing depth, but lack the convincing shoulder width distance achieved by some other products. Given the reasonably meaty note presentation, spacing between notes isn't vast, though it is enough to prevent congestion on all but the most busy of tracks. Imaging is also fairly average with smooth channel-to-channel transitions that feel reasonably precise, but not enough to use for anything but casual gaming. Instrument separation is also average letting you train your focus on individual instruments, but not with the ease I associate with more precise, analytic products. Layering is handled a mite better with tracks showing decent depth.

Overall a pretty darn solid performer in nearly every metric, backed by a well-rounded tune designed to please the masses. I personally prefer more energy in the treble, more forward vocals, and stronger sub-bass presence, yet despite this I found the Vesna to be a near-perfect every day carry companion.


Compared To A Peer

Moondrop Quarks (12.99 USD): Whereas the Vesna tackles a Harman curve tune, the Quarks qualities are more in line with the diffuse field target, which is more in line with my preferences. That said, both take liberties with their target curves resulting in experiences that sway away from expectations. The Quarks does a better job of hanging onto it's sub- presence when compared to the Vesna, yet has a similar level of mid-bass emphasis. This keeps them similarly warm and dense with the Quarks providing a bit more visceral feedback on the deepest of notes. The Vesna's level of punch in the mid-bass is a step up, however. Leading into the mids the Quarks have a more aggressive 3k punch in line with the diffuse field style of tuning that it follows. Some will find this makes them shouty, while I enjoy how it bring vocals further forward when compared to the Vesna. Keep in mind I listen at lower and safer volumes than the average user (typically between 60-70dB) where strong frequency peaks are less problematic. Detail and clarity between the two is quite similar with the Quarks having a minor edge to my ears. The Vesna takes the timbre crown with a warmer, more accurate presentation. Heading into the upper frequencies, both have a pretty mellow presentation. The Vesna produces a bit more energy thanks to more emphasis in the 6 and 10k regions. I really appreciate the additional sparkle and staging space this provides over the Quarks. Speaking of staging, the Vesna provides a mite more width and depth with a default vocal positioning just at the edge of the inner ear. While the Vesna provides a larger stage, the Quarks' leaner sound enables more space between notes. This helps it have the edge when it comes to imaging and instrument separation, while the Vesna offer improved layering. The differences in all of these areas are not drastic though.

TinHiFi T2+ (49.99 USD): T2+ offers better extension and more sub-bass rumble. T2+ has less mid-bass presence leaving it sounding slightly cooler and leaner. Vesna's bass in general is smoother and less textured but with more punch. Mids on the T2+ are cooler and leaner with more detail but poorer sibilance mitigation. In general I find the T2+'s midrange to be a step up from the Vesna with vocals sounding cleaner and more articulate. Timbre is more accurate on the Vesna, however, with the T2+ sounding a touch metallic in comparison. Treble is slightly more aggressive on the Vesna thanks to a stronger upper region peak. I personally don't find either bright or uncomfortable to listen to. Again, the T2+ has the edge in terms of clarity and detail. It's driver also comes across faster and more articulate with snappier attack and decay qualities. I prefer the presentation of the Vesna though, as notes are better defined, lacking any form of splash as heard on the T2+. When it comes to sound stage I find the T2+ to come across wider and deeper, more easily tossing sounds off into the distance. This almost feels exaggerated when listening to the two back-to-back as the T2+s default vocal positioning is closer to the head. Sounds are clearly given more room to move about.


In The Ear The Vesna takes on a standard bullet shape that has been used with earphones at all price ranges, for nearly as long as earphones have existed. Amusingly, when it was initially announced the community called out Astrotec for ripping off the design of the Venture Electronics BIE. Sorry to burst your bubble of toxicity ladies and lads, but the Vesna is much smaller, more attractive, and better built to boot. The only similarities between them are the fact that they're both bullet-shaped, albeit one considerably sleeker than the other.

Common to both Vesna models is the aluminum shell and rear face plate decorated with a plus sign. On the standard Vesna the rear plate is a subtle metallic blue, while the EVO goes for a more eye-catching gold. Stainless steel mesh neatly inserted at the end of each nozzle protects the drivers from dirt and debris, while a prominent lip holds tips tightly in place. Where the two part ways is in the cable.

Fixed on the standard Vesna, the mono-strand cable is well-relieved leading into the earpiece and at the compact straight jack. The minute y-split sees a fairly substandard relief entering the bottom, and nothing up top. Not unsurprising given the inclusion of a chin cinch. The sheath used provides a mostly positive experience given it is flexible and both memory and tangle resistant, but it does transmit more noise from bumping and rubbing than I'd like. I find this a common problem with bullet-shaped earphones. You can mitigate noise by either wrapping the cable up and around the back of your ear, by tightening up the chin cinch, or by using both techniques at the same time for the greatest effectiveness.

The Vesna EVO has a removable cable, and boy is it a good one. A twisted bi-strand design is present, dividing at the y-split as the cable leads up to each 2-pin plug. The jack used it still straight and decently relieved, but is a touch beefier with a light coke-bottle curve to it that makes gripping it easier. The y-split is shorter but thicker with a matte finish and drops all relief. Luckily, a chin cinch remains. I was surprised to see the 2-pin plugs equipped with small strain reliefs. They are also colour coded to denote channel with addition coloured dots in place to ensure you don't plug them in out of phase. A thoughtful and important touch that most brands fair to address. As on the standard Vesna, the sheath is flexible and both tangle and memory resistant, just a hint less in each aspect. On the plus side, noise transmitted from bumps and rubbing is slightly less intrusive, and just as effectively mitigated by wearing the cable up, using the chin cinch, or using both methods at the same time. Personally, I think this cable is worth the price of admission by itself, and certainly of high quality than anything included with flavour of the month brands like KZ, CCA, Blon, NiceHCK, etc. Getting a good sounding earphone along with it is a bonus.

Comfort on both Vesna models is outstanding. They are small, light, and with just the right length of nozzle to ensure a secure fit without it being too deep, or too shallow (for me at least). This is one of those earphones I can wear literally all day since they cause no discomfort or hot spots given their weight distribution is near perfect, and they lack any form of sharp edges. Of course it's always best to take breaks every hour or so to protect and preserve your hearing.


In The Box The Vesna and EVO share mostly identical, compact packaging. On the front of the exterior sheath, each provides a wire-frame style image of the earpieces profile, as well as the rear plate. It is also noted they're using an LCP diaphragm, similar to the S70 true wireless model released late 2021. On the rear of each sheath you find identical product specifications, save for the 2-pin cable on the EVO, as well as frequency response measurements. Removing the sheath reveals the ear pieces tucked into foam inserts with the cables wrapped underneath, and a smaller cardboard insert in which the accessories lay. In all you get:

Vesna standard:

• earphones
• fabric carrying pouch
• ear tips (s/m/l)
• USB-c to 3.5mm adapter

Vesna EVO:

• earphones
• 0.78mm 2-pin cable
• ear tips (s/m/l)

A fairly sparse unboxing experience for each model, but given the price that's to be expected. On the plus side, the tips are of excellent quality and I've felt no need to move away from the stock mediums. The included carrying bag is durable and spacious too. Other brands that dabble in this price range should take note. Lastly, the omission of the type-C adapter with the EVO is a bummer, but only a small one given the quality of the included 2-pin cable. I suspect this will be an issue mostly for North American customers, but just as I experienced with the adapter that came with the Kinera Freya, and the Hifiman RE400C itself, they only work with limited devices. In my case, the Huawei P40 is the only device I have access to that the adapter is compatible with. Your mileage may vary.


Final Thoughts The under 50 USD earphone market has exploded in recent years and is over-saturated with products, most of which are at the very least perfectly acceptable, if not quite good. The Vesna stands out thanks to fair pricing, some amazing build quality, and a well-rounded tune that successfully targets pleasing the greatest number of people possible. Unlike other products that aim for this, the Vesna doesn't sound boring, nor do you have to replace the cable and tips out of the box while being expected to put up with mediocre ergonomics or other compromises. It is a well-thought out, well-engineered product that is more deserving of your money than nearly anything else at this price point I can think of, unless you're looking for a more niche tune of course. Very well done Astrotec!

Thanks for reading!

- B9

Disclaimer Thank you to Astrotec for reaching out to see if I would be interested in reviewing the Vesna duo, and for arranging samples for the purposes of review. The thoughts withih this review are my personal, subjective opinions and do not represent Astrotec or any other entity. At the time of writing the Vesna was retailing for 19.90 USD, and the Vesna EVO for 34.90 USD. You can check it out here; https://astrotecglobal.com/products/vesna

Specifications

Driver: 6mm Dynamic Driver, LCP diaphragm
Input: 1 mW
Impedance: 30 OHM
Cable: High Purity OFC Cable 1.2±0.3m (Vesna) / 2-pin High Purity OFC Cable 1.2±0.3m (Vesna EVO)
Max Input: 3mW
Sensitivity: 102dB/1mw (S.P.L at 1KHz)
Connector: 3.5mm stereo plug
Frequency Response: 5Hz – 22KHz

Some Test Tunes

Aesop Rock – The Impossible Kid (Album)
Hail Mary Mallon – Are You Going to Eat That? (Album)
King Crimson – Lark’s Tongues in Aspic (Album)
King Crimson – Starless and Bible Black (Track)
Supertramp – Crime of the Century (Album)
Infected Mushroom – Legend of the Black Shawarma (Album)
Gorillaz – Plastic Beach (Album)
Massive Attack – Mezzanine (Album)
Fleetwood Mac – Rumors (Album)
Run the Jewels – Run the Jewels (Album)
The Prodigy – The Day is My Enemy (Album)
Tobacco – screw*d Up Friends (Album)
Felt – Felt 2 (A Tribute to Lisa Bonet) (Album)
Michael Jackson – Thriller (Album)
The Crystal Method – Grace (feat. LeAnn Rimes) (Track)
Jidenna – Long Live the Chief (Track)
Skrillex – Ragga Bomb (Track)
Big Grams – Run for Your Life (Track)
Funkadelic – Maggot Brain (Track)
Aesop Rock – Fishtales (Track)

Greetings!

Today we're looking at the Legacy 2 from ThieAudio.

ThieAudio is Linsoul Audio's in-house brand. Created in 2019, it quickly gained steam as a reliable brand producing competitive, high performance earphones. Their lineup has expanded greatly since their arrival on the scene, and include three main product types; tribrids, hybrids, and BA-only earphones. Of course they also offer a variety of accessories. The Legacy 2 we're checking out today is a 99 USD 1+1 hybrid utilizing a Knowles ED29689 balanced armature and 10mm beryllium coated dynamic driver.

I've been using it consistently over the last 6 months and feel it is one of the best products available at its price thanks to it s premium build, affordable price, and versatile, well-tuned signature.


What I Hear

Tips: The Legacy 2 comes with wide and medium bore tips of decent quality, the latter of which I feel best pair with the Legacy 2. The smaller bore helps highlight the sub-bass bias and warms up the signature a touch, though this comes at the expense of a some upper end energy. Alternate, higher quality tips I can suggest in place of the stock medium bode set are those from Moondrop, or Sony Hybrids if Moondrop's silicone is too stiff for you.

Treble is lean and crisp with good extension and a ~7k peak that gives the presentation plenty of energy and shimmer. Notes are well controlled and free of splash with a tight, defined feel. Refinement is high with next to no grain or rough edges present. The thinness permits plenty of space and air, and helps to highlight the exceptional detail and clarity on board. I'd be completely happy with this type of presentation on an earphone that is more neutral leaning and analytic, let alone on a mild v-shape like the Legacy 2. Good stuff here.

Dipping into the mids the Legacy 2 follows the recent trend of bumping the upper midrange. Personally I quite enjoy this style of tune since it keeps vocals prominent and clear regardless of how bassy or treble heavy a track is. Luckily I found the rise subtle enough so as to avoid causing fatigue, though the more sensitive of you out there will surely enjoy tossing buzzwords like shouty at the Legacy 2. Another benefit of this presentation is attack enabling percussive and other rhythmic instruments definitively and confidently carry a track. Complaints? I personally personally a thicker, warmer presentation for female vocalists. Works great for deeper voices though.

The Legacy 2's low end is sub-bass biased which makes sense given the lean presentation on hand. Extension is overall quite good, though it drops off suddenly leaving some passages falling flat when they should be providing a hefty, visceral feel. Texturing is impressive with grungy, dirty notes being properly represented. Those used to or seeking the Harman target might find the Legacy 2's low end lacking or anemic since the mid-bass bloat and warmth Harman seekers love is missing. Speed and control is again impressive with the dynamic driver used easily handling speedy, complicated passages without distortion or muddying.

The Legacy 2's soundstage is simply put, awesome. While depth is fairly average, width is seriously impressive with sounds careening convincingly off into the distance. I love using these for gaming since they provide a much more convincing sense of scale than most other earphones. Imaging backs this up with extremely tight, nuanced channel-to-channel movement that puts more conventionally tuned products to shame. Track layering is pretty average thanks to the moderate depth present, though the same cannot be said for instrument separation. The lean, highly detailed presentation leaves plenty of room for individual instruments to play, enabling the listener to pick apart individual track elements and follow them with ease.


Compared To A Peer (volumes matched with a Dayton iMM-6)

TinHiFi T5 (129.00 USD): Bass quantity and presentation between the two is similar with the T5 providing a slightly more linear move through sub- to upper-bass regions. The Legacy 2's bass quality is superior to my ears as it produces more texture and is a bit more controlled and nimble when it comes to rapid note repetition. They're similarly visceral though with deep providing a solid rumble. Heading into the midrange both earphones lift around 3k allowing vocals to stand out. The Legacy 2's vocal presentation isn't quite as forward but is a touch warmer. Both are quite detailed with the Legacy 2 doing a better job of nullifying sibilant tracks. Timbre quality is also firmly in the Legacy 2's camp, though it's still a bit brighter than is completely natural. Treble is where the two take a sharp detour. After the 3k rise, the Legacy 2 takes a smooth dip down to 8k, where a small 10k peak adds back some sparkle. The T5 on the other hand has strong peaks around 5k and 7k that give it plenty of sizzle and sparkle. At times it can sound harsh and cause fatigue where the Legacy 2 remains energetic but non-fatiguing. Detail and clarity are superior with the T5, but not by much. Both have immersive sound stages, with the T5 coming across wider and deeper. Technical competency goes to the Legacy 2 though, with better defined and more precise channel-to-channel movement and improved instrument separation. I found the T5 to match the Legacy 2 with how well they layered tracks, however.

Overall, I really enjoy them both but if I had to pick one it would be the Legacy 2. The additional sub-bass bias it provides, combined with it's lean, crisp mids and bright, but not fatiguing upper ranges make it a great listen with pretty much everything, and along the lines of the sort of signature I prefer. I find the T5 more comfortable and enjoy the extra energy it brings to the table, but it lacks the versatility as a result of being more fatiguing. Still one of my personal favourites though.


In The Ear The Legacy 2's shells feature the same, low profile, custom-like shape that has become exceptionally common over the years. The acrylic design is wonderfully put together, free of seams or sloppy mould lines, with a gorgeous blue, abalone-like inlay making up the face plate. The receptacles for the 0.78mm 2-pin cable sit flush with the body of the earphone and provide some protection from lateral movement. Up near the 2-pin ports are two small vents, one surrounded by a brass coloured ring. As expected, they're flawlessly integrated. While the lips on the nozzles are not overly prominent, they work well enough to hold more 3rd party tips securely. I haven't had any slip off and get stuck in my ear.... yet.

The 4 strand braided cable is also excellent. While the braiding is quite loose, something I'm not generally a fan off, the sheath itself is slightly stiff and feels plenty resistant to cuts and nicks. The compact straight jack is polished aluminum with a small but relatively effective strain relief. The aluminum y-split is featureless and really only there to hind the strands to splitting as they lead to each earpiece. While there is no strain relief here, you do get a useful rubber chin cinch. Leading up to the colour coded 2-pin plugs (clear for left, red for right) are preformed ear guides that effectively keep the cable behind your ear. This cable is light, looks good, displays limited microphonics, and is quite tangle resistant. It's a great inclusion.

Comfort is also a win for the Legacy 2. The shell is reasonably small, extremely light, and with outstanding ergonomics nearly disappears in the ear. The protrusion out back that hooks into the cavum is subtle but works well in keeping the Legacy 2 stable during movement.


In The Box The Legacy 2 arrives in a fairly plain matte black cardboard box. On the front of the exterior sheath in silver foil writing is the ThieAudio brand name, while on the back you find their website and Made in China. Slipping the sheath off reveals identical branding on the lid. Lifting off the lid reveals the earpieces with cable attached set within a dense foam insert taking up the top half of the interior. The remaining space and contains a very slim cardboard box containing the manual and other documentation. Beneath is a gorgeous faux-leather carrying case containing the remaining accessories. In all you get:

• Legacy 2 earphones
• Braided 0.78mm 2-pin cable
• Carrying case
• Wide bore single flange tips (s/m/l)
• Medium bore single flange tips (s/m/l)
• Velcro cable tie

Overall a solid, low-frills unboxing experience. The wide bore tips use a tough, durable feeling silicone that reminds me quite a lot of the those FiiO includes with a number of their products. The medium bore tips are exceptionally common and are included with countless other earphones. They're serviceable. The case is the real highlight, similar in design to those provided with TinHiFi's nicer models, like the T4. The dark blue faux-leather pattern looks stellar, and there is plenty of room inside for the earphones and spare tips. The magnetically restrained flap seals the deal.


Final Thoughts Is this the best product available at 100 bucks? For some, yes. For others, no. That's the beauty of variety being present in this hobby. There should always be something to satisfy the infinitely varied listeners out there, contrary to what the Harman curve lovers and measurement freaks want the hobby to devolve into. For my tastes, the Legacy 2 has no auditory equal at this price range. I adore it. It also doesn't hurt that they look gorgeous, are built well, are extremely comfortable, and come with a solid suite of accessories. If you follow my reviews and tend to have similar tastes, get the Legacy 2. You won't be disappointed. If you tend to dislike what I enjoy, you know what to avoid.

Thanks for reading.

- B9

Disclaimer A big thank you to Lillian with Linsoul for reaching out to see if I would be interested in covering the Legacy 2, and for sending a copy for review. And for her unlimited patience. The subjective thoughts within this review are my own and do not represent Linsoul, ThieAudio, or any other entity. At the time of writing the Legacy 2 was retailing for 99 USD. You can order yours here: https://www.linsoul.com/products/ThieAudio-legacy-2

Specifications

• Drivers: Knowles 29689 + 10mm Beryllium-Plated
• Frequency Response: 20Hz-20kHz
• Sensitivity: 108dB
• Impedance: 32ohms

Gear Used For Testing Huawei P40, DDHiFi TC35 Pro (Mountain), Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501


Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams

Greetings!

Today we're checking out one of Campfire Audio's newer mid-fi entries in the versatile Mammoth.

With a v-shaped tune, the Mammoth is not alone among it's family of Campfire Audio hybrids. What sets it apart and makes it one of the best they've released to date (in my opinion of course) is the relative restraint they took when tuning bass quantity, and the newfound emphasis on mids. It is certainly more even and versatile than other hybrids in the lineup, without making any drastic sacrifices to detail, clarity, aggression, etc.

I've spent nearly six months with this beast and it has worked it's way into my personal listening lineup, something that is quite rare given the literal hundreds of products I've listened to and reviewed over the last decade. Given this, you would expect me to enjoy it quite a bit, and you wouldn't be wrong. Let's take a closer look at why, shall we?


What I Hear While the Mammoth is another v-shaped hybrid entry into Campfire's lineup, I find it to be the best tuned of the bunch. It's considerably less skewed at the extremes than models like the Polaris II and Dorado 2020, with a stronger emphasis on timbre quality and vocals. As a result, this is one of my favourite Campfire models. It is versatile and technically capable without any glaring flaws.

Bass is boosted but not massively so. While the low end is slightly skewed towards sub-bass, mid-bass still has a decent amount of kick and adds a solid amount of warmth and density to the presentation. It is a visceral presentation, just not an aggressive one since notes linger a bit after the initial punch. The dynamic used here is relatively quick and does a fine job with rapid bass notes like those found in metal tracks, such as Havok's “D.O.A.”. Texturing is on the smoother side. It works great with sleek tracks like GUNSHIP's “Fly For Your Life”, but leaves me wanting slightly on grungier tracks like Black Tiger Sex Machine x Apashe's “The Grave (feat. Gabriella Hook)”.

The mids are where I was most surprised by the Mammoth, and where is separates itself from its stablemates. Lifted around 2.5k, it bring vocals into a position to play alongside bass and treble regions, without being overshadowed. Notes are well weighted with just the right amount of warmth to suit both male and female vocalists. I can enjoy Celine Dion just as much as Aesop Rock. Speaking of the latter, the Mammoth is one of a select handful of products that can tame the intensely siblilant (and awesome) album 'Spirit World Field Guide'. The recording is still aggressive, but it is significantly more listenable through the Mammoth that the vast majority of headphones/earphones/earbuds I've tried. Since the Mammoth is quite forgiving, I can handily recommend it to those who experience discomfort due to sibilant vocals.

Treble quality was another satisfying surprise. Notes are clean and tight with a a fairly linear move from presence to brilliance regions. With small peaks around 5k and 8k, the Mammoth finds itself outputting a solid balance of detail and sparkle. It's smooth and non-fatiguing with a lack of splash or looseness, to the point where it can make The Crystal Method's "Grace (featuring LeAnn Rimes)” with it's horrendous screeching affects a fairly enjoyable listen. Notes have solid air and space between them too, with decent transparency only coloured a hint by that mid-bass warmth. I don't find it harsh or fatiguing, even at higher volumes than I normally listen. In general just a very capable and technically positive performance here.

When it comes to sound stage the Mammoth is a bit more average. I found it to be well-rounded with neither width nor depth being obviously more prominent. Vocals have a reasonably close default positioning leaving effects to trail off reasonably far into the distance. It worked well with gaming immersion, such as in World of Tanks when shells bounce of your armour and whistle away. The Mammoth's imaging quality also helped with immersion thanks to smooth and decently nuanced channel-to-channel transitions. Tossing on the final few minutes of King Crimson's “Starless and Bible Black” shows off the Mammoth's ability to effectively separate and layer individual instruments in a busy, congested, purely chaotic track. Other iems do this better, sure, but the Mammoth is an all-rounder and it handles this without congestion, muddying, or compression.

Compared To A Peer (volumes matched with Dayton iMM-6)

Dunu DK-3001 Pro (469.00 USD): The DK-3001 Pro was one of my favourite products of 2020 thanks to its balanced sound and technical competency. Bass quantities between the two are reasonably similar with the Mammoth placing a few dB more emphasis on sub-bass, vs. the Dunu's more even and linear shift from lower to upper bass. As such, the DK-3001 Pro is less visceral and adds minimal warmth to the overall sound. It also has a thinner, lighter feeling presentation overall. The Dunu also better reacts to rapid notes and transitions, while also offering mildly improved texturing. The Mammoth's upper mid peak serves to boost its percussive attack and enable vocals to cut through the added mid-bass, but as a result it doesn't sound quite as natural and realistic as the DK-3001 Pro. Heading into the treble the Mammoth is technically brighter thanks to a more even presence/brilliance region balance and in general more elevated treble region. It also has a mild 7k peak which adds some shimmer, whereas the DK-3001 Pro dips and peaks instead at around 10k, skewing it's emphasis towards the lower treble. Because the Mammoth's treble is countered by a more abundant low end, I perceive the DK-3001 Pro to be the more bright-leaning of the two since the mild lower treble elevation sticks out and pretty evenly shares the spotlight with the mids and bass. In terms of speed and detail I find the two to be fairly even. Notes are a hint tighter and better controlled through the DK-3001 Pro, though neither is anywhere close to splashy to my ears. In terms of sound stage these two again go tit for tat. I find the DK-3001 Pro to sound a hint deeper while the Mammoth comes across overall a bit more round and even while drawing sounds a further into the distance. Imaging is sharper and more nuanced on the Dunu, while both do an excellent job of separating instruments. I found the DK-3001 Pro to layer better though. Overall I find these two quite complimentary. The Mammoth is the less serious of the two thanks to it's thumpier, more visceral signature. I'd use it for rap, EDM, and music they lays into artificial instruments, while the DK-3001 Pro does a better job with actual instruments and more heavily layered material.

Polaris II (499.00 USD): If you go into the Mammoth expecting a Polaris III, you'll either be disappointed or pleasantly surprised. They are very different beasts. The Polaris II is tailor made for bassheads thanks to its absurd bass quantity and extension which at its most extreme is a good 10dB above what you get out of the Mammoth. This gives it a warmer, somewhat stuffier presentation thanks to some minor bleed into the mids. The Mammoth does not suffer from this and also comes across faster, more detailed, and better textured, though the low end is still no detail champion. Like the Polaris, the presentation goes for smoothness over nuanced clarity. Heading into the mids the Mammoth is quite an improvement. Vocals are more prominent and much clearer with the reduced warmth giving the presentation a more natural and timbre accurate feel. Treble is more enjoyable out of the Mammoth too. Notes and tighter and more defined with a better balance in the presence and brilliance regions. Peaks are less exaggerated on the Mammoth yet it still outputs improved detail and a more satisfying shimmer as it better blends with the overall sound field. One area where the Polaris II outshines the Mammoth is in it's sound stage. Thanks to the underlying waves of bass and vocals which are set further back, I found the Polaris II to sound quite a bit wider and deeper. It better envelops you in the music, though that's all it does better. When it comes to technical qualities the Mammoth kinda stomps all over it. Imaging is pretty good out of the Polaris II, but lacks the nuance and fine shifts the Mammoth is capable of. The same can be said for layering and separation. The Polaris II is no slouch, the Mammoth is just straight up better. If you want a bass cannon the Mammoth is no replacement for the Polaris II, but for my listening habits the Mammoth is infinitely more flexible and in general is just a much stronger performer.

Dunu Zen (699.00 USD): Upon first listen comparing these two, it came as a surprise that the Zen was the bassier of the two. Like the Mammoth, it has a sub-bass bias, though it is more prominent on the Zen. As a result it produces and even more visceral experience on extra deep notes. In addition, the Zen's driver is quite a bit faster with extremely quick attack and decay qualities. As a result those big bass hits really slam, though I can find some enjoying the Mammoth's lingering decay more enjoyable. The Zen also takes it in the texture camp, better reproducing the dirty bass from groups like The Prodigy and Malibu Ken. Heading into the mids both have a boosted upper-mid region with the Zen taking it a step further. I appreciate how this brings up the Zen's vocals and aids in it's aggressive attack qualities, though it does negatively affect timbre leaving the warmer sounding Mammoth feeling somewhat more natural. Where the Mammoth drops emphasis leading into the presence region, the Zen holds strong with another little peak at 4k, then dips. This gives it the edge in terms of clarity and the tightness of individual notes at the expense of sounding a bit more closed in. Vocals sound closer by default than through the Mammoth. Both have a fairly well-rounded staging presence, with the Mammoth coming across wider and deeper overall. Where the Zen pulls back some points is in imaging which is razor sharp and extremely nuanced, and layering which is a hint more apparent than on the Mammoth. I find the Mammoth handles instrument separation is mite better though, which I'll attest to the multi-driver setup. Overall I find these two to be heated competitors. They go at v-shaped signatures in different ways. For me, I prefer the Zen thanks to it's sub-bass bias and stronger upper mids. That said, I feel most would enjoy the more mellow, warmer Mammoth more.


In The Ear Campfire's iconic design language returns for the Mammoth, with clean angles wrapped around a low profile design. Like other models in the lineup, the shells here are machined aluminum. This time they have been anodized in a lush blue, 'frozen tundra' finish. I think it looks fantastic, and is a more attractive shade than used on either of the Polaris models. As is usually the case with Campfire Audio products, fit and finish is class leading. Gaps between the black PVD finished stainless steel nozzle and two shell sections are nonexistent. The black tri-lobe screws holding the shell together are threaded perfectly and provide some contrast to the unique colouring. The inlaid Campfire logo has a party piece this time around, that being glow-in-the-dark paint. Definitely a gimmick, but it's enjoyable. Buyers at this price range tend to take things a little too seriously, so it's refreshing to see Campfire Audio let go and have some fun with their gear.

The cable is more-or-less the same one included with a number of other Campfire Audio products, though the glow-in-the-dark motif they've gone for for carries over to the hardware. The glowing 90 degree angled jack is smartly designed with an extension to permit compatibility with a wide variety of device cases. While the strain relief is still stiffer than I find ideal, I've yet to experience an issue with it on any other Campfire Audio product. These cables are plenty durable. Within the small, reliefless aluminum y-split, the cable divides sending two strands on each side to the ear pieces. Slotting into the top of the split is a small plastic chin cinch. It moves much more smoothly here than on older Campfire cables and as a result is much more useful. They missed an opportunity to make the cinch glow though. Tsk tsk. The same excellent preformed ear guides Campfire has been using for a while now are found on the Mammoth. They are light and flexible, yet they hold the cable securely in place behind the ear. The guides lead into the MMCX plugs which of course now glow in the dark. Left and right markings remain appreciably redundant with recessed L and R markings present on the plug and earphone body. Small blue and red dots round things out.

Since the Mammoth uses Campfire's iconic angular shell design, those who have had issues with it in the past won't experience anything new here. For myself, I find it extremely comfortable, though I still prefer the short, stubby nozzles of the 2020 Andromeda to the longer nozzles found here. The shell used here is the refined version we've come to expect. While angular, the more aggressive edges have been rounded out making it more pleasant to wear for long periods. This shell design and the shape of my outer ear are very much compatible with each other. When it comes to isolation I found the Mammoth to be below average. On the face plate of each ear piece is a small vent that lets in outside noise, but more offensively, exacerbates the noise of wind rushing by. While not nearly as bad as it was on the original Polaris, it is still quite distracting when walking outside when there is a breeze. If you want to improve isolation pair the Mammoth with tips that give a decent depth of seal, have multiple flanges, or use a thicker silicone wall, like the included Type-E tips. Or better yet, use the included foams.


In The Box The Mammoth's packaging follows the format set by 2019's releases with the earphones arriving in a squat, square box, protected by an exterior sheath that is sealed shut by a shiny Campfire Audio seal on the back. While their typical astronomical theme was brought back for the Holocene, the Mammoth sticks with a more abstract theme, this one being “All Seeing Eye”. On the front of the sheath is a large sticker with an image of the earphones along with the usual branding and model info, all set over top of a vibrantly coloured, stylized eye within a triangle design. Another sticker is present around the front edge containing another image of the earphones, some company info, among other details, all set over the same wacky background.

Breaking the seal allows the sheath to unfold in four segments revealing the main box within. Lifting it out reveals the same uplifting interior to the sheath we've seen before; the CA logo dead centre with rays exploding outwards in a dramatic fashion. Looking back at the main box we see Campfire's familiar mountainous scene along with more CA branding. Lift the lid and you're greeted to “Nicely Done” printed on the front flap and their now standard half-moon carrying case, though this time it is made from upcycled marine plastics with glow-in-the-dark accents; the zipper and Campfire Audio logo. You also find a smaller cardboard box containing the main suite of accessories. Tucked beneath it all is a warranty card and manual. In all you get:

• Mammoth earphones
• All-Seeing Eye Carrying case
• Smoky Glow Silver Plated Copper Litz Cable
• Final Audio tips (xs/s/m/l/xl)
• Campfire Audio Marshmallow tips (s/m/l)
• Medium bore single flange silicone tips (s/m/l)
• Campfire Audio lapel pin
• Cleaning tool
• Mesh accessory case (x3)

Overall a pretty fantastic unboxing experience, as I have come to expect from the brand. Their use of recyclable, sustainable materials is a brand standard and a welcome departure from the needlessly complicated (though fun to disassemble) and less environmentally friendly packaging of the competition. The accessory kit is right up there with the best I've experience thanks to the inclusion of a wide variety of tips and styles. Final Audio's Type E tips are durable and provide a fantastic seal, giving most earphones you pair them with a slight low end boost thanks to the small bore. The included wide bore tips are fairly standard but they too provide a good seal and are a more balanced sounding option. Campfire's Marshmallow tips have shown themselves to be fairly resilient for a foam tip and do a great job of boosting isolation and softening treble peaks. The inclusion of a number of mesh bags to store everything in is awesome too.

Final Thoughts I've certainly enjoyed Campfire Audio hybrids over the years, and 100% appreciate their style of tuning, even if I don't always enjoy it. They don't usually tune for the status quo, instead injecting a wide variety of sounds into their lineup, each tailored to a specific type of listener. The Mammoth somewhat takes step back from this, and I think that was a wise decision.

As a mid-tier product, it has a jack-of-all-trades quality to it. While still v-shaped, it is less so than their other hybrids and as a result you get improved timbre, more forward and natural vocals, and less fatigue over long listening sessions since there isn't ear drum shattering bass, shouty mids, nor aggressive treble. The Mammoth is a wonderful all-rounder that gives you a taste of the various tuning styles within Campfire Audio's lineup. If you want more bass, move up to the Dorado 2020. If you like the detail and clarity on offer and want more of that, try the reference tuned Holocene or step straight up to the Ara. If you like the silky mids, go with the tried and true Andromeda 2020. It really is a well-tuned and extremely versatile, genuinely enjoyable earphone that deserves more attention.

In addition to being well-tuned, you get the same awesome accessory kit we've come to love and expect from the brand. Campfire's iconic shell is part of the deal too, and it looks outstanding in the dark blue selected this time around. I can't argue against the glow-in-the-dark aspect either. It looks neat and is a fun, welcome addition, even if it is a bit gimmicky.

Overall a stellar piece of equipment that should satisfy buyers for a long time. Nicely done Campfire Audio. Nicely done.

Thanks for reading!

- B9

Disclaimer A big thank you to Caleb with Campfire Audio for reaching out to see if I would be interested in reviewing the Mammoth, and for arranging a sample. The thoughts within this review are my own subjective opinions based on almost 6 months of use. They do not represent Campfire Audio or any other entity, and do not detract from the opinions of others who may or may not have listened to the Mammoth before posting their opinions. At the time of writing the Mammoth was retailing for 549.00 USD: https://campfireaudio.com/shop/mammoth/

Specifications

• Frequency Response: 5Hz-20kHz
• Sensitivity: 94 dB SPL@1kHz: 18.16 mVrms
• Impedance: 8.1ohms @ 1kHz

Gear Used For Testing Huawei P40, DDHiFi TC35 Pro (Mountain), Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams

Greetings!

Today we're checking out one of Campfire Audio's newer mid-range offerings, the triple armature Holocene.

While the colour scheme is reminiscent of their original flagship, the Jupiter, the sound tuning is inspired by the limited edition c/2019 Q4. Inside each shell are three balanced armatures per side, housed within Campfire Audio's now ubiquitous 3D printed acoustic chamber. Unique to the Holocene and release mate, Mammoth, the shell, cable, and carrying case contain glow-in-the-dark elements that lighten the mood somewhat. Audiophiles and the audio community seem to take things way too seriously nowadays, so it's nice to see a leading brand like Campfire Audio have some fun with a product aimed squarely at the audiophile crowd. The glow-in-the-dark feature would also be handy in a dim listening environments.

I've spent plenty of time with the 649.00 USD Holocene over the last 6 months or so, and feel that it is one of Campfire's strongest offerings to date. Let's take a closer look at why, shall we?


What I Hear With the exception of a brilliance region peak around 10k, the Holocene has a very flat, almost reference style tune that distinguishes itself from the rest of Campfire Audio's lineup. Sub-bass extension is quite good for an armature-only unit with a very smooth transition into the upper-bass and mids. Bass-heavy tracks like Ludacris' “How Low” are reproduced adequately, though more quantity would be preferred if that, EDM, pop, etc. is going to be your preferred style of music. The absence of a notable mid-bass hump and general reserved nature of the bass presentation means there isn't a ton of visceral feedback coming from the Holocene. Even so, notes still have decent punch. Texturing is handled well with the Holocene finding itself being informative, but without crossing into the territory of more clinical sounding iems like the EarNiNE EN2J or Campfire's own Ara.

The midrange is a treat, as I find to be the case with most Campfire Audio earphones. This region is basically flat from lower to upper mids with a slight dip occurring during the transition into the presence region. Timbre is quite accurate but has a minute tilt towards the cool side of things. I feel a bit of additional warmth would benefit the presentation. At least it doesn't sound wooden, plasticy, or dry, as is oft the case with earphones using this driver tech. Vocals are nicely weighted with a drift towards a leaner sound. This plus the hint of coolness in the tonality leaves the Holocene best with male vocals to my ear, such a Supertramp's Roger Hodgson. Most female vocalists, in my opinion, need some extra warmth and weight to sound at their best. A light bump in emphasis between 2-4k would also better suit my tastes as it would gives vocalists a bit more presence in the mix, and aid in giving drums and other percussive instruments a stronger attack. The drivers in the Holocene are plenty quick and articulate, but the lack of a definitive attack on drum strikes feels out of place given the treble energy present.

Treble energy is concentrated in the brilliance region thanks the prominence of a ~10k hump. This peak adds plenty of sparkle to the presentation and results in a very airy feel between notes. It truly dominates the upper frequency presentation, mostly thanks to a dip throughout the presence region. This dip is good because it aids in the Holocene's otherwise transparent and mostly uncoloured presentation. That said, if it were emphasized a few dB more it would bring up details levels even more which to my ears would make the Holocene near perfect for track dissection, without crossing the line into being fatiguing. If I were to levy any complaints at the treble presentation they would be that the brilliance peak is too strong and skews what is otherwise a wonderfully balanced signature. I can see some finding claps, snares, chimes, etc. coming across too prominent in comparison to the rest of the mix. This is quite noticeable with metal tracks like Havok's “ D.O.A.” For my tastes, this bright-leaning tuning works well. I also found the presentation up top to contain some grain that I wasn't expecting for a product in this price range. Given how smooth the rest of the signature is and how tight and well-defined notes are, it stands out, though it's certainly nothing significant enough to ruin the experience.

The Holocene's sound stage is quite good, though not top of class. Width and depth are fairly even and well rounded. Tossing on BT's experimental album 'If The Stars Are Eternal Than So Are You And I' shows off the Holocene's ability to encapsulate you in a track. Channel-to-channel movement is extremely effective with sounds moving smoothly and cleanly. They can also be tossed well off into the distance, providing a convincing sense of space. Instrument separation holds up well even on messy, complicated tracks like “Starless and Bible Black” from King Crimson where lesser earphones end up congested and muddy. Track layering is also handled very well with various sound effects and instrument remaining distinct and easy to follow should you feel the need to dissect the stack.

While not my personal favourite earphone in their lineup (that still goes to the Ara), I do feel the Holocene is one of their strongest offerings. It is balanced and energetic with plenty of detail and a reference style presentation that should satisfy the most critical of listeners. For my tastes I'd make some light tweaks here and there, but as-is it is pretty fantastic.

Compared To A Peer (volumes matched with Dayton iMM-6)

Dunu Zen (699.00 USD): Given the Zen's use of a single dynamic, it's not surprising to hear that it has a much more robust low end presentation. Sub-bass presence is considerably greater with more prominent extension. Mid-bass is warmer and punchier. The entire experience out of the Zen is much more visceral and tactile, though the Holocene nails finer details the Zen glosses over. Thanks to the Zen's stiffer diaphragm materials, it can keep up with the Holocene's armatures just fine on quick and complicated tracks. Whereas the Holocene's midrange is flat and even throughout, the Zen has a prominent upper mid peak. While I personally really like this style of tune thanks to the vocal boost and percussive attack it brings with it, the flatter, calmer presentation of the Campfire will better please some. The Zens upper mid boost brings with it some dryness that puts timbre quality behind the more organic sounding Holocene. If you're treble sensitive, the Zen will probably be a better choice for you. It is firmly skewed towards the presence region which helps give the Zen it's excellent detail and clarity, with a much reduced brilliance region that helps prevent fatigue. While the Holocene can match the Zen's detail output, it is considerably more energetic in the brilliance region giving it more shimmer and sparkle, but also causing fatigue earlier on during a listening session, especially if you listen loud. The sound stage on these two is comparable, though they go at it differently. Both place vocals fairly close to the ear with sound spacing out behind. The Zen's stage feels more rounded and even, but lacks the depth of the Holocene. Imaging isn't quite as precise either, though they go head-to-head with track layering. I'd give the Holocene a slight edge in instrument separation thanks to a smoother, tighter treble presentation.

Campfire Audio Andromeda 2020 (1,099.00 USD): Bass performance on the two is similar. The transition from lower to upper bass is smooth and consistent with an even emphasis throughout. The Andromeda has slightly more presence until you reach the lower mids, and as a result its signature is a bit warmer and accurate sounding to my ears. Speed, attack, and texture between the two are comparable. Heading into the mids the Holocene remains flat and free of peaks while the Andromeda bumps the upper mids. As a result the Andromeda has a more aggressive attack and decay pattern. For the most part time on the Holocene remains slightly more accurate, with its flat lower treble and brilliance spike skewing things towards a lighter, brighter sound since there is less mid-bass warmth to counter. The Andromeda's comparatively bumped low end and more relaxed presence and brilliance regions blend better with the midrange peak to my ears, giving it a more realistic and natural presentation. The Andromeda is well known for it's capacious sound stage and outstanding technical qualities, some of which have bled down to the Holocene. The Holocene's staging isn't quite as wide or deep, nor does it layer quite as well, but instrument separation and imaging quality is comparable. It sounds like a small step down from the Andromeda.


In The Ear Campfire's iconic design language returns for the Holocene, with clean angles wrapped around a low profile design. Like other models in the lineup, the shells here are machined aluminum. This time they have been anodized in a reddish brown, 'umber' finish. Personally, I love the colour and it takes over from the IO as my favourite colourway. As is usually the case with Campfire Audio products, fit and finish is class leading. Gaps between the black PVD finished stainless steel nozzle and two shell sections are nonexistent. The black tri-lobe screws holding the shell together are threaded perfectly and provide some contrast to the unique colouring. The inlaid Campfire logo has a party piece this time around, that being glow-in-the-dark paint. Definitely a gimmick, but it's enjoyable. Buyers at this price range tend to take things a little too seriously, so it's refreshing to see Campfire Audio let go and have some fun with their gear.

The cable is more-or-less the same one included with a number of other Campfire Audio products, though the glow-in-the-dark motif they've gone for for carries over to the hardware. The glowing 90 degree angled jack is smartly designed with an extension to permit compatibility with a wide variety of device cases. While the strain relief is still stiffer than I find ideal, I've yet to experience an issue with it on any other Campfire Audio product. These cables are plenty durable. Within the small, reliefless aluminum y-split, the cable divides sending two strands on each side to the ear pieces. Slotting into the top of the split is a small plastic chin cinch. It moves much more smoothly here than on older Campfire cables and as a result is much more useful. They missed an opportunity to make the cinch glow though. Tsk tsk. The same excellent preformed ear guides Campfire has been using for a while now are found on the Holocene. They are light and flexible, yet they hold the cable securely in place behind the ear. The guides lead into the MMCX plugs which of course now glow in the dark. Left and right markings remain appreciably redundant with recessed L and R markings present on the plug and earphone body. Small blue and red dots round things out.

Since the Holocene uses Campfire's iconic angular shell design, those who have had issues with it in the past won't experience anything new here. For myself, I find it extremely comfortable, though I still prefer the short, stubby nozzles of the 2020 Andromeda to the longer nozzles found here. The shell used here is the refined version we've come to expect. While angular, the more aggressive edges have been rounded out making it more pleasant to wear for long periods. This shell design and the shape of my outer ear are very much compatible with each other. When it comes to isolation I found the Holocene to be about average, if not slightly above. The shells are sealed (but they don't cause uncomfortable suction) and not a lot of sound gets through. Pair it with tips that give a decent depth of seal or use a thicker silicone wall, like the included Type-E tips, and you can listen in noisy environments at more or less normal volumes quite comfortably. Sure, some noise still bleeds in, but I never found it intrusive enough to warrant raising the volume much to compensate.


In The Box The Holocene's packaging follows the format set by 2019's releases with the earphones arriving in a squat, square box, protected by an exterior sheath that is sealed shut by a shiny Campfire Audio seal on the back. While their past few releases moved away from their typical astronomical them, the Holocene brings it back. On the front of the sheath is a large sticker with an image of the earphones along with the usual branding and model info, all set over top of a vibrantly coloured, stylized Saturn-like planet pattern. Another sticker is present around the front edge containing another image of the earphones, some company info, among other details, all set over the same clever background.

Breaking the seal allows the sheath to unfold in four segments revealing the main box within. Lifting it out reveals the same uplifting interior to the sheath we've seen before; the CA logo dead centre with rays exploding outwards in a dramatic fashion. Looking back at the main box we see Campfire's familiar mountainous scene along with more CA branding. Lift the lid and you're greeted to “Nicely Done” printed on the front flap and their now standard half-moon carrying case, though this time it is made from upcycled marine plastics with glow-in-the-dark accents; the zipper and Campfire Audio logo. You also find a smaller cardboard box containing the main suite of accessories. Tucked beneath it all is a warranty card and manual. In all you get:

• Holocene earphones
• Epoch Carrying case
• Smoky Glow Silver Plated Copper Litz Cable
• Final Audio tips (xs/s/m/l/xl)
• Campfire Audio Marshmallow tips (s/m/l)
• Medium bore single flange silicone tips (s/m/l)
• Campfire Audio lapel pin
• Cleaning tool
• Mesh accessory case (x3)

Overall a pretty fantastic unboxing experience, as I have come to expect from the brand. Their use of recyclable, sustainable materials is a brand standard and a welcome departure from the needlessly complicated (though fun to disassemble) and less environmentally friendly packaging of the competition. The accessory kit is right up there with the best I've experience thanks to the inclusion of a wide variety of tips and styles. Final Audio's Type E tips are durable and provide a fantastic seal, giving most earphones you pair them with a slight low end boost thanks to the small bore. The included wide bore tips are fairly standard but they too provide a good seal and are a more balanced sounding option. Campfire's Marshmallow tips have shown themselves to be fairly resilient for a foam tip and do a great job of boosting isolation and softening treble peaks. The inclusion of a number of mesh bags to store everything in is awesome too.

Final Thoughts 'Bang-for-you-buck' isn't really a term you'd generally apply to a nearly 700 dollar earphone, but in the case of the Holocene I think it's apt. Pitting it against similarly priced products along with a crop of kilobuck products both within and outside of Campfire's lineup shows it can handle it's own. While there are aspects that fall short of the lofty heights set by flagship products the differences certainly are not as vast as you'd expect given the price difference. As such, this puts the Holocene in a very strong position. If you want a reference level earphone without spending the 1K+ USD many brands are asking for their best nowadays, you could do a lot worse than the Holocene. It also doesn't hurt that it comes with the same extensive accessory kit as the rest of Campfire's lineup, their iconic angular shell with the same excellent build quality as the Andromeda 2020. The glow-in-the-dark elements are neat too, though I wouldn't be basing my purchasing decision on that.

Overall a fantastic product well worth the attention of anyone wanting a top quality earphone with mid-tier pricing.

Thanks for reading!

- B9

Disclaimer A big thank you to Caleb with Campfire Audio for reaching out to see if I would be interested in reviewing the Holocene, and for arranging a sample. The thoughts within this review are my own subjective opinions based on almost 6 months of use. They do not represent Campfire Audio or any other entity, and do not detract from the opinions of others who may or may not have listened to the Mammoth before posting their opinions. At the time of writing the Holocene was retailing for 649.00 USD: https://campfireaudio.com/shop/holocene/

Specifications

• Frequency Response: 5Hz-20kHz
• Sensitivity: 94 dB SPL@1kHz: 6.99 mVrms
• Impedance: 5.4ohms @ 1kHz

Gear Used For Testing Huawei P40, DDHiFi TC35 Pro (Mountain), Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams

Greetings!

Today we're checking out Earsonics' new top of the line offering, the Grace Platinum.

If you've been following the high end portable audio market for a while now, you're likely familiar with Earsonics. The French outfit founded by Franck Lopez in 2005 has been catering to professional and enthusiast markets alike for over a decade. They currently offer a variety of universal and custom-fit earphones featuring both hybrid and pure armature setups.

Like the Corsa I reviewed not too long ago, the Grace Platinum we're checking out today is another all-armature offering, though with ten drivers per side this time around. Four high-range, four mid-range, and two low-range drivers are arranged within a 3D printed acrylic structure and surrounded by a zinc-magnesium alloy shell, further covered with a premium platinum foil. Like other products in their range, the Grace Platinum is hand-made and it truly looks spectacular.

As the top model in their Universal Audiophile lineup and with a price tag to match, the Grace has a lot of pressure on it to perform. Let's find out how it did, shall we?


What I Hear

Ear Tips: Tips are one of the most important aspects of getting good sound out of an iem, regardless of their price point. As such, the stock tips are fine, but you'll want to upgrade to a third party set to get the most out of the Grace. Just as with the Corsa, my preferred alternative is the Spinfit CP145 in small size. It provides extra fit depth, a reliable seal, and outstanding comfort while retaining the signature of the kit tips. I figured the CP100 would have been a better choice given the Grace's bright-ish presentation, but they just ended up making it sound sound slightly harsh, a stark contract to how smooth it sounds with other tips. Sony Hybrids and Final Type E are also good choices, especially the latter since they provide a similar experience to the CP145. Both provide a slightly more shallow fit with the Sonys having reduced durability, so I'd stick with the Final tips if you have the option. The smaller bore of these tips also warms up the signature a hint which might be more suitable to some listening preferences. I had no luck with any wide bore tips. Foams are also a nice choice as they warm up the sound and take some of the edge off the upper range, should that bother you.

The first thing that struck me when the Grace initially blessed my ears with it's musicality was the low end, so we're going to start with that. Despite being an all-armature unit and heading their universal audiophile lineup, the Grace doesn't skimp on bass. It is bold and robust. Extension is excellent which is obvious given the bias towards sub-bass instead of mid-bass. This deep bass bias leaves the Grace sounding cooler than some of the competition though, a coolness which carries through the entirety of the signature. Texturing is awesome meaning the Grace handles the grungy notes of The Prodigy and Tobacco quite well. Speed is also unsurprisingly quite impressive. If you're into drum and bass or a metal-head, you'll have a lot of fun with the way this earphone handles double bass and rapid bass-lines in general.

The mids are somewhat dry and cool thanks to the restrained mid-bass presence and a lower treble bias. As a result timbre accuracy doesn't quite match some of the more impressive models out there like Campfire Audio's Solaris 2020. Still, the presentation more than works as it does a fantastic job of highlighting the Grace's technical prowess. While not quite class leading, there is a ton of detail and some impressive clarity to be found here. This does not come at the expense of engagement either with the Grace more than able to appropriately reproduce the emotional performances of Celine Dion on “Ashes”, or Paul Williams on Daft Punk's “Touch”.

Treble regions of the Grace Platinum match the chromed look of the earphone and give it a brightness that comfortably counters the visceral low end. With a presence region bias, you hear plenty of nuanced detail. Air and spacing is plentiful, though it is held back somewhat thanks to the trailing off of the brilliance region with only a small spike around 10k to keep the energy up. Notes in general are well-defined, though there is a hint of splash present. Unlike on other products where any splashiness distracts and detracts from the listening experience, that isn't the case here. What little splashiness there is feels deliberate. There is an element of control to it that is apparent on dense passages such as Havok's “D.O.A.” where individual cymbals strikes meld on lesser earphones. Through the Grace they remain individual and distinct.

The Grace Platinum's sound stage is beautifully presented with a very well-rounded balance of width and depth. Vocals are set back just outside the ear giving the listener some breathing room, avoiding the in-your-head feel commonly associated with in-ear monitors. Sounds and effects can be tossed well off into the distance. As such, it wasn't uncommon for me to pull out one earpiece when I heard such an effect to make sure my wife wasn't calling me, or to check that one of our sweet kittens wasn't getting themselves into trouble. As a gaming earphone the Grace is pretty darned competent. Imaging is extremely nuanced and tracking a sound from one channel to the other is handled smoothly without any dead zones or vagueness. Sounds are also layered well with plenty of separation keeping everything distinct and clear.


Compared To A Peer (volumes matched with Dayton iMM-6)

Campfire Audio Ara (1,299 USD): The 7-BA Ara is my personal favourite of Campfire Audio's lineup thanks to it's highly detailed, neutral-bright signature. The Grace aims for a different signature with more bass, a more prominent upper midrange thanks to a lower mid dip, and more relaxed treble, particularly in the brilliance region. The Grace has a warmer, more full sounding signature with a smoother presentation, particularly in the mids and treble. Bass is equally rapid and well-controlled on the two with the Ara's texturing making a stronger showing. It lacks the visceral feedback of the Grace though, leaving the Ara's low end to play more of a supporting role. I find the Grace's presentation makes it more genre versatile, particularly when we're talking about EDM and hip hop.

The midrange of the Ara is cooler with a slightly brighter, less natural sounding timbre that plays well into its focus on clarity and detail. The Grace Platinum's mids are slightly cool and dry too, but with a hint of natural warmth that gives it a more natural presentation and slightly more accurate timbre. Detail and clarity are exceptionally close, though the Ara's additional technical prowess gives it an edge for critical listening. One area the Grace has a strong edge over the Ara is sibilance. The Ara does nothing to mask sibilant tracks, such as Aesop Rock's “The Gates”. The Grace softens harsh 'tees' and 'esses' leaving the aforementioned listenable, if not still somewhat tiring.

Treble is where the two stray most from each other. The presence region on each gives their signatures tons of clarity and micro detail nuance. Notes are well controlled and defined. Heading into the brilliance region we see the Grace lose energy. It can still provide shimmer and sparkle where needed, but it ends up being considerably less aggressive than on the Ara. Whereas I most enjoy the Ara at my typically low volumes, I have no issues bumping the Grace's volume up to my personal limits where it remains reasonably non-fatiguing. I'd still call it slightly bright, but not to the extent of the Ara.

Both have an excellent sound stage, though the Grace's is wider and deeper. I attribute this to the less prominent lower-mids which sets that vocals back further from the ear by default, immediately opening up the stage. Imaging on both is stellar with extremely nuanced and accurate channel-to-channel movement. Neither one sees improvements over the other in my opinion. The Grace does provide a bit more room for individual instruments to play, resulting in a slightly more layered feel. Neither ever comes across congested though, even on extremely busy tracks.

I've tested numerous Campfire Audio products over the years and none have failed to satisfy when it comes to build. The Ara is the best of the bunch in my opinion, so the Grace has itself some serious competition. When it comes to materials they are both outstanding, though I'll give the Ara the nod. The shells are pure titanium and both fit and finish are virtually flawless. No excess glue, no gaps between parts. The Grace looks more the part of a top tier earphone though. This is partly because while the Ara's shell design is truly awesome and iconic, it has been used across numerous Campfire Audio models at varying prices and unfortunately, deviously copied by other brands. It doesn't look or feel quite as novel or special as it did in the past. The Ara's single included cable finds itself sitting between the two included with the Grace. Versus the Grace's 4C cable the Ara's is more flexible, has a tougher feeling sheath, and more neatly integrated hardware. The Grace's 8C cable turns the tables in the same way, adding thickness and better braiding into the mix, not to mention it's balanced.

Overall I think they're different enough to be complimentary products, though I can't see anyone buying both unless they have seriously deep pockets. Take the Ara if you like a brighter sound and/or enjoy dissecting tracks. Go for the Grace if you want something technically outstanding but still quite genre versatile.

HiFiMAN RE2000 (2,000 USD): The single dynamic RE2000 has remained one of my favourite earphones of all-time thanks to it's rock solid, extremely well-rounded and smooth, coherent presentation. Bass on the RE2000 is quite linear and somewhat similar to the Ara in terms of the way it transitions from lower to upper, unlike the Grace which to my ear puts a slight bias on sub-bass. This linearity gives the RE2000 a warmer tonality that carries into the rest of the signature making it the more natural sounding of the two. The Grace's armatures are clearly faster though, with the RE2000 holding onto notes longer. While this doesn't result in muddiness, it does leave the Grace sounding more textured and more technically adept with extremely fast notes.

Leading into the mids the RE2000 has a stronger upper region bias. Where the Grace starts to lose emphasis as you drift towards 3k, the RE2000 peaks at 3k. It's overall presentation reminds me of the way Moondrop tunes the mids on some of their lineup (ex. Aria, Starfield), but with less extreme peaks. As noted earlier, Hifiman's single dynamic sounds more natural thanks to a more organic timbre. It gives up detail and clarity to the Grace though with finer nuances of a vocal performance being present, but smoother and less crisp. When it comes to sibilant tracks the RE2000 is less forgiving, surprising given it is otherwise less fatiguing in nearly every other way.

Heading into the upper frequencies we see the two take drastically different approaches. While both have a presence region bias, the RE2000 retains emphasis far longer with emphasis only starting to drop after 5k, peaking again around 10k or so. The Grace's peaks are in similar locations, but a good 5-10dB lower in places. Despite this, I perceive the Grace to sound brighter due to its cooler tonality and lessened overall warmth to the presentation. Neither sounds particularly sparkly, especially compared to the Ara, and clarity is similarly good with the Grace still having an edge. Notes from the RE2000 are cleaner and better controlled with a softer edge to them, though less detail is carried overall.

When it comes to sound stage the RE2000 takes a step beyond the Grace by providing additional width and depth. Vocals are set further out by default with the RE2000 being capable of tossing effects further from the head. It overall does a better job of immersing you in a track. That said, when it comes to technical qualities the Grace pulls back some points. Its imaging is cleaner and more nuanced making channel-to-channel movement even easier to track. It also does a better job separating instruments and track layers.

Build quality isn't usually Hifiman's greatest trait, so it isn't surprising that when it comes to build, the RE2000 is outclassed by the Grace Platinum. Materials are not the issue with the main shell of the RE2000 being composed of brass with a gold plating, plastic structures rounding things out to accept the 2-pin plugs. The cable is pure silver, though saddled with a very generic black rubber sheath, useless strain relief, and subpar hardware. Where the RE2000 falls down is in fit and finish, and just a general, subjective impression of quality. There is plenty of excess glue around the plastic face plate and nozzles, the logo is printed on and after a few years of use is starting to wear off. The receptacles for the plugs are not quite aligned perfectly either. Both of Earsonics' cables look and feel of higher quality, especially the balanced one. The Grace could use some extra attention to detail as well, but only when it comes to the face plate gap and excess glue. Everything else about it looks and feels appropriate for the price, which cannot be said for the RE2000.

Overall I find these suitable competitors for anyone looking for a premium earphone. I'd recommend the RE2000 to those that want a warmer sounding in-ear and can give up some technical ability for timbre quality. And if they don't mind the sub-par construction. For everyone else, the Grace is the one to get as it provides a more satisfying bass presentation along with notably improved clarity and detail top to bottom, along with better staging qualities. Lastly, the Grace's material quality is vastly improved over the RE2000.


In The Ear The Grace Platinum shares its shell design with the Corsa, but here they are composed of a zinc and magnesium alloy, overlaid with a platinum foil. It is certainly visually stunning, with a dense, tough-as-nails feel in the hand. The inner ridges, rear ventilation, and face plate design containing the Earsonics logo are all well-formed and free of unrefined edges. While the nozzle is unfortunately lacking a lip for holding tips on, it is quite long. This helps ensure there is enough friction present to hold most third party tips in place when inserting and removing the Grace Platinum from your ears. My preferred tip, the Spintfit CP145, fits and holds on just fine. This is a big, heavy shell though, the latter even more so with the Grace given the extra internals. While it's not something you're going to want to sling around your neck when not in use, when wearing them the weight is managed well. The design is organic and shapely, naturally hugging the contours of the ear. While the materials are high quality, fit and finish is about the same as the Corsa, which is to say it is just fine. As a handmade product, some quirks can be excused, though at the Grace's retail price my expectations are high and improvements should be made. The excess blue glue sticking out around the front edge of the shell above the screw is very noticeable, as it was on the Corsa, and the face plate could stand to sit more flush. The gap between it and the rest of the shell is quite prominent. Overall a gorgeous product with amazing materials, but one that could benefit from improved fit and finish.

The Grace Platinum comes with two cables. The pre-attached cable is the same 99 USD one that came with the Corsa. It's fine, but my thoughts on it are unchanged when paired with the Grace Platinum. It's a simple quad-strand, silver-plated, braided design with Kevlar reinforcement that doesn't look or feel too dissimilar to the silver-plate cables KZ has been including with a number of their recent products. The cable is quite slender and has fantastic aluminum hardware at the compact, well-relieved angled jack, y-split, and the 2-pin plugs. Tangle resistance is pretty decent for a thin cable, it transmits barely any noise during movement, and it retains little memory of bends. Leading up to the earpieces are preformed ear guides that could stand to be a touch stiffer as the weight of the earphones overwhelms them.

The second cable is a significant improvement and the one I recommend using, pending you have a source with a 4.4mm balanced out, or an appropriate 4.4mm to 2.5mm adapter like the DDHiFi DJ44B. It features a braided, six-strand construction with a hybrid alloy design of 6N OCC and silver with a Kevlar core. It's light, flexible, but stiff enough to deal with the weight of the ear pieces thanks to the inclusion of useful preformed ear guides. The aluminum hardware is fantastic too. While the 0.78mm 2-pin plugs are the same as those on the standard cable, the y-split is thicker with the ES logo laser etched into the aluminum. The straight jack is well relieved with defined knurling to ensure you can get a good grip on it. Earsonics didn't skimp on the chin cinch either, with a bead-styled cinch found resting above the y-split. Overall a wonderful cable, and one that feels of suitable quality to match the Grace Platinum's premium standing.

When it comes to ergonomics Earsonics crafted a thoughtfully designed shell. While the size will be limiting factor for those with smaller ears, for everyone else I suspect it will be quite comfortable to wear. The inner half of the shell is smooth and well-rounded, completely free of any sharp edges which could cause discomfort. The bulbous shape feels form-fitted to the outer ear and spreads the weight of the earpieces fairly evenly across the surface of your skin. If the Grace Platinum were lighter, I'd easily be able to wear it for an entire 8-hour work shift with no complaint. As-is, I find the areas the earphone touches getting slightly sore after a couple hours. If taking the health of your ears and hearing seriously, you shouldn't be listening for hours on end anyway. Isolation with silicone tips is fairly average. Unlike most all-armature earphones I've come across which are fully sealed, the shells of the Grace Platinum are heavily ventilated with two large, vertical vents on the rear of each earpiece. While this does reduce its ability to passively block outside noise, it does improve comfort by ensuring there is no pressure build up when they've been inserted into your ear. If you need to boost isolation further, the included Comply foam tips works wonders. More dense silicone tips like Final Audio's Edge Type E tips are a suitable alternative if you want to avoid the fiddly nature of foam tips.


In The Box The Grace Platinum arrives in minimalist packaging with a feature I don't think I've come across before; a half sheath. On the front of the sheath is Grace in large cursive print, with Platinum found below in a slender, uppercase font. France's flag can be found centered just below. Lifting off the sheath reveals a black monolith of a box with Earsonics and the ES logo printed in a contrasting glossy font, tucked into the lower left corner. The rest of the box is featureless. Flipping back the magnetically sealed flap you are greeted by a foam cutout in which the earpieces reside. Just below this is a cardboard slip where, courtesy of Frank Lopez, their CEO, a paragraph in French thanks you for purchasing an Earsonics product and welcomes you to the world of professional audio. Under this insert is the carrying case, and to the right a smaller cardboard insert where more of the accessories can be found. In all you get:

• Earsonics Grace Platinum earphones
• Clamshell carrying case
• HI-RES 4C 3.5mm cable
• HI-RES 8C 4.4mm cable
• Cleaning brush
• 1/4” adapter
• Comply foam tips (s/m)
• Single flange silicone tips (m/l)
• Bi-flange silicone tips (s/m)
• Hearing aid cleaning wipes (x2)

Overall a very simple, clean design for the packaging that uses fewer materials than much of the competition. Since mostly cardboard is used, you won't be tossing it in the garbage and can instead recycle. In terms of accessories, this kit is fine. Comply tips are pretty much the defacto standard for foam tips so you can't go wrong with them. The included silicone tips are the same common sets you've seen with countless other products, at a wide variety of price points. They work but you'll be tempted to replace them with something more premium out of the box. The addition of an upgraded balanced cable and the 1/4” adapter for use with a desktop amp round things out, resulting in a solid kit of extras.


Final Thoughts This is only the second product from Earsonics I've had the pleasure of listening to, but if this and the considerably more affordable Corsa are any indication of how competent the rest of their lineup is, Earsonics is undoubtedly a brand that should not be underestimated or overlooked. Given their existing standing in the industry, I don't think they have to worry about anything.

The Grace Platinum exudes a level of visual flair that is befitting of its flagship, all-BA earphone status. Thankfully this is backed by a listening experience that also reflects the Grace's position in the Earsonics lineup. The low end presentation is full and complete and can easily compete with earphones using a dynamic driver for this region. The midrange is extremely detailed and coherent, though timbre accuracy could be improved upon as it may come across too cool and dry for some. Treble is energetic and crisp, yet not particularly fatiguing. This is all wrapped within a large sound stage with seriously impressive technical qualities. The Grace is a premium all-rounder that can handle casual listening just as well as critical listening.

Going back to the visual flair mentioned earlier, the chromed platinum foil of the earpieces certainly attracts the eye. Despite being large and fairly heavy, the ergonomics are spot on resulting in a comfortable fit with good isolation. I'd like to see them improve part fitment a touch though, as the gaps and excess glue peeking out might disappoint some buyers. The accessory kit is well-rounded with a solid set of silicone and foam tips, balanced and single-ended cables, and a useful carrying case, among other extras. It would be awesome if Earsonics could partner with Final Audio or Spinfit so more premium tips befitting their higher end models could be included. Still, you can pick those up separately, and you should if you're willing and able to add an endgame earphone like this to your lineup.

Overall a fantastic product that offers sexy good looks and top tier sound. Earsonics knocked this one out of the park. Great stuff.

Thanks for reading!

- B9

Disclaimer A huge thanks to Max with Earsonics for reaching out to see if I'd be interested in reviewing the Grace Platinum, and for arranging a sample. The thoughts within this review are my subjective opinions and do not represent Earsonics or any other entity. At the time of writing the Grace Platinum was retailing for 1899,00€. You can check it out here: https://www.earsonics.com/in-ear-monitors/grace-platinum/ / https://www.earsonics.com/store/produit/grace/

Specifications

• Frequency Response: 10Hz – 20kHz
• Sensitivity: 119dB/mW
• Impedance: 26.6ohms
• Drivers: 10BA with 3-way crossover + impedance corrector

Gear Used For Testing Huawei P40, DDHiFi TC35 Pro, Earmen Sparrow, Earmen TR-Amp, Asus FX53V, TEAC HA-501, Asus FX53V

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams

Greetings!

Today we're checking out Astrotec's latest entry into their S lineup of true wireless (TWS) earphones, the S70.

My first introduction to Astrotec's true wireless earphones was the S60, a very compact, fairly affordable product that utilized balanced armatures instead of the much more common dynamic drivers found in pretty much everything from their competitors. The S60 5.0 (revised version) is still one of, if not, my favourite TWS earphone thanks to it's size, balanced signature, and reliable connection quality. Next up was the S80 which was tuned with a more bassy signature. Not my favourite, but it has it's fans. The S70 one-ups most of Astrotec's previous efforts in a number of ways by adding a number of awesome features like active noise cancelling and quick charging, all at a very wallet friendly 49 USD.

More features and a low price are nice and all, but if the basics like sound quality and connection quality don't stack up, the S70 won't be worth your time. How does it fare? Let's find out.


What I Hear The low end of the S70 is quite warm and midbassy and for the most part dominates the listening experience. Given the likely target audience this makes sense, so don't go in expecting a balanced, audiophile-aimed listening experience. Extension is pretty good, especially for a wireless earphone. The S70 is capable of providing a solid visceral rumble as noted on Kavinski's “Solli”, though the deepest notes trail off early. The 6mm LCP driver installed in the S70 provides acceptable texturing, though the average transients and mid-bass quantity serve to smooth things out somewhat. I find this tuning works very well when listening to the S70 in public, less so in quiet, critical listening scenarios.

The midrange, while timbre rich and fairly natural sounding, is quite recessed to the point where vocals take the backseat and can occasionally be drown out by the instrumentals. On tracks like Aesop Rock's “The Gates” where his vocals are shoved aggressively forward there are no issues. The same cannot be said for Dillon Francis' “We The Funk” where Fuego's performance is muddied by the abundant low end. Female vocalists fare slightly better, though a mid-forward mix is still best if you want to get the most out of the S70's vocal performance. Detail and clarity are fairly average, if not slightly below. Heavily textured voices like that of TeeBee work well with the S70, while the smoother sounds of Phantogram's Sarah Barthel unfortunately fall flat. Bit of a mixed bag here in my experience. That said, I listen at lower volumes than most which is not where the mids perform their best. Crank the volume (~75% on my Huawei P40 is all I can take) and vocals tend to cut through the mid-bass bloat resulting in a more enjoyable listen. I suspect those who listen loud will enjoy the mids more than I did.

Heading into the upper ranges the S70 retains the relaxed sound we've heard so far. There is a small brilliance region peak that gives it some energy and sparkle to counter all the low end, but the lack of presence region emphasis leaves overall detail and clarity on the back burner. Notes are moderately well defined with a bit of looseness and splash present. Thanks to the subdued energy in the overall presentation it was nothing I found too distracting. Tossing some EQ in the mix, the S70 can get downright harsh, so it's best to leave the tuning as is in my opinion. Both the S60 5.0 and S80 provide a superior experience to the S70 by providing additional detail, extension, air between notes, and general control when tracks get busy.

Lastly, the sound stage of the S70 is quite average, in line with other TWS earphones I've experienced. The presentation is decidedly in the head, though the recessed mids and set back vocals certainly help space things out considerably. Imaging is fine with reasonably accurate channel-to-channel transitions. I wouldn't be keen on using the S70 for gaming, but for music and movies it is more than adequate. Instrument separation unfortunately is not all that great thanks to the massive low end smearing fine details. The S70 layers pretty well though, helping to keep it from sounding too congested when things get messy, such as in the closing minutes if King Crimson's “Starless and Bible Black”.

Overall the S70 sounds fine. It is unapologetically smooth and bassy and sounds best at high volumes which I suspect will be found perfectly suitable for the target audience, regular consumers; not Head-fi'ers, audiophiles, or audio purists that want the utmost in realism, accuracy, and reproduction “as the artist intended”.

Compared To A Peer (volumes matched with Dayton iMM-6)

JBL Tune 125TWS (59.95 USD): Both products are made primarily of plastic with the JBL being constructed to a slightly higher standard. The plastics of the case are more dense and resistant to flex, but forgo the S70's translucent materials leaving it a less interesting looking product. Both feature modern Type-C ports on the bottom with is nice to see since that connector is becoming the new standard. When it comes to size, the S70 is smaller, lighter, and more pocket friendly, though this does come at the expense of durability. Where the hinge on Astrotec's case is all plastic, the one used by JBL is steel. When pushing both lids to the brink of being damaged, the JBL is more confidence inspiring.

The earpieces of each product could not be more different with the S70 following the stalked design language of Apple's Airpods Pro, and the JBL going with a more traditional, low profile iem design. Personally, I find the S70 more stable and comfortable, better able to manage extreme movement without breaking seal. Where Astrotec equipped the S70 with touch controls, JBL when with rubber coated physical buttons. The latter is more my style as they result in fewer erroneous presses, and work with gloves, something critical for Canadian winters.

The JBL forgoes any form of active noise cancelling and as a result gives up a number of features to the S70. The 125TWS' ability to passively cancel outside is considerably more effective than the S70's passive cancellation, but as expected the tables turn once the Astrotec's ANC is turned on. Don't forget as well that the S70 can pass through and enhance exterior noise making it the more convenient of the two should you need to converse with those around you.

Both off similar wireless performance, which is to say there isn't much to say. Range is basically the same, and is stability which is to say it is excellent. The S70 does a bit better with obstacles, though it's not something anyone would ever notice unless trying to force drops.

Sound performance between the two aims for the same crowd; bass-lovers. They go at it in different ways though. The S70 sounds warmer and more mid-bassy with a softer presentation all-around. It lacks the mid and treble detail of the 125TWS, and the texture in the low end. The 125TWS also has a better soundstage with improved separation between track elements. In the S70 favour is refinement. The JBL sounds harsh and rough in the treble, and has a cooler timbre that leaves it feeling artificial. The S70 also exceeds what the JBL can do in terms of imaging. While neither is spectacular, the S70's channel-to-channel transitions are smoother and more natural compared to the more vague sounding JBL.

Overall I prefer the S70. The case is smaller and the ear pieces are more comfortable. The ANC features are amazing and every time I take the 125TWS outside instead of the S70, I regret the decision. While I prefer the general tuning and extra clarity and detail of the JBL, the roughness (particularly in the treble) is a big turn off.


In The Ear Plastic is the name of the game, but thankfully Astrotec chose some that feels nice in the hand and not cheap or flimsy. Starting with the case, I was quite impressed at how firm it felt given the material choice. Give it a firm squeeze and there is just a hint of give. The lid flips back smoothly and snaps shut with aplomb, held closed by a reasonably strong magnet. Unfortunately the hinge is also plastic and when opened beyond the natural stopping point flexes questionably. I can see the hinge giving out if pushed too far, so take care. Flipping open the case you find perfectly moulded, glossy inserts in which the earpieces reside for charging and storage. The charge points are heavily protected, deep inside the case. A small led is also visible to show when they're charging (white while charging, off when charged). It will bother some that the case is designed with the stock tips in mind as there is no room for larger tips, nor any storage space for alternate tip options. Those looking towards aftermarket options (specifically bi- and tri-flange tips) will need to take them off and store them elsewhere when on the move. I'm fine with that, but it rubs some the wrong way. On the bottom of the case you find a Type-C port (modern ports for the win) and another small charging indicator LED for the case (red for charging, off when charged). Overall a nicely built case, however, the ribbed design reminds me of dental accessories from when I was a kid. Helps with structural rigidity though, so it's functional.

The earpieces seem to be made from the same material as the case. In this more compact form it feels even more dense and durable, though I still wouldn't want to step on them for fear of snapping off the Airpods-like stems. On the face of each ear piece is a reasonably sized, easily-accessed touch pad used for media controls, along with a blue LED. At the base of each stem are the charge points and what looks to be access points for the ANC and voice chat microphones. The nozzles are also unsurprisingly plastic. With a prominent lip for holding on tips and a mild ovular shape, I quite like the resulting fit which feels quite natural. Fit and finish is excellent meaning there are no misaligned parts or sharp edges. Overall a well-constructed and comfortable to wear product.

Passive isolation is merely okay. Noises are muffled but still reasonably coherent. Of course you can improve things drastically with ANC on (-28-32dB), or reduce it drastically via the Transparency mode which pipes in outside noise, but we'll talk about those more in a moment.

Tech Inside

Touch Controls The S70 has touch pads on the face of each ear piece that control a variety of functions; answering and ending phone calls, moving from track to track, volume adjustment, voice assistant access, and of course, moving between the various noise attenuation modes. For the most part these controls work well, minus a few quirks. Due to the reasonably large size of the touch pads, when removing one from my ear or adjusting the fit, more often than not I'll pause my music, or, in a few rare instances change the noise attenuation mode. I also found adjusting volume to be more of a hassle than it's worth since you're required to tap 3 times to increase/decrease volume. It either takes too long, or one of the three taps will fair to register resulting in skipping a track. As long as I use the touch pads for more straightforward tasks, they do the job well.

ANC/Transparency Mode Have to say that I've been mighty impressed with the quality of the S70's ANC mode. Rated for 28-32dB, it is quite competent. I've got a couple ANC headphones that dwarfed the S70 in cost (UE6000 and A-Audio Legacy) when they were new and neither offers anywhere near as natural sounding or effective noise cancellation as the S70. We have an air purifier in our bedroom, and usually have a fan or two running as well since we don't have air conditioning in the room. It can be quite noisy. The S70 cuts all of it out wonderfully. A hint of chatter from the air purifier makes it through, but toss on music at any volume and it's completely nullified. The only issue I've noticed with ANC on is a hint of sporadic background static, mostly present in the left earpiece. During quiet moments in a track it's audible, but otherwise is a none-issue.

The Transparency Mode also came as a surprise since it too works quite well. Given the cost of the S70 I was expecting this mode to be more of a neat gimmick versus anything particularly useful, but that's not the case. Latency is surprisingly minimal meaning I can easily hold a conversation with someone without a significant delay between what they say and what I hear. Voices come through very clear, though other noises do too. The usefulness of this feature is somewhat limited as a result. Still, it easily bests a similar function present on the Radsone ES100, and works about as well as the 'Transparent Hearing' mode on the much more expensive Sennheiser Momentum True Wireless. If I am to levy any complaints at the Transparency Mode, it's that they sound piped in isn't very natural, having a notable digital edge to it.

Connection Quality Astrotec's TWS products have in my experience been some of the best when it comes to providing a strong, stable connection. The S60 5.0 is still pretty much tops in my books. The S70 falls within my expectations of the S Series lineup, with performance more or less mirroring the Redspace S80. The segment standard 10m of range is easily achievable in an obstacle free area, only dropping when you bring multiple walls and corners into the equation. I can use them anywhere in my apartment no problem, having to go to extremes to force disconnects since they don’t happen in regular use. The S70 maintains a stable connection to the source device with only the occasional stutter that plagues nearly every Bluetooth earphone, though it happens less here than on most. Connection quality between each earpiece was perfect. Can’t think of a single instance where they “forgot” or disconnected from each other. Overall I find the signal strength excellent while range is as average as it gets.

Battery Life Yeah... I neglected to formally test this, sorry. The S70 is rated for around 4.5 hours of use with or without ANC on. Given with their past products I was able to meet or exceed the rated expectancy in most cases, likely because I listen at lower volumes than most, I expect 4.5 hours to be entirely achievable. Also note that it has a quick charge feature enabling an hour of use after only 10 minutes of listening. This is extremely handy.


In The Box The S70 comes in a moderately sized black box with a charcoal coloured sleeve surrounding the exterior. On the front you find the usual branding and model name, along with some highlighted features like active noise cancelling and the use of an LCP (liquid crystal polymer) diaphragm. Flip to the rear to find some additional product information, like the use of 2C quick charge which gives you an hour of listening after only 10 minutes of charging. Nice. Sliding off the sleeve reveals an Astrotec branded cardboard overlay. Lifting that out you find the S70's charge case nestled in some dense protective foam. Below sits a smaller cardboard insert in which the accessories reside. In all you get:

• S70 TWS earphones
• Charge/carrying case
• Type-C USB charge cable
• Single flange ear tips (s/m/l)

Overall a very straightforward unboxing experience with the absolute minimum in accessories. While I would like to see some additional styles of ear tips included, I've got to give credit where credit is due. The stock tips are excellent, reminding me a lot of ADV's excellent Eartune Fidelity tips. Astrotec's share the ovular design, but feature a thicker, more dense and durable silicone that still gives an outstanding seal.

Final Thoughts Affordable true wireless earphones have seen a surge in popularity over the last couple years, with Astrotec taking full advantage of this. With the S60 5.0, S80, and now the S70, they have a robust lineup to meet the needs of a variety of customers. While I don't think the S70 is anywhere close to being the best sounding of the bunch, it earns its place via a low cost and a robust feature set. At 49 USD the S70 is quite affordable. The ANC performance is excellent, the connection quality is reliable, the transparency mode works well (even if it sounds artificial). The case is tiny and disappears in a pocket and the rated battery life, while fairly average, is fine for casual use thanks to the quick charge feature that gives you an hour of listening time after only 10 minutes of charging.

While more discerning listeners should look elsewhere, those who just want a reliable, affordable TWS with active noise cancelling to use during everyday activities like travelling to work or school, exercising or doing chores around the house, etc. the S70 is well worth checking out.

Thanks for reading!

- B9

Disclaimer At the time of writing the S70 was retailing for only 49.00 USD. You can order yours through Astrotec's official website and/or their AliExpress page: https://astrotecglobal.com/collections/frontpage/products/s70 / www.aliexpress.com/item/1005003167761855.html

Specifications

• Driver Unit: Japan 6mm LCP Diaphragm Dynamic Driver
• Frequency Response: 10Hz - 20kHz
• Impedance: 32ohm
• Sensitivity: 110dB
• Charging Methods: Fast charge / Magnetic Charge (Earphones) USB-C (Charging Case)
• Bluetooth Version: Bluetooth 5.0
• Audio Codec: AAC, SBC
• Transmission Range: >10m
• Continuous phone call time(ANC/ON): 3.5hrs
• Continuous music playback time (60% Vol.): 4.5hrs
• Continuous music playback time (60% Vol., ANC/ON): about 4.5hrs
• Charging Time Of Earphones: About 1hr
• Charging Time Of Charging Case: About1.5hrs
• Battery Capacity:
• 42mAh (Single Earphone)
• 400mAh (Charging Case)

Devices used for testing Shanling M0, Huawei P40, Asus FX53V laptop

Some Test Tunes:

Aesop Rock – The Impossible Kid (Album)
Hail Mary Mallon – Are You Going to Eat That? (Album)
King Crimson – Lark’s Tongues in Aspic (Album)
King Crimson – Starless and Bible Black (Track)
Supertramp – Crime of the Century (Album)
Infected Mushroom – Legend of the Black Shawarma (Album)
Gorillaz – Plastic Beach (Album)
Massive Attack – Mezzanine (Album)
Fleetwood Mac – Rumors (Album)
Run the Jewels – Run the Jewels (Album)
The Prodigy – The Day is My Enemy (Album)
Tobacco – screw*d Up Friends (Album)
Felt – Felt 2 (A Tribute to Lisa Bonet) (Album)
Michael Jackson – Thriller (Album)
The Crystal Method – Grace (feat. LeAnn Rimes) (Track)
Jidenna – Long Live the Chief (Track)
Skrillex – Ragga Bomb (Track)
Big Grams – Run for Your Life (Track)
Funkadelic – Maggot Brain (Track)
Aesop Rock – Fishtales (Track)

Greetings,

Today we’re taking a quick look at the Odyssey HD from Venture Electronics.

Unfortunately this review is coming later than intended (sorry Lee, anxiety and depression are harsh b****es) but the Odyssey HD was recently announced to be discontinued so I wanted to get something out before it was gone for good.

Like much of VE’s gear, the Odyssey HD arrived in a simple branded plastic resealable bag. Inside is of course the dongle itself, but also a Type-C to Type-A USB adapter. And that’s it. Given the mere 10 USD price tag, this is perfectly fine. Honestly, I wouldn’t have blamed VE for dropping the adapter. That’s a very useful extra that they didn’t need to add, and 99% of brands wouldn’t. They’d have you buy it separate. Props to VE for continuing to feed into the high bang-for-your-buck value proposition they’re known for.


Once you’ve got the Odyssey HD out of the bag and into your hands, you’ll realize it’s a surprisingly well-built piece of tech. You get metal hardware at both ends with laser-etched logos and writing, meaning it’s not going to be rubbing off. The ports are surrounded by plastic to help with shock from being dropped or tugged. Also helping with durability is proper strain relief leading into each end, something I rarely see with this type of device. Again, just another oft overlooked detail that VE doesn’t skimp on, all the more impressive still given the meagre price tag. The cable itself I love. It follows the old school bi-strand design of VE’s earbud cables but replaces the standard black sheath with a semi-stiff clear one. While some will balk at the use of a semi-stiff cable, I think it’s perfect. On other dongles the cable is too floppy. It kinks, it bends sharply, and it just feels cheap and dainty. Cozoy Takt C, I’m looking at you. Others are too stiff and when they bend, put more pressure than I’m comfortable with on the Type-C port. That’s you XDuoo Link. The cable used here finds the perfect middle ground. Flexible enough to not put pressure failure points, but stiff enough to avoid feeling delicate. It’s perfect for me and my use case where I can have it arcing up and out of my pocket, letting the plug dangle comfortably in a place where I don’t have to worry about anything being damaged.

While the Odyssey itself it lacks media controls, it works with them which was a pleasant surprise. An old Bose SoundTrue On-Ear found at a thrift shop has been my go-to headphone lately (I know, I know…) because it’s just so damn comfortable and sounds perfectly fine. With the Odyssey plugged into my Huawei P40 or Asus laptop, the in-line controls still work perfectly. This isn’t a dongle rarity or anything, but it’s nice to have, again, because this thing only costs 10 bucks. It would have been easy to skimp on such support without anyone batting an eye.


When it comes to sound the Odyssey HD has a clean, uncoloured presentation with nice dynamics. This isn’t a cold and clinical dongle best suited to more critical listening, a role the Cozoy Takt C fills out pretty well. Nor does it have a warm and thick presentation that brings to mind the XDuoo Link. It’s basically a much more affordable DDHiFi TC35, but considerably larger and with a cleaner sound. It has pretty decent power output too, a result of being intended to drive VE’s earbuds which are less efficient than your average earphone. As noted on the product page, the Odyssey HD is not intended for high sensitivity headphones and earphones. From popular single dynamics like the Moondrop Aria, to more demanding products like the planar-equipped Tinhifi P1, the experience is wonderful. It provides a clean, black background. Head to the extremes though and things are less pleasant. The hybrid Campfire Audio Polaris II pulls out enough hiss to intrude on the listening experience, especially during quieter moments in a track. Toss on something extremely demanding like the Astrotec Phoenix and the Odyssey struggles. The sound is flat and achieving even moderate volume levels maxes out what the Odyssey is capable of.

Overall I couldn’t be much happier with the Odyssey HD. It sounds great and the build quality is outstanding. Outside of products that are either extremely sensitive or unreasonably demanding, it has an output that is versatile enough to pair with most common earphones and headphones. Best of all, affordability is off the charts. Unless you just don’t want or need a dongle DAC, I don’t really see much reason to avoid it.

Thanks for reading.

– B9

Disclaimer The Odyssey HD was sent to me free of charge by Lee from VE free of charge for the purposes of review. The thoughts within this writeup are my own and do not represent VE or any other entity. Until it is discontinued and available only on the used market, you can scoop up yours here: https://www.aliexpress.com/item/32913164008.html / https://www.veclan.com/engappliance_sel_one?eng_ApplianceVo.eac_id=32

Specifications

Connectors：1×Type-C male jack for Digital Input / 1×3.5mm female jack for Single-end Headphone Output & Mic Input

Sample Rate: 24Bit/96kHz, 32bit/384khz

Frequency Response: 20Hz-20KHz (±0.1dB)

Headphone Output THD: 32ohm Load：0.01%

Crosstalk: -78dB, 20Hz-20KHz

D/A SNR: 98dB A-weighted

A/D SNR: 92dB A-weighted

Maximum Voltage Output: 1V RMS

Maximum Current Output: 45mA

Size: 125×10mm

Weight: 10g

Greetings!

Today we're checking out one of Venture Electronics' most affordable earbuds, the Monk Lite.

The original Monk received critical acclaim thanks to its low price and a level of sound quality that almost nothing at the time could touch. While that has changed over the years, the Monk remains a very strong offering. One issue many had with it resulted from the ergonomics of the Sennheiser MX500-styled shell. It's not particularly friendly to small ears and could cause hot spots and discomfort over time. The Monk Lite aims to rectify this through improved ergonomics via an even more compact shell.

Does the Monk Lite succeed at this while upholding the excellent sound quality of it's namesake? Let's find out.


What I Hear

Foams: I strongly recommend running the Lite with donut foams. Naked it sounds tinny and the midrange hollow. With full foams the hollowness is mostly mitigated but they add too much warmth and muddy detail. Donuts find just the right balance between bass quantity and overall detail while mostly mitigating my qualms with the midrange.

Earbuds aren't for everyone thanks to what is typically a lack of bass depth and/or quantity, owed to the inability to create a seal in your ear. While the Monk Lite has pretty decent bass for an earbud, it's unlikely it'll be able to satisfy someone used to the presentation of in-ears or full-sized headphones. Midbass is well textured and satisfying with a tight, punchy, articulate presence. I appreciate the amount of warmth it adds to the signature, leaving it a bit cooler sounding overall than the Monk+ and KBEAR Stellar. Heading into sub-bass regions highlights the standard earbud Achilles heel, that being roll off. The Lite provides some physical feedback, but not enough to provide much of a physical sensation on the deepest of notes. Both VE's own Monk+ and KBEAR's Stellar do a slightly better job with bass depth and feel. I also find the Stellar better balances mid- and sub-bass regions to provide a more linear presentation. The Lite performs well here but I'd point you towards other earbuds if bass quantity is a priority.

Leading into the mids I found the Monk Lite very much hit and miss. What is does well, and better than it's Monk+ counterpart and Stellar competition, is note definition and clarity. I find vocals and instruments slightly more crisp and coherent than the aforementioned earbuds, all while retaining plenty of weight and density. Unfortunately, deeper voices and notes come across as boomy leaving the Lite less than ideal for commentary based content. I much prefer the Monk+ or Stellar for that style of content. The Monk Lite also comes across as hollow sounding as heard on Sa-Roc's “Forever” which is quite distracting, until you get used to it. I found myself adjusting to the presentation pretty quickly if using the Lite exclusively for an extended period, though the moment I switched to another earphone/headphone and swapped back, the Lite's midrange deficiencies came roaring to life again. Fine in a vacuum, underwhelming in direct competition.

Thankfully, the treble quality pulls things back. The Lite doesn't roll off in the brilliance region as aggressively as either the Monk+ or Stellar and as a result provides a more well-rounded, overall experience than the other two. Cymbals and chimes have a satisfying amount of shimmer and sparkle to them, without being bright and overbearing. The Monk+ and Stellar sound less vibrant and dynamic in comparison, shifting their tuning focus to the midrange and mid-bass with treble playing more of a supporting role. Note definition is handled well, free of splash or looseness that would hinder the emotional undertones of Warlock's “Für Immer”.

The sound stage of the Monk Lite is reasonably sized, though not as expansive as I have come to expect from the form factor. While the overall staging is reasonably evenly well-rounded with a greater sense of depth than width, that space ends up coming across fairly intimate. Vocals default to the outer edge of the inner ear with effects being tossed slightly past. This helps it just barely avoid a wall-of-sound effect. The results in it's technical qualities falling behind the Monk+ and Stellar; imaging is lacking nuance and layering is limited. Instrument separation fairs better, but toss on a congested track like those from Havok or King Crimson's “Starless and Bible Black”, and everything starts to blend.


In The Ear The main draw for the Monk Lite is its compact size. It gives those who typically have trouble with the commonly broad designs of most earbuds an opportunity to experience the format. I'd say it succeeds at this, being bested for role of most comfortable earbud by only the Sennheiser MX470.

The all-plastic shells are well-built, especially for the price. The plastics are light but feel solid enough. There's no give to the main shaft when attempting to bend it which leaves it feeling quite robust. That said, instead of bending it'll probably just snap if pushed to hard. Also, the plastic gold accent can be lifted up and off with mild effort leaving this design fairly easy to mod if that's of interest to you. The main face of the drivers is covered in a fine steel mesh with five vents barely visible through the minuscule holes. Six more vents allow air to escape through the rear of the housings. Fit and finish overall is excellent with no misaligned parts, plastic or glue reside, or any negatives of note.

The cable is the same one found on various Venture Electronics products which is a good thing. Being an old school, bi-strand, white rubber sheathed unit, it lacks the flash and pizzazz of the braided cables that are ever so popular nowadays. I'm totally fine with that since it doesn’t transmit a ton of noise, tangling isn't a huge deal, and it’s shown itself to be quite durable. The hardware is nice too with a compact, rubber straight jack with decent strain relief. The rubber y-split is tiny so no relief is needed. Surprisingly, above it rests a chin cinch. This is a feature that is sorely lacking on budget earphones so big props to VE for adding it. No strain relief is present leading into the earpieces which is the only area of concern. Still, given how affordable the Monk Lite is it's easy to overlook. Plus, strain relief in that location is exceptionally rare on earbuds anyway, at least in my experience.

For an earbud, the Monk Lite aces the comfort aspect. The chosen shell is very low profile with not a lot of depth to it. While the diameter of the face of the earbud is still quite wide, it is just a hint less so than the Monk+ which goes a long way towards making it so comfortable. It nestles nicely into the outer ear thanks to these slight dimensional adjustments which for me leaves it more stable than other buds using the ever-popular Sennheiser MX500 shell. The extremely light weight doesn't hurt either. As mentioned earlier, the only earbud I've used that is more comfortable is the Sennheiser MX470. It's shell is also very low profile, but it uses a considerably smaller driver making it suitable for those with ears that do not normally jell with earbuds. Unfortunately it's considerably more expensive, and has been discontinued for years. Good luck finding one.


In The Box In keeping with VE's no frills philosophy, the Monk Lite arrives in one of the most classy resealable plastic bags you'll ever come by. On the front is the VE logo, brand name, and slogan “a sound we trust”. These rest above a clear viewing window showing off the Monk Lite and included foams over top a gleaming silver background. Flipping around to the back you find VE's other slogan “keeping it real” along with the website and a short description of the Monk Lite's sound.

“The Monk Lite's big and bold sound is a pleasant surprise coming from its small and ergonomic form factor.”

As was visible through the clear storefront, inside you get a pair of Monk Lite earbuds and four pairs of foams in various colours; red, blue, white, and black. While you're not getting a ton of stuff or flashy cardboard, you are getting as straightforward an unboxing experience as possible, along with four pairs of VE foams. In my experience, they're more durable than most. Example, I'm still working through the original Monk expansion pack that I got with the Monk Plus around the time of its release.

Final Thoughts The Monk Lite is a solid earbud, but to my ears is outclassed by it's older sibling, the Monk+. If sound quality isn't your primary qualification for a purchase and you instead put more weight into ergonomics, or you're the type to use only one earphone/iem/headphone at a time, the Monk Lite is a good pick. It looks nice, is very comfortable, and the inclusion of four sets of high quality foams is a pretty sweet bonus.

If sound quality is tops above all else, I'd look elsewhere. The Lite has nice treble and produces quality bass, but the mids can be hollow, vocals boomy, and it's sound stage qualities are just average at best. It still results in a satisfying enough listen, but even at this extremely low price there are alternatives I'd rather use, namely VE's own Monk+, or the KBear Stellar.

Thanks for reading!

- B9

Disclaimer A big thanks to VE's CEO Wild Lee for reaching out to see if I would like to review some of this products and for sending a Monk Lite for the purposes of review. The thoughts within this review are my subjective opinions and do not represent VE or any other entity. At the time of writing the standard edition of the Monk Lite was retailing for ~7.96 CAD / 6.00 USD. You can scoop up a set here on VE's AliExpress store or main website; https://www.aliexpress.com/item/32844964644.html / https://www.veclan.com/engappliance_sel_one?eng_ApplianceVo.eac_id=24

Specifications

• Frequency Response: 20 – 20,000Hz​
• Sensitivity: 117dB/mW​
• Impedance: 40ohms​

Gear Used For Testing Huawei P40, VE Odyssey HD, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams

Greetings!

Today we're checking out the triple armature Corsa from Earsonics.

If you've been following the high end portable audio market for a while now, you're likely familiar with Earsonics. The French outfit founded by Franck Lopez in 2005 has been catering to professional and enthusiast markets alike for over a decade. They currently offer a variety of universal and custom-fit earphones featuring both hybrid and pure armature setups.

The Corsa that we're looking at today is a universal fit model containing three proprietary balanced armatures per side; one for the lows, one for the mids, and another for the highs. While the exterior of the shell is all-metal, the interior has been borrowed from their hybrid lineup and is dominated by a 3D printed acrylic structure in which the drivers and crossover are securely housed.

With a neutral-leaning signature, the Corsa is squarely aimed at audiophiles looking for a balanced audio experience. Does the Corsa deliver the goods? I spent the last few months finding out.


What I Hear

Ear Tips: The stock ear tips are fine but I definitely recommend upgrading if you want the best possible sound and fit. My preferred alternative is the Spinfit CP145 in small size. It provides extra fit depth, a reliable seal, and outstanding comfort. The medium bore does little to affect the sound, retaining the impressive balance the Corsa is capable of. Sony Hybrids and Final Type E are also good choices since they provide a similar experience to the CP145. Both provide a slightly more shallow fit with the Sonys having reduced durability, so I'd stick with the Final tips if you have the option. The smaller bore of these tips also warms up the signature a hint which might be more suitable to some listening preferences. I had no luck with any wide bore tips. Foams sound similar to the small bore tips mentioned above, but with a mild hit to midrange clarity..

The Corsa is tuned to be a well-balanced performer with no particular area being significantly more emphasized over another, though, I found the treble region to be the least emphasized. The presence region sees a shift in bias over the brilliance region. Detail and clarity are good but not class leading with notes having a solid weight and density to them. The most impressive part is how well-defined and controlled the upper ranges are, ensuring the Corsa avoids adding any splash or sloppiness to the presentation. It works just as well with electronic tracks such as Gramatik's “Bluestep” as it does with jazz on Otis McDonald's “A Walk Down 7th St.”

The midrange is a gem to my ear, even if it's not the most detailed I've heard. Vocals are thick and weighty with plenty of emotion and body to them. Their default positioning is just outside the ear which allows the Corsa to accurately display the most intimate moments of a track, such as the vocals during the closing moments of Culprate's “Undefined” where the artist feels like she moves in and starts whispering mere centimetres from you. This region isn't particularly warm though, with a slight dryness to everything that isn't entirely unlike releases from EarNine and some of Sony's earlier all-armature products. This leaves the timbre relatively accurate, but not quite spot on. Still very pleasing in general though, at least to me. Plus, I'd much rather have this than any amount of the plasticy quality to hear from some balanced armatures.

The low end will certainly be light on bass for those used to products with a dynamic driver handling this region. Extension is quite good with the Corsa able to reproduce the deep rumble in the opening of Kavinski's “Solli”, but anything much deeper than that will result in rapid roll off. Mid-bass is quick and punchy with excellent control and texture. It just doesn't move air like a dynamic so the physical aspect is missing somewhat. That should be expected given the drive tech being used. If you need some extra low end emphasis, with a few extra dB added in via EQ the Corsa can slam pretty well, though it's certainly nothing a bass forward listener is likely to be content with.

The Corsa's sound stage is relatively expansive and indeed a strong point. Width is good with sound and effects easily able to spin off into the distance. I found the Corsa to be a solid pairing for both competitive and casual gaming. It was relatively easy to follow the opposition thanks to the accuracy of imaging and depth, aspects which also help keep music tracks from sounding congested. Instrument separation and layering are good too, but the denseness of the overall presentation limits what the Corsa can do. It's not really noticeable until directly comparing with more analytic-focused products though.

Overall I have really enjoyed the Corsa's mature tuning. I appreciate that Earsonics refrained from falling into current trends, like a boosted upper mid, or adding lean treble spikes to add energy, or bumping up the low end to the point where it dominates the tune. The result isn't something that will necessarily blow you away out of the box, instead growing on you over time.

Compared To A Peer (volumes matched with Dayton iMM-6)

Fearless S6 Rui (389.00 USD): Like the Corsa the S6 Rui contains only balanced armatures, but doubles the quantity to six per side vs. the Corsa's three per side. Where the Corsa offers a relatively flat signature, the S6 Rui bumps bass and treble quantities to offer a more lively, vibrant sound. This is immediately noticeable in the low end. Both mid- and sub-bass regions are more emphasized giving the S6 Rui a thicker, warmer, punchier presentation. While the drivers on both products are quite nimble the Corsa provides improved texture and detail. If EQing bass quantities to match, the Corsa also sounds better controlled and more accurate. Leaning into the midrange, I perceive vocals on the Corsa to be more prominent thanks to the lessened bass and treble quantities in comparison to the S6 Rui. Both male and female vocals from the Corsa are more dense and weighty with a more realistic reproduction, though detail and clarity are a step behind what the Fearless offers. Neither suffers from sibilance. The S6 Rui's stronger upper mid presence gives it a notable edge in terms of aggressiveness with the attack of drums and other percussive instruments. Heading into the upper ranges shows the two taking on very different qualities. The Corsa is thicker and more relaxed with a cleaner, more defined note presentation. Notes attack and decay at a more leisurely pace which once again gives it the edge in realism, though for my tastes the S6 Rui's extra brilliance region energy is more to my tastes. Unfortunately for the S6 Rui, it produces more grain and sounds quite a bit less refined. When it comes to sound stage the Corsa provides a more spacious presentation. The default vocal positioning of the Corsa is just outside the outer ear while it's quite a bit closer on the S6 Rui. Both have a well-rounded stage, it's just overall more compact on the Fearless which in my opinion plays into it's more aggressive tune. Imaging is quite nuanced and accurate on both with smooth channel-to-channel transitions. I wouldn't give either an advantage here. Layering and instrument separation go to the S6 Rui, however, thanks to its superior clarity and detail everywhere but in the low end.

When it comes to build they're both good examples of their respective material choices, though I'd have to give the S6 Rui the nod. Since the S6 Rui is 3D printed and all one piece, fit and finish is flawless. That said, I dislike the way the 2-pin connectors fail to sit flush against the body, unlike on the Corsa where the design is more cohesive and offers better protection from potential damage. Fearless' cable is also an improvement with additional and more flexible strands, stiffer, more supportive preformed ear guides, and beefier hardware, though strain relief is more effectively applies to the Corsa's cable. The lack of a chin cinch on the Fearless also cannot be overlooked. Comfort is quite good on both thanks to similar, low profile designs. The S6 Rui has the advantage here too though thanks to a significantly lower weight. Isolation is also better on the Fearless which is unvented, though this does lead to pressure build up with certain eartips which can be unpleasant.

Overall I find these two products to cater to different crowds. The Corsa is the better pick if you're looking for durability and sonic accuracy while the Fearless S6 Rui is more stylish and provides listeners with a more traditionally consumer-friendly sound; aka. somewhat v-shaped and Harman-esque. They each have their place in my listening rotation.

FiiO FA9 (499.99 USD): [Switches set to OFF/ON/OFF] Like the S6 Rui in the previous comparison, the FA9 contains six armature per side vs. the Corsa's three. In addition, the FA9 adds in a crossover-based tuning system that subtly adjusts treble and either bass or mid quantities. For ease of comparison, I'm comparing with the FA9 set to my preferred configuration, as noted above.

Starting with the low end, the FA9 has more emphasis along with improved extension. It's not quite as articulate or as well-textured resulting in it coming across smoother but also less dynamic. Nice for electronic music, but falls behind the Corsa with live instrumentation. Speed on both is equally excellent with neither getting caught up on rapid notes. The midrange of the Corsa is thicker and more forward than that of the FA9 but lacks the raw clarity and detail. It's cooler tonality and a slight breathiness applied to vocals also leaves it sounding a hint less natural, something that carries over to instruments as well. Treble of the FA9 is more emphasized, notably the brilliance region, giving it a brighter, more energetic sound. Instrumentation in this range stands out more on the FA9 and depending on your tolerance, the extra shimmer and sparkle can leave it more fatiguing than the Corsa. Adding to this notes are cleaner and better defined on the Corsa which sound looser and less well controlled on the FA9. Staging size is in the FA9's corner. While depth is similar, width is quite a bit more impressive. A default vocal positioning resting even further out of the ear than the Corsa's helps with this perception. Technical performance rests solidly in the Corsa's hands with it providing more nuanced imaging. Channel-to-channel movement is cleaner and easier to track with subtleties being more obvious than on the FA9. The same goes for track layering and to a lesser extent, instrument separation.

When it comes to build much of what I said about the S6 Rui applies to the FA9. The quality of the 3D printing is basically flawless. Fit and finish is immaculate. The FA9 utilizes MMCX connectors instead of 2-pin and while they're not perfectly flush with the body upon being plugged in, they're at least as well integrated as the Corsa's 2-pin connectors and do not look at all out of place. When it comes to the cable there are aspects of both I like. The FA9's hardware is beefier and in general feels more robust, especially the 90 degree angled jack. The cable is made of 8 strands with a reasonably stiff sheath, so it lacks the flexibility and comfort of the Corsa's lighter, less intrusive cable design. While both earphones are nice to wear for fairly long periods, comfort for me is better on the Corsa. The FA9 is similarly large but the sealed design causes discomfort due to pressure build up if I'm not careful when inserting it and the nozzle angle also doesn't feel quite as natural.

Overall I prefer the Corsa. The FA9's tuning feature doesn't add much to the overall experience and while I like how smooth and refined it sounds, I prefer the Corsa's additional micro-detail, less fatiguing nature, and improved technical performance in terms of imaging, layering, etc. The Corsa is also more comfortable and while fit and finish is a step back, the metal shells should make it more durable long term.


In The Ear The Corsa's shells are all metal, which is very obvious the moment you pick them up. They carry a lot of weight, which makes sense given they're also larger than your average in-ear. The weight isn't really an issue when it comes to fit, but we'll circle back to that. Construction quality is top tier with the shells having an organic, shapely design. The inner ridges, rear ventilation, and face plate design containing the Earsonics logo are all well-formed and free of unrefined edges. While the nozzle is unfortunately lacking a lip for holding tips on, it is quite long. This helps ensure there is enough friction present to hold most third party tips in place when inserting and removing the Corsa from your ears. My preferred tip, the Spintfit CP145, fits and holds on just fine. Where the Corsa is a step down from other products in this price range is in part fitment, namely how the face plate interacts with the main body. The gap between the two is prominent and uneven with glue peeking through in some areas. There is also some overhang around the front of each ear piece where the face plate is a bit longer than the rest of the shell. It's nothing I'd worry about and doesn't take away from the visual appeal. That said, it certainly gives the impression that the Corsa is more of a boutique product which makes sense given it's handmade and not mass produced on an assembly line.

The cable isn't anything particularly special and comes across underwhelming given the asking price of the Corsa. That said, it's not a bad cable and sells by itself for 99 USD. It's a simple quad-strand, silver-plated, braided design with Kevlar reinforcement that doesn't look or feel too dissimilar to the silver-plate cables KZ has been including with a number of their recent products. The cable is quite slender and has fantastic aluminum hardware at the compact, well-relieved angled jack, y-split, and the 2-pin plugs. Tangle resistance is pretty decent for a thin cable, it transmits barely any noise during movement, and it retains little memory of bends. Leading up to the earpieces are preformed ear guides which I am always a fan of, though I wish they were slightly stiffer. The light weight of the cable is overwhelmed by the heftiness of the earphones themselves and as a result, the flexible ear guides do little to help stabilize the earpieces during heavy movement. Thankfully, the Corsa uses a common 0.78mm 2-pin design so finding a replacement better suited to ergonomics of the Corsa is quite straightforward. KBEAR's outstanding 8-core silver-plated copper cable gets my recommendation as an affordable (~30USD or less) replacement for the Corsa's stock cable.

When it comes to ergonomics Earsonics crafted a thoughtfully designed shell. While the size will be limiting factor for those with smaller ears, for everyone else I suspect it will be quite comfortable to wear. The inner half of the shell is smooth and well-rounded, completely free of any sharp edges which could cause discomfort. The bulbous shape feels form-fitted to the outer ear and spreads the weight of the earpieces fairly evenly across the surface of your skin. If the Corsa were lighter, I'd easily be able to wear it for an entire 8-hour work shift with no complaint. As-is, I find the areas the earphone touches getting slightly sore after a couple hours, requiring a few minute break to mitigate. If taking the health of your ears and hearing seriously, you shouldn't be listening for hours on end anyway. Isolation with silicone tips is below average. Unlike most all-armature earphones I've come across which are fully sealed, the shells of the Corsa are heavily ventilated with two large, vertical vents on the rear of each earpiece. While this does reduce the Corsa's ability to passively block outside noise, it does improve comfort by ensuring there is no pressure build up when they've been inserted into your ear. If you need to boost isolation tp more average levels, the included Comply foam tips works wonders.


In The Box The Corsa arrives in a very understated package. On the front of the matte black sheath the logo is oriented vertically, along with 'monitors' written horizontally beneath it. France's flag can be found centred along the bottom. To the rear of the sheath is a sticker with the model name and a barcode, along with some additional branding tucked in the bottom left corner. Sliding off the sheath reveals a black monolith of a box with ES written in contrasting glossy font. The rest of the box is featureless. Flipping back the magnetically sealed flap you are greeted by two small viewing windows for the earpieces. Courtesy of Frank Lopez, their CEO, a paragraph in French thanks you for purchasing an Earsonics product and welcomes you to the world of professional audio.

From here you might wonder how to get to the earpieces taunting you through their viewing windows. Sliding your fingers down the right edge of the box reveals a small cutout enabling you to remove the main insert like a drawer. This reveals an ES branded carrying case, two pairs of Comply foam ear tips, and a cleaning brush. In all you get:

• Earsonics Corsa earphones
• Clamshell carrying case
• HI-RES 4C cable
• Cleaning brush
• Comply foam tips (s/m)
• Single flange silicone tips (m/l)
• Bi-flange silicone tips (s/m)

Overall a very simple, clean design for the packaging that uses fewer materials than much of the competition. Since mostly cardboard is used, you won't be tossing it in the garbage and can instead recycle. In terms of accessories, this kit is fine. Comply tips are pretty much the defacto standard for foam tips so you can't go wrong with them. The included silicone tips are the same generic sets you've seen with countless other products, at a wide variety of price points. They work but you'll be tempted to replace them with something more premium out of the box.

Final Thoughts The Corsa is a high performance earphone with a closer to reference-style sound than similarly priced, competing products I've tried. I appreciate its extremely balanced presentation which doesn't place significantly more emphasis on one frequency over another. While this means it lacks the out-of-the-box wow factor of products with more aggressive, coloured signatures, those same products lack the long term staying power and versatility of something like the Corsa which only gets better over time.

I also love the physical design which not only looks wonderful and is quite comfortable, but should also be very durable long terms thanks to the use of metal instead of the plastic and acrylic designs more commonly used by the competition. The accessory kit is a bit of a letdown though, so expect to factor in the cost of third party ear tips, and possibly a more suitable cable if you find the included one a bit too light for the hefty ear pieces.

Overall I find the Corsa to be an outstanding earphone, one that finds itself as a personal favourite that will absolutely be sharing listening time with some of my other preferred all-BA sets, like the Campfire Audio Ara and Astrotec Delphinus 5. Great work Earsonics.

Thanks for reading!

- B9

Disclaimer A huge thanks to Max with Earsonics for reaching out to see if I'd be interested in reviewing the Corsa, and for arranging a sample. The thoughts within this review are my subjective opinions and do not represent Earsonics or any other entity. At the time of writing the Corsa was retailing for 399 EUR (~460 USD). You can check it out here: https://www.earsonics.com/in-ear-monitors/en/corsa/

Specifications

• Frequency Response: 10Hz – 20kHz
• Sensitivity: 119dB/mW
• Impedance: 31ohms
• Drivers: 3BA with 3-way crossover

Gear Used For Testing Huawei P40, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams

Greetings!

Today we're checking out Venture Electronics' (VE) latest budget earphone release, the Bonus IE (BIE).

While probably best known for their extensive earbud lineup which includes the legendary Monk, in-ears are something VE hasn't dabbled nearly as much in, though I can think of at least four different models; The Duke, Monk IE Biggie and Smalls, and the Grand Duke which is their current flagship iem. Being a new budget model makes the BIE all the more exciting for me since the same principles that were applied to the legendary Monk earbuds apply here; quality sound at an attainable price.

Did Wild Lee and Venture Electronics succeed? I think they did. Let's take a closer look, shall we?


What I Hear

Tips: The stock tips included with the BIE are wholly generic but work well with the BIE. The small bore emphasizes it's specialty; massive bass. Due to the nozzle design, most of my preferred tips wouldn't stay on, but there were two in particular that matched up nicely; Spintfit CP145 and ADV Eartune Fidelity U. They sound basically the same, slightly lowering bass quantity over the stock tips. The ADV tips fit basically the same as the stock tips, while the Spintfits provide a deeper fit in case you have issues with the short nozzle.

EQ: I found the BIE to be very receptive to EQing. Using the Sound Shaper Two mk II, a vintage 12 band equalizer, I found the following adjustments to make the BIE a more balanced, yet no less fun sounding earphone with great timbre and clarity; -6dB@30Hz, -4dB@50Hz, -2dB@90Hz, -2dB@3kHz, -3dB@5kHz. These settings balanced out the low end, reduced the mild mid-bass bleed, and then reduced some of the resulting presence region focus that cropped up as a result of the reduction to the low end.

If bass is your jam, you're going to have a ball with the BIE. Bass is greatly emphasized with excellent depth. There is no lack of visceral feedback or noticeable roll off to mar the experience. Mid-bass is big and punchy, adding plenty of warmth to the overall experience. Texturing is good but not outstanding. The crunchy, Prodigy-esque bass of The Prototypes ft. B3NDU's “Enter The Warrior” is produced admirably, but I can't help but want just a bit more grunge. It works very well with the smooth bass of pop and synth tracks though. Speed is pretty decent, especially considering how much the BIE slams, but there is some bleed into the lower mids that hurts resolution somewhat.

Heading into the mids, they remain impressively forward and coherent amidst the low end bombardment. With a pleasing warmth to them, timbre accuracy is excellent with none of the artificial dryness or metallic qualities much of the similarly priced hybrid competition often suffers from. Complimenting the warmth is a fairly dense and weighty presentation that sounds fantastic with female vocals. Celine Dion in her Deadpool 2 smash hit, “Ashes”, comes across just as emotional and powerful as I'd expect from such a powerhouse of a vocalist. Detail and clarity are generally good with the smoothness of the signature somewhat hiding micro details that more analytically tuned products reproduce with more authority, such as the subtle waves that headline “Orchestral Intro” from Gorillaz's 'Plastic Beach'. Through the BIE, the waves unfortunately just sound like static, until the volume picks up and it starts to resolve the ebb and flow more effectively. Other than that, I've found little to nitpick.

Treble performance is generally quite positive, minus the micro-detail issue that persists here too. The presentation has a slight brilliance region bias giving higher frequency instruments enough sparkle and air without being hissy or exhausting, while the fairly reserved presence region ensures the BIE dodges harshness. In terms of speed the BIE does a good job with notes attacking and decaying realistically, if not a tad slow. It fits in with the bass-heavy sound and isn't a detriment since it ensures the BIE's presentation retains consistent top to bottom.

The BIE's sound stage is plenty satisfying. The ample low end provides a wide, deep base upon which everything else resides. I found the presentation fairly even with width having a mild advantage over depth. Default positioning for vocals is just at the edge of the ear which helps provide a decent sense of space from the outset. Channel-to-channel movement is smooth and reasonably accurate, though not quite as precise as some others in this price range. Perfectly serviceable for gaming, but better suited for mediums that do not require intense precision, like movies. Instrument separation and track layering are average, in line with other products in the price and in my opinion, considerably better than I'd expect them to be given the quantity of bass on tap.

Overall a really enjoyable earphone. Despite the hefty low end the midrange is oddly clear and coherent and the treble is tuned to just the right quantity. I appreciate that this driver is very receptive to EQ so I can dial down the bass which lets the rest of the BIE's competencies shine through. I only wish micro-detailing were better, but at this price something has to give which is fine given how nice it sounds as a whole.

Compared To A Peer (volumes matched with Dayton iMM-6)

KZ ZST X (~17.00 USD): While the BIE has plenty of entertaining bass, I actually prefer the quality of what the ZST X outputs. The dual magnet system used results in something tighter and more precise with better speed, improved texture, and less bleed into the lower mids. Heading into the mids the ZST X is cooler, leaner, and less natural sounding, though they are more clear and provide additional detail. Sibilance is more noticeable though, and notes have a hard edge to them. Similar thoughts carry over into the treble region. While both have a brilliance region bias with more or less the same reserved 7k peak, the BIE sounds more meaty and natural, save for the lack of micro detail which the ZST X resolves much more effectively. The ZST X comes across as the more artificial of the two thanks to the metallic edge of the armatures. When it comes to sound stage and technical qualities, the two trade blows. The ZST X has a smaller stage (not as wide or deep) with a more intimate default positioning for vocals. It's imaging is also quite a bit more precise with improved instrument separation, though the BIE does a better job of layering individual track elements.

Overall I have a hard time picking one over the other. The BIE is more natural and realistic sounding but the ZST X's hybrid setup gives it a big advantage in terms of detail and texture. I suppose the BIE is the one I'd choose for music and podcasts, and the ZST X for gaming and film.

ADV 1M (19.99 USD): The 1M has a more reserved low end with a more linear transition from lower to upper bass. While it lacks the visceral slam and punch of the BIE, it is also completely free of mid-bass bleed which the BIE has, though in low quantities. Texture, control, and speed are all in the 1M's camp, probably helped considerably by the less emphasized bass. The BIE has a thicker, more weighty, consistent midrange which helps keep vocals clear and prominent, even across very bassy tracks. The 1M sounds quite lean in comparison with vocals having a wispy nature to them. Detail and clarity are quite similar though. Timbre is definitely more natural on the BIE with the 1M coming across a touch breathy and metallic, especially on higher-frequency instruments. Treble on the BIE is better tuned too thanks to a much more natural transition from upper mids to presence and brilliance regions. The 1M has a pretty insane peak starting at 1k, rising 18dB to 6k. As a result, it offers great detail and resolution, but at the expense of listening fatigue thanks to excess hiss and sizzle. On the wrong tracks, this over boosting leaves it sounding quite harsh, especially compared to the BIE. While the BIE is less detailed, the difference isn't nearly as drastic as you would expect. It also has a cleaner, tighter note presentation without the 1M's splash. Sound stage is an interesting one because they're both great. The BIE's massive bass gives it's staging a better defined width and depth compared to the 1M which is more vague. On the other hand, the 1M's leaner note presentation and improved airiness gives it a more generally spacious feel, helped out by improved imaging and similarly positive layering/separation qualities.

Overall, while I prefer the form factor and size of the 1M, the BIE is a much better sounding earphone out of the box. Using equalization to address aspects I had issues with, I could make them quite comparable, but in general I find the BIE to be the superior product.


In The Ear Admittedly I'm not a huge fan of the BIE's design. The look reminds me of the basic, hyper budget plastic iems that would show up on AliExpress back when I first jumped into the hobby. Thankfully that's where the similarities end. Material quality is excellent with dense metal running the show. They're weighty without being cumbersome and feel like a quality product in the hand. Tight seams that line up well support this impression. To the rear of each housing is a vent surrounded by a circular design feature that gives your finger a bit of extra purchase when pushing the iem into your ear. The machining is clean and smooth with well-defined ridges. BIE branding can be found laser etched into the side of each housing in VE's distinct 8-bit font. The nozzles have neatly inserted metal grills and feature an obvious lip, helpful for holding tips in place. While that's never a bad thing, the nozzle is quite short leaving little space for the ridge of a tip to hook onto the nozzle lip. As a result, I found most third party tips failed to stay securely in place and could be easily knocked off. Not a huge deal since the stock tips are a decent match for the BIE.

The cable of the BIE is not a flashy braided cable as seems to be the norm nowadays. It's more old school than that being a reliable, bi-strand, black rubber sheathed unit. I loved it on the Monk v2 and +, and I love it here. It doesn’t transmit a ton of noise, tangling isn't a huge deal, and it’s shown itself to be quite durable. The hardware is nice too with a compact, rubber straight jack with decent strain relief. The rubber y-split is tiny so no relief is needed. Surprisingly, above it rests a chin cinch. This is a feature that is sorely lacking on budget earphones so big props to VE for adding it. Surrounding the cable leading into each earpiece is a long, flexible strain relief with left and right marking so you know which channel is which.

Comfort with the BIE is pretty decent. The traditional barrel shape of the housings works just as well cable up as it does cable down, giving those who prefer one or the other the option. There are no sharp edges or odd protrusions to cause discomfort either. It's a pretty straightforward fit, with potential hindrance coming only from the aforementioned nozzle length and difficulty finding third party tips that will stay on, pending the stock tips don't work for you.

In The Box The BIE did not arrive in any sort of formal packaging, instead showing up in a clam shell case with the earphones and tips inside. In all you receive;

• BIE earphones
• Clam shell carrying case
• Single flange tips (xs/s/m/l)

The case has a bold triangular rubber logo threaded to the jean-like material that covers the rest of the case. It is visually appealing and feels durable. Inside there is plenty of space for the earphones, spare tips, and a small DAP like the Shanling M0 and/or a dongle like VE's own Odyssey HD. It will be a bit thick for those with tight pockets, though I have no issues carrying it around in mine. The ear tips are the familiar plain Jane type you've seen with a million other products. They're reasonably comfortable and seal reliably enough, which is all you can ask for in this price range. Overall a functional accessory kit.


Final Thoughts Given the somewhat mixed response to the Monk IE Biggie and Smalls and the extremely competitive price point the BIE resides within, I have to admit it was the product Wild Lee sent that I was least interested in. The measurements I saw when it was originally released didn't help since I typically prefer products that have considerably less bass. However, any doubts I had were immediately smashed during my first listen. Heck, I even reached out to Lynn with Ngoshawk right away to express my excitement and confirm what I was hearing. I NEVER do this. Even though that initial excitement waned over the last couple months, I still think the Bonus IE is the real deal.

The BIE is one of few products that I feel are a legitimate contender in this price range. Unlike something like the Blon BL-03 which [according to the community] needs the cable and tips replaced out of the box and even then probably still fits poorly, the BIE ticks every important box, out-of-the-box; build, comfort, sound quality, and price. Sure, a removable cable would be nice at this price, but you need to step up to the BIE Pro for that. Improved micro-detailing would also be a plus, but you can bring some of that back if you're adept with an equalizer.

If you want a bassy, natural sounding in-ear that gets the essentials right, check out the BIE. I'd be surprised if you're anything less than satisfied.

Thanks for reading!

- B9

Disclaimer A big thanks goes out to Wild Lee for reaching out to see if I'd be interested in covering some Venture Electronics' products, and for sending over the Bonus IE for review. The thoughts within this review are my subjective opinions and do not represent Lee, Venture Electronics, or any other entity. At the time of writing, pricing for the Bonus IE started at 20 USD for the standard version. You can check it out here: https://www.veclan.com/engappliance_sel_one?eng_ApplianceVo.eac_id=35 / www.aliexpress.com/item/33009006408.html

Specifications

• Frequency Response: 17Hz – 22kHz
• Sensitivity: 115dB
• Impedance: 32ohms
• Drivers: 10mm dynamic

Gear Used For Testing Huawei P40, VE Odyssey HD, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501, ADC Sound Shaper Two mk II

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams

Greetings!

Today we're checking out a discontinued model from AKG, the K121 Studio.

I'm no stranger to AKG having spent ample time with a number of their products, like the K512 mkII, K701, and my favourite, the K553 Pro, among others. I recently added the K121 Studio to my collection having found a roughed up copy at the local thrift shop for a whopping 3.99 CAD. The elastics that support the headband had completely deteriorated, the pads were falling apart and the tuning foam covering the drivers was shredded and disintegrating into tiny particulates. They were a mess, and therefore, the perfect candidate to come home with me.

Once home, I dug in and started the restoration process. Beginning with the pads, they were removed and all the foam and faux-leather shreds eviscerated. The K121 was then given a deep clean and sanitize to remove any remaining dirt and debris. Since the stock pads were no longer usable, I cut off the pleather material to get at the plastic plate that clips to the ear cups. The inner foam was still in great shape, so that is being kept in case I feel motivated to make new pads similar to the stock set. Stock Meze 99 Neo pads were installed in their place since they were the only set I had that fit even remotely well enough.

Since the K121 is easy to work on and quite modular, replacing the headband elastics was a cinch. Starting on the headband, there are two square plastic slabs, the lower of which needs to be removed. It's as simple as removing a single Philips head screw. From there, the structure falls apart revealing a plastic disc which the elastic is attached to. Just rip the elastic off (or cut it...). The AKG branding sticker on the cups was next to go, carefully peeled off to reveal a screw underneath. After that was removed the plastic cover came off revealing some wires and another screw securing the headband rails in place. Removing that final screw released the elastic which was wrapped around a small tab, hidden amidst the wires. Since I had no similar, cloth-coated elastics to replace the stock ones with, small blue ones that commonly come with vegetables were recruited. One end was wrapped around the tab on the ear cup side, then screwed down, and the other wrapped around a stabilizing pole on which the plastic disc then rested. Everything was screwed down, the stickers replaced, and ta da! The K121 Studio once again had a functional, self-tightening head band along with new pads. With these repairs in place, the K121 Studio was ready for use.


This wasn't an expensive headphone when new, so it comes as no surprise that the build is almost entirely plastic, save for the vented, gold-coloured portion of the ear cups which is metal (or at least it feels like it). The plastic seems pretty low rent, but significantly nicer than that used for my old K512 mkII, the headband rails in particular. The rails on the K121 Studio have some structural rigidity to them, while the rails on the K512 mkII literally felt like flattened straws. The headband is clearly plastic as well and doesn't do a great job of mimicking leather, but after it was cleaned looks brand new. It certainly held up better than the pads and elastics. All this plastic means the K121 Studio is impossibly light, which is exactly what I'd want for a product intended to be used for long periods in a studio. I can wear it for hours with the only discomfort coming from the Meze pads which are quite a bit larger and deeper than the stock set, adding additional pressure around the ears that requires short breaks to address. I'm sure that with pads more akin to the stock set, comfort would be a solid 10/10 instead of the current 8/10. Isolation isn't great which is no surprise. The semi-open back design lets in plenty of outside noise which is fine indoors, not so great outside. Not that you'd want to use these outside anyway thanks to the fixed, 3 meter long, single-sided cable which btw has great strain relief at the straight jack and leading into the ear cup.

Since I've not used them with the stock pads, which to be frank were disgusting, my sound impressions will be based purely on use with Meze's pads. I also like to use them with some mild EQ (-4dB@9k, -2dB@5k) to take down peaks in the highs, likely a result of the pads since those peaks are greatly lessened when squishing the pads to something more resembling the stock depth. They have been used almost exclusively with my Hifi E.T MA8 DAC and TEAC HA-501 desktop amp + ADC Sound Shaper Two mkII equalizer with the MA8 or my laptop sourcing the beats.

My expectation of the K121 Studio was that they would sound similar to the K512 mkII with a decidedly lean, bass-lite, mid and treble focused sound. What I got instead was a more robust, reasonably well-balanced headphone, though still with some extra upper end energy. Bass is surprisingly robust and well formed with good extension as noticed in the opening moments of Kavinski's “Solli”, even though the K121 Studio is saddled with quite a small driver (~30mm). Emphasis isn't much beyond neutral, keeping with the idea of it having been designed with monitoring in mind. Texturing is excellent with nothing being smoothed over or overly warm, and speed is quite nimble. Distortion can be a problem when not properly amped though. While reasonably sensitive at 114dB the K121 Studio is fairly easy to get up to volume, however, the above average impedance of 55ohms means you need something capable of letting it run smoothly at said volume.


My first test after being cleaned and prepped for use was with the Cozoy Takt C because it was already plugged in and ready to go. Distortion on every bass note was immediately apparent. If you've been following my content for any length of time, you'll know I typically listen at low volumes so this came as a surprise. If you're planning to use these with your average portable source (ex. Shanling M0, FiiO M3 Pro, etc.), I suggest getting at minimum the Earstudio HUD100 and running it via the high output port which can bring it up to blistering volumes, distortion free. The VE Odyssey HD works if you're on a tight budget, just note that the two together end up sounding somewhat artificial thanks to a metallic edge added to the presentation.

That out of the way, let's dip into the midrange. Note weight is satisfying with vocals and instruments having just the right amount of body. Nothing sounds overly thick and muffled, nor is it lean and sharp. Listening to Aesop Rock's 'Spirit World Field Guide' I was quite surprised at how well the K121 Studio handles sibilance. This album has a very hot midrange that with the vast majority of headphones and iems is way too aggressive. Totally listenable with the K121 Studio though. Clarity and detail are quite good, improved further by removing my earlier EQ suggestions, though it comes at the expense of listening fatigue. In my opinion, my alterations find a satisfying balance between comfort and clarity. Timbre from the K121 Studio is quite natural with just a hint of dryness in the higher registers leaving cymbals and chimes less shimmery than you'd expect. Otherwise, most excellent.

Speaking of the upper registers, the K121 Studio falls in line with my general experience with AKG products. A solid lift in the presence and brilliance regions resulting in a very crisp, generally detailed signature with plenty of air and space between notes. This particular model suffers from a fair bit of splash that knocks it down a notch in terms of retrieving micro-detail, though it's a sub-100 USD headphone that is how old and with who knows how much use, along with oversized third party pads, so for all I know the pads could be a terrible pairing, or maybe the headphones are simply old and worn out. Even so, notes attack with plenty of force and decay rapidly resulting in an energetic, articulate sound that doesn't get easily tripped up by busy passages. I have no problems listening to improvised jazz or metal with these since they do a great job of sorting the mess of noise into a coherent passage of music that can be scrutinized, splash and all.


When it comes to sound stage the K121 Studio is plenty wide and deep, besting even the K553 Pro which sound more like an open back than the closed back they are. Vocals by default sit outside the head with sounds and effects having plenty of space to move about. Numerous times when listening to the K121 Studio I thought I heard something behind me, or my wife was asking me a question, when really it was just some aspect of the soundtrack fooling me. While I don't find a large stage necessary for listening enjoyment, it certainly helps. Imaging is nice and precise too with channel-to-channel transitions happening smoothly. Tracks also come across very well layered with each instrument clearly defined and easy to track. It doesn't take much effort to accurately follow movement when gaming, though the limited bass quantity may keep the K121 Studio from being ideal for the medium for some users.

So was the AKG K121 Studio worth the four bucks and some TLC to bring it back to fighting form? Well, yeah, definitely. Not only do they look cool, but they're very comfortable, easy to work on, and they sound shockingly good. They're not without issues, like cheap materials and occasionally splashy treble, but I can look past those issues given the price paid. Heck, I'd still have been happy with them at their original retail price of 89.00 USD. They're just a rock solid, inexpensive monitoring headphone with enough life in them to keep from sounding sterile. While their low end can't be boosted much without running into issues, the rest of the signature is plenty receptive to EQ and can be altered and messed with at will.

If you're not afraid to buy discontinued products and/or enjoy older headphones, in this case one with little to no following, feel free to hunt down a set of AKG K121 Studio for yourself. Personally, I'm looking forward to finding some more appropriate pads, or buying a proper set of replacements since they're still readily available. I want to continue to use them for a long time to come. Their comfort and sound quality have ensured this headphone will remain a staple product in my personal listening lineup for a long time to come.

Thanks for reading!

- B9

Greetings!

Today we're checking out Moondrop's newest sub-100 USD release, the completely revamped Aria.

The original Aria came out in 2018 and featured a more traditional barrel shaped housing. The shells were brass with an attractive chrome coating and housed dynamic drivers with carbon nanotube diaphragms. The cable looked to be the same as that on the Spaceship, affixed to the earpieces with durable metal hardware.

The 2021 Aria drops all but the name and some of the accessories from the original incarnation. The new shell strongly pulls from the Starfield before it with a similar low profile design and cable over-ear intention. The cable is now removable and utilizes a cloth coating. The 10mm dynamic driver being used is set within a brass cavity and has an LCP (liquid crystal polymer) diaphragm with imported Japanese Daikoku-CCAW voice coils, just like the Starfield.

At a price of only 79.00 USD and measurements that line up extremely well with 109 USD Starfield, the Aria seems too good to be true. Is it? Let's find out.


What I Hear It's not too good to be true. The Aria is just that good. As you'd expect from the basically identical measurements, it sounds extremely similar to the Starfield, though not identical. I found the Aria just a hint cooler, brighter, and sharper with a slightly tighter low end presentation. The differences are very, very minor, hardly noticeable really, but flipping between the two or using one earpiece from each product at the same time, differences are audible.

Treble is solidly extended with a mild, very pleasing 7k peak that gives the presentation just the right amount of sparkle amidst the presence region bias. Cymbals, chimes, etc. push through with just the right amount of emphasis, adding energy but not overstepping into harshness or causing fatigue. Notes also attack and decay with a natural speed that doesn't distract. Like the Starfield, the Aria's treble manages to be neither tiring nor dull, finding an ideal balance of technical competence and entertainment value. Thanks to a reserved lower treble bump, the Aria outputs plenty of detail without sounding overly analytic and dry. Even at listening volumes I'm not comfortable with, the Aria remains very non-fatiguing, though I still prefer the Starfield's slightly more mellow presentation for long listening sessions.

Dropping into the mid-range we find that vocals and instruments are comfortably weighted, with a slight tilt towards a lean presentation that highlights the Aria's outstanding clarity and audible coherence. While the upper mids see a step up in prominence, I didn't find it causing any issues with an overly aggressive or fatiguing presence, though it does contribute to the natural snap of the Aria's attack qualities. Timbre is outstanding and a step above most other products I've heard in recent memory, though the hint of added brightness to the presentation puts it a notch below the Starfield. In the end, picking apart individual elements in a track is made fairly effortless. Multi-driver and much more expensive products will show the Aria the door here, but for a budget friendly single dynamic you'll hardly find better.

When it comes to bass the Starfield was a bit soft in its presentation. Good, but a bit underwhelming when it came to punch and impact. The Aria sees improvements here as it feels a bit more precise and energetic. The linear nature of the Starfield's low end is retained with a smooth transition from lower to upper bass. Sub-bass presence is good with the Aria having no problems providing a satisfying visceral rumble when called up, though I find the Starfield's slightly more loose presentation more satisfying in this one area. Mid-bass is quick with a snappy punch that kicks extra nice at volumes a little higher than I usually listen. Texture and detail are lovely. The info-rich low notes of The Prodigy and Tobacco are reproduced properly and nothing comes across overly smooth or one-note.

When it comes to sound stage I found the Aria above average with a well rounded with a fairly even width and depth. Vocals by default sit just at the edge of the outer ear with sounds and effects convincingly soaring well off into the distance, or pulling further in for an extra intimate presence when called upon. Imaging is just as good as the Starfield with nuanced channel-to-channel movements being exceptionally clear and easy to follow. The larger than average staging does a good job of showing off the Aria's layered presentation with live recordings displaying clear depth between instruments. I also really enjoy this one with video games as you can tracks sounds and movements or simply immerse yourself in the story without being distracted by odd behaviour. Instrument separation is also excellent with busy tracks being handled quite well, even at fairly high volumes. I'd still rather a multi-driver setup for those situations though.

Overall, the Aria is an unabashed winner of a product. You get Starfield levels of performance at a lower price. This is to my ears the best single dynamic product in this price range thanks to it's technical competence, tuning versatility, and non-fatiguing nature. It has got clarity, a good sound stage, tight bass, and no glaring flaws. The Starfield is a bit smoother and somehow even less fatiguing, but it's hard to argue that such minor differences are worth an extra 30 USD. To my dismay, because I adore it, the Aria makes the Starfield kinda obsolete.

Compared To A Peer (volumes matched with a Dayton iMM-6)

Shozy Form 1.1 (74.99 USD): The Form 1.1 comes across significantly bassier than the Aria, despite not being all that much more elevated in the low end. This perceived difference comes about as a result of the Form 1.1's midrange being more linear and less raised than that of the Aria. While the Aria has the advantage when it comes to speed and control, the Form 1.1 provides a hint more texture and a more visceral experience as a result of it's more leisurely driver. The midrange of the Aria, as previously noted, is more enhanced from around 1k to 6k where they once again line up. This results in the Form 1.1 sounding warmer and more dense, giving up detail and clarity to the Aria. Timbre quality on both is equally good with a slight advantage going to the Form 1.1 Treble out of the Aria is cleaner and tighter with better defined notes and more air. The Aria's presence region bias leaves it in a better place when it comes to detail retrieval but it lacks brilliance region sparkle which is present in the 1.1. Both products sound about equal when it comes to snap and attack with each handling rapid passages just fine. When it comes to sound stage the Aria easily takes the cake. The Form 1.1 is quite average in this regard. While it has a nicely rounded stage like the Aria, vocals have a more intimate default presence with sounds staying closer to the ear. Imaging and layering qualities are more nuanced through the Aria with the Form 1.1 being more of a match at keeping individual instruments well separated.

Overall I slightly prefer the Aria, though the Form 1.1 holds it's own with a signature that is a bit more entertaining thanks to it's bigger, bouncier bass and upper treble sheen. I'd happily use either as a daily driver.

KBEAR Diamond (79.00 USD): Bass on the Diamond is slower, digs deeper with greater visceral feedback, and is more prominent overall, but the sheer presence of the midbass is too much and leaves it sounding a bit muddy next to the squeaky clean Aria. The Aria's low end is also more textured. The Aria's extra speed gives it punch and attack that the Diamond is missing. The Aria's midrange is more more even in terms of upper and lower balance so male and female vocals sound more evenly represented. The Diamond's upper mid bump gives it additional presence but throws off the balance considerably. Timbre quality is good on both but the Aria sounds more natural and accurate, lacking the unnecessary sheen of the Diamond. Treble out of the Aria is more detailed and better controlled, free of the splash that haunts the Diamond. The Diamond's sound stage lacks the width of the Aria, but isn't too far off in terms of depth. Imaging, layering, and separation are all in Moondrop's camp which competes with much more expensive products in these regards.

Overall I unquestionably prefer the Aria. It performs on the same level as the Starfield, or slightly above, an earphone which already handily bested the Diamond.


In The Ear Like the Starfield, the Aria is a gorgeous looking earphone thanks to the matte black, rose gold colour combination. The matte black paint job feels very durable, unlike the apparently chip-prone glossy purplish-blue we saw on the Starfield (though mine has yet to chip). I love that Aria is printed on the rear of each housing in the same delicate cursive font used elsewhere. It looks classy and reminds me of older Knowledge Zenith products that printed the left and right indicators in cursive. Fitment of the two halves of the shell is good, but there is a prominent seam circling the base of the face plate that may or may not bother some. The ports for the removable cable are recessed a couple millimetres into the housing offering a snug fit for the plugs and enhanced protection from accidents and careless owners that shove the earphone in their pocket. This is a well-built product.

The cable Moondrop includes with the Aria is not my favourite. I'm not a huge fan of cloth cables at the best of times. While this is one of the better ones, it still suffers from the usual foibles. It kinks easily and is tangle prone above the y-split. One thing it does better than every other cloth cable I've tried is prevent cable noise from being transmitted into the ear. These is none. I'm sure a big part of this comes down to the excellent preformed ear guides, but either way it's great. This to me is its saving grace. That and the excellent 90 degree angled jack which has extremely beefy strain relief, similar to what we've seen from past HiFiMAN cables. The metal y-split and chin cinch are also nice additions, though there is no strain relief. I wouldn't be surprised if the cable started to fray around there with more use. Not a bad cable, but far from my favourite. For the purposes of testing I used it, but otherwise swapped immediately to the Starfield's cable which I personally find far superior.

Just as with the Starfield, I find the Aria's ergonomics outstanding, if not improved thanks to the lessened weight of the new shells. The low profile design and low mass keeps weight distribution even around your outer ear. While it has a fairly shallow fit, there is never the feeling of a compromised seal. Isolation isn't quite as good. I don't find this entirely surprising given the shallow fit and twin vents on the inside of each earpiece. Of course, foam tips help mitigate this sound leak somewhat, but not enough to make the Aria an ideal pick for routine use in noisy areas like a coffee shop or on transit.


In The Box The Aria's packaging is some of the nicest available in the sub-100 USD segment. The front of the exterior sheath contains some of Moondrop's high quality artwork and the Aria model name in delicate cursive. Flipping to the rear of the sheath you're provided a list of specifications and large graph of the Aria's frequency response. As has been the case with past products, I have found the provided measurements to be quite accurate and not the usual marketing fluff other brands use simply to draw attention. Removing the sheath reveals a compact black box. Printed in an attractive rose gold you find the model name surrounding but delicately curving lines. Moondrop's logo can be found on the magnetic flap, also in rose gold foil. Personally, I think it looks fantastic and really gives the impression that something special is inside. Lifting the flap you find the Aria's earpieces set within an extremely dense foam insert coated with a felt-like material. Beneath is sits a cardboard insert that mirrors the design on the lid. It opens via a piano black ribbon to reveal one of Moondrop's excellent clam shell cases, held securely in place by the same dense foam as the earpieces. Inside the case are all the included accessories. In all you get:

• Moondrop Aria earphones
• Clam shell carrying case
• 0.78mm cloth coated, twisted cable
• Single flange silicone ear tips (s/m/l x2)

Overall a very premium feeling unboxing experience, only to find inside a very standard accessory kit. That said, the included accessories are of higher quality than most of the competition. The included tips use a grippy, soft silicone that reliably seals and causes zero discomfort. Some more tip variety would have been welcome, though I appreciate Moondrop doubling up on each size in case you lose a tip or two. The clam shell case is one I adore and having been using extensively with the Starfield for over a year. It is smaller in circumference than most, but has enough depth to comfortably hold the earphones and spare tips while still fitting in most pockets. It has a pleasing texture too thanks to the grippy, knobbled surface.

Final Thoughts Well, this one is a no brainer. If you've got 80 bucks to spend on an earphone and want what is arguably the most versatile and competent all-rounder on the market, the Aria is it. It looks cool, offers performance that matches products a tier higher, is well built and extremely comfortable, comes with high quality accessories, and the packaging is gorgeous. Moondrop continues on their path to becoming a leader in the industry, and I can't wait to see what they do next.

Thanks for reading.

- B9

Disclaimer A huge thanks to Moondrop for providing a sample of the Aria for the purposes of review. The thoughts within this review are my own subjective opinions and do not represent Moondrop or any other entity. At the time of writing the Aria was retailing for 79.00 USD: https://www.moondroplab.com/aria / www.aliexpress.com/item/1005002368718730.html

Specifications

• Driver: 10mm dynamic w/ LCP (liquid crystal polymer) diaphragm and dual magnets
• Impedance: 32 ohms +/- 15% @ 1kHz
• Sensitivity: 122dB/Vrms @ 1kHz
• Frequency Response: 5Hz-36kHz

Gear Used For Testing LG G6, DDHiFi TC35B, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends

Greetings!

Today we're checking out TinHiFi's newest entry into their ever popular T-Series of earphones.

TinHiFi's claim to fame is the original T2, a reference quality dual-dynamic earphone that didn't break the bank. Since it's release in 2017 put them on the map, TinHiFi's lineup has been fleshed out with a wide variety of products, some great like the T2+, some lacking like the true wireless T2000.

When the T5 was announced, I was pumped for the gorgeous new shell design, the move to a 2-pin system, and the inclusion of super stiff DOC single dynamic drivers. It sounded like it was going to be a killer release. Since I wasn't expecting the opportunity to review it, I scoped the usual suspects once reviews dropped and was shocked to see it being almost universally panned. Once that happened, I knew I needed to hear it for myself and reached out to TinHiFi to see if they would be willing to provide a sample. You're reading this so you know how that went.

I've had it in hand and in the ear since early May with listening interspersed with a variety of much more expensive, top of the line products. Clearly I missed some important anti-T5 memo sent to my peers because the T5 is absolutely fantastic. Let's take a closer look, shall we?


What I Hear Bass from the T5 is sub-bass biased with a lean mid-bass region. This leaves it with a cooler tonality. It has plenty of snap and attack to notes and if quite nimble and quick, easily tackling Havok's 'Time Is Up' album with ease. Texturing is good but not class leading with grungy notes from The Prodigy and Tobacco being satisfactorily replicated. A bit more grit would be nice, but then it would probably end up being even more polarizing so this is fine. Quantity is certainly above neutral, but far from basshead, or even bass-focused. If you're familiar with the T4 or T2 Plus, expect a presentation in line with those, but with less mid-bass.

The lower midrange is pretty much in line with the low end in terms of emphasis, with a prominent rise in the upper mids. While this boost does result in a strong presence for rhythm instruments that some will undoubtedly find fatiguing, this is right up my alley and in line with what I enjoy from other upper-mid boosted iems like the Moondrop SSR/SSP, Meze 12 Classics V2, Meze Rai Solo, among others. I love the way vocals are clear and prominent with amazing clarity and coherence, though deeper vocalists come across more natural. Those with a softer, warmer tonality would benefit from a mid-bass boost the added warmth that would bring.

With a presence region bias that gives the T5 it's near class leading clarity and detail, you'd be excused for thinking they'd kill the brilliance region. Nope. A mild 7k peak is present giving the T5 plenty of sparkle and shimmer to go along with all that detail. The lean note weight present in the low end of course carries through to this region too which results in plenty of air and space between notes. The T5 is also plenty speedy in this region with notes hitting hard and decaying fairly quickly. I have no issues tossing King Crimson's various, improvisation-heavy, jazz-addled tracks at it. Given all the emphasis going on up here, know this is a bright earphone. If you don't like the sound of that, this one probably isn't for you and you'd be better off with Dunu's SA3, the Moondrop Starfield, or even BGVP's underappreciated DMS.

When it comes to sound stage, I'm quite satisfied with the T5. Wider and deeper than average, it can very easily surround you with your music. Vocals have a semi-intimate default location, sitting just outside the inner ear. This still leaves room for closed in moments like the trailing vocals of Culprate's “Undefined” to sidle over uncomfortably close, and for the sounds of shells ricocheting off a tank's hull to careen off into the distance when playing World of Tanks. It's also awesome with film since you can become completely immersed in the impressive sound design of most modern epics. When it comes to technical qualities, the T5 doesn't lead the pack, but it's far from a slacker. Imaging is reasonably smooth with it's channel-to-channel movements, lacking the precision of multi-driver models like the BQEYZ Summer and Brainwavz B400. The wonderful depth of the staging allows layered tracks to appropriately space out, and for individual instruments to remain well-separated. At really high volumes these qualities falter somewhat, but you shouldn't be listening that loud anyway. Unless of course you don't care a bout your future hearing. In that case, go wild.

Overall, a pretty damn awesome earphone. Intoxicating sub-bass, amazing detail and clarity, and a spacious sound stage serve it well, while the general brightness and lack of warmth will turn some off. This is one I use all the time, so clearly none of those subjective negatives are of a concern to me.


Compared To A Peer (volumes matched with a Dayton iMM-6)

BQEYZ Summer (129.00 USD): The single-dynamic T5 has less bass emphasis with a more linear transition into the lower mids than the tribrid Summer. It sounds less meaty, cooler, and more lean than the notably bassier Summer. The T5 comes across a bit speedier with similar texturing. The midrange of the Summer peaks just before 2k then slowly tapers down as you head into the treble whereas the T5 peaks around 2.5k then remains fairly even in emphasis until you slip into the presence region. These differences result in the T5 being considerably more detailed and crisp, but it comes at the expense of note weight and some realism. The Summer's timbre and vocal reproduction are more full-bodied and natural. Treble on the two is quite different with the T5's presence region bias giving it a huge advantage in detail retrieval and general clarity. The Summer pulls this regions back in favour of a ~7k treble peak resulting in a more sparkly but distant presentation. Both earphones have a good sound stage with the T5's coming across deeper and more layered. Imaging is a touch tighter on the Summer, but they're both quite competent.

Overall I find both extremely enjoyable, though the T5 fits in more with my preferences for less bass and an upper mid push. I also appreciate the smattering of detail it outputs, though the Summer isn't a slouch by any means. If you prefer a thicker, warmer, bassier, more natural presentation, the Summer will be the better choice.

Dunu SA3 (139.99 USD): Bass from the SA3 has a slower, thicker feel to it with a more linear and even run from sub- to upper-bass regions. It lacks the visceral feedback on the deepest of notes, and isn't quite as nimble nor competent with congested passages. Heading into the mids the SA3 peaks earlier around 1.75k with a soft transition into a minor 3k peak, after which things take a strong drop into the treble region. In comparison, the T5 peaks later, around 2.5k, then continues to rise in emphasis as we head into the treble. This gives it a leaner, brighter presentation with a much snappier attack than the SA3, in addition to much more crisp and clear vocals. While timbre on neither is perfect, the SA3 gets the nod. While both products place a focus on the presence region over the brilliance region, the T5's ~5k peak happens about 15dB higher than the SA3's, which is also more of a mild plateau than a peak. Peaks occur again around 7k, with the T5's occurring a mere 10dB higher this time. These two vastly different presentations give each earphone their own unique presentations. The T5 is quite a bit more vibrant and detailed with technical chops the SA3 can't match. These technical advantages carry over to the T5's sound stage which is considerably wider and deeper. Thanks to the improved layering and separation qualities of the T5, the SA3 falls behind on congested tracks leaving it better suited to less complicated passages. Imaging on the SA3 is similar, with precise enough channel-to-channel movements.

Overall I much prefer the T5. I like a bright, vibrant earphone with prominent upper mids and the T5 is just that. While it's not as natural sounding or relaxing over long listening sessions, the T5's technical advantages are too much to ignore, as swapping between the two leaves my wholly underwhelmed with the SA3. If you prefer a more relaxing sound, obviously the SA3 will be a better choice for you.


In The Ear The T5 features a completely new shell design for the brand, and I'm completely on board. Gone is the awkward over ear bullet design of past T-Series models (T2 Plus excepted). In place of this is an extremely well thought out, highly ergonomic low profile design that makes this TinHiFi's best shell yet, in my humble opinion of course.

As is standard for the brand, build quality is quite good. The aluminum shells are very neatly crafted with smooth curves, a clean, brushed face plate and subtle branding. On the inner sides of each ear piece are laser etched left and right indicators. Up top are deeply recessed ports to accommodate a 0.78mm 2-pin system. I'm very glad Tin has decided to move away from MMCX with this model since so many customers have had problems with it in the past. Fit and finish is generally quite good with just the slightest misalignment of the main components leaving the otherwise extremely tight seams more pronounced than they otherwise would be. It's nothing that will cause any discomfort, it's just not perfection. I can forgive a brand for falling short of perfection.

The cable is another winner in my opinion. It reminds me of the types of cables TFZ and TRN include with some of their products, but without the sticky, bouncy sheath of the former, and annoying memory of bends and twists inherent to the latter. Advertising likes to pitch the Kevlar plating that should in theory help with overall durability, but who really knows since the T5 hasn't been out that long. Strain relief is minimal at best with a small, but fairly soft relief present at the straight jack, none present at the y-split, and preformed guides carrying double duty leading into the earpieces. That Kevlar will have it's work cut out for it if it's going to keep this cable alive at the typical failure points. Sheath aside, the hardware TinHiFi uses is excellent. The straight jack is surrounding in two bands of fine knurling which not only looks nice, but provides plenty of grip. The tiny metal y-split has the TinHiFi logo laser-etched into it so it won't wear off over time. I can overlook the lack of relief since they opted to include a chin cinch. While it's a little more loose than I prefer, and can be forced out of position with relative ease, it works well enough to warrant being included. Last but not least, the tiny metal 2-pin plugs have the channels marked with L/R and colour coded plastics, meaning there is no excuse for a user to plug them in incorrectly. Overall an awesome cable in use, but boring to look at thanks to the plain black sheath and tight twist that must be looked at up close to truly appreciate. Not a cable I'll be swapping out anytime soon.

Comfort is where the T5 is a step over everything else TinHiFi has released in the past, at least for me. The size will be a hurdle for this with smaller ears, but for everyone else it should be just right. It has soft curves, a short nozzle, and excellent weight distribution, all qualities that result in a product that can be worn for long periods without any discomfort. I have used the T5 for hours on end multiple times without any need to adjust the fit or take a break due to physical discomfort. It also isolates really quite well with the included tips, silicone or otherwise. I have no issues using it out and about in loud areas, though when using silicone tips a slight bump in volume is needed around construction sites and screaming children.


In The Box The T5 comes in a large, vibrant white, textured box. One neat detail that will likely be overlooked is the embossed TinHiFi logo pattern that makes up the texturing. On the front of the package you find the usual branding and model information. Flipping to the back you won't find a list of contents, specifications, measurements, or much information at all really. Beyond some QR codes for their website and social media platforms, all that is present is a retail bar code and where the T5 was made. Lifting off the lid you are greeted to a sizable, bright white carrying case and the T5's earpieces safely tucked in shaped foam cutouts. Lifting the insert in which the earpieces are set, you find a user manual in various languages, a social media card, some ear tips, and other accessories. In all you get:

• T5 earphones
• 0.78mm 2-pin 4-core cable with 40/0.05 high-purity Oxygen-Free-Copper cable with Kevlar 200D plating
• Carrying case
• Sony Hybrid-like single flange tips (s/m/l)
• Spintfit-like single flange tips (s/m/l)
• Foam tips (m)
• Spare filters (3 pairs)
• Tweezers
• Cleaning brush

Overall a very premium unboxing. I was quite impressed. The modern, minimalist design and white colour scheme looks classy and the simulated scent of leather given of by the case smells nice. All of the accessories have a purpose. The case definitely gives off the impression you're getting a more expensive product than you are. It's a bit too large for anything but a jacket pocket or bag, but the construction is top tier. It has neat stitching and a metal TinHIFI badge, along with a spacious padded interior that can accommodate the earphones, some spare tips, and a compact DAP like the Shanling M0 and/or type-C dongle like the VE Odyssey HD. It's a wonderful case.

The included tips are also worth a mention. The Sony hybrid style tips are stiffer than the real deal, but they still work well. The same or very similar tips have been included with some Kinera products. Unlike Sony's tips, they hold up extremely well over time and are not at all fragile. While the hybrids are good tips, it's the Spinfit-like tips that really caught my attention. They feature a similar pivoting design between the shaft and flange, but unlike Spinfits are a standard tip length. I found they provided an impressively reliable seal along with outstanding comfort. These are something I'd buy a bunch of and use with quite a few different earphones, they're that good.

Final Thoughts With the T5 TinHiFi has released something that is apparently polarizing. I'm taking the side of it being a good release and have no issues recommending it. If you like earphones with a sub-bass over mid-bass bias, and can appreciate the decision to highlight clarity and detail over absolute tonal accuracy, or just like a brighter sounding product, then check out the T5. It's both fun and technical. The new shell looks fantastic and has some of the best ergonomics to cross my path, and it comes with a well appointed accessory kit. This slots in as a personal favourite and is something I will continue to use long after this review has been posted and the next new hotness has become long forgotten. I'd give it a higher score but 4 stars will already trigger enough people, so, 4 it is.

Great job TinHiFi. Keep releasing products that cater to a variety of customer preferences, even if it doesn't make you a ton of money. It'll earn you respect, something that can't be bought.

- B9


Disclaimer A huge thanks to TinHiFi for accepting my query and providing a sample of the T5 for the purposes of review. The thoughts within this review are my subjective opinions based on just over 2 months of extensive use. They do not represent TinHiFi or any other entity. The T5 retails for 139.00 USD but was on sale for 129.00 USD at the time of writing; https://www.tinhifi.com/products/tinhifi-t5

Specifications

• Driver: 10mm dynamic with DOC diaphragm
• Impedance: 48 ohms +/- 15% @ 1kHz
• Sensitivity: 103dB +/- 1dB @ 1kHz
• Frequency Response: 10Hz-20kHz

Gear Used For Testing LG G6, DDHiFi TC35B, Earmen Sparrow, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends

Greetings!

Today we're checking out the Summer from fan favourite, BQEYZ.

I was first introduced to the brand with the KC2, an affordable 2+2 hybrid that is still quite popular three years after it's release. Such staying power is a rarity in what has become a very fast-paced consumer space. Next up was the Spring II, a tribrid earphone that very successfully combined dynamic, balanced armature, and piezoelectric drivers into a coherent, capable earphone. It was one of my favourite releases of 2020 and the earphone that, in my experience, best showcased what a piezoelectric driver could do.

The Summer borrows it's driver configuration from the Spring II but comes in at a lower price point of 129 USD (vs. 169 USD). Where the Spring II featured finely crafted aluminum housings, the Summer makes due with a more lightweight translucent resin. The piezoelectric driver has also been changed with the 9-layer unit of the Spring II swapped out for a 5-layer unit.

Is the Summer a worthy entry into BQEYZ's product lineup, or should you be looking towards the competition? Let's find out, shall we?


What I Hear Piezoelectric equipped earphones prior to BQEYZ's Spring II showed plenty of promise for the tech, but failed to capitalize on it. Amazing detail and clarity, but also harsh and peaky. BQEYZ with their 9-layer driver kept the good qualities while more-or-less eliminating the bad, and it resulted in a pretty darn amazing earphone for the price. While the Summer shares it's driver layout, the downgraded 5-layer piezo simply isn't as good.

Tuned virtually the same, the Summer's ~7k peak is noticeable but I never found it overly sharp or aggressive. You get a pleasant sparkle and shimmer with plenty of detail, clarity, and spaciousness between notes. Notes also attack and decay rapidly giving the Summer's treble presence a very nimble, well-controlled presentation that is free of splash or looseness. Where things take a step down from the Spring II is in the smoothness of the presentation, or lack thereof in this case. The Summer's piezo lacks refinement and comes across quite grainy compared to the Spring II which is a disappointment, greatly hindering what is otherwise a nearly class leading presentation.

The midrange fares better with a nearly identical presentation to the Spring II. Vocals are warm and dense with a focused clarity that leaves them very coherent, even amidst overly busy tracks. Fine details aren't hidden. The Summer's bumped midbass region adds just a bit more warmth giving female vocals an even sweeter presentation. It leaves male vocals sounding maybe a bit too dense for my tastes, however. Compared to the Spring II, I found the Summer less resistant to sibilance. While the Summer doesn't add to existing sibilance, it doesn't negate it to the same extent as the Spring II does. Timbre is quite pleasing with a realistic instrumental replication. It's not dry, metallic, or plasticky as armatures can sound, but just right. Excellent stuff overall.

The low end is where I hear some improvements over the Spring II. Depth into sub-bass regions is similarly satisfying giving the Summer a solid rumble and plenty of visceral feedback. Midbass is still a little more robust than I prefer, but it fits in well with the overall tune and avoids coming across as bloated or bloomy. Where the Summer pushes the Spring II to the side is in texturing and speed. It comes across more nimble and better controlled, more easily tackling rapid basslines. Where the Spring II smoothed out grungy bass notes, the Summer better replicates them. It more-or-less nails the micro-details and provides a more dynamic experience.

Leading into the sound stage the Summer remains an impressive piece of kit with a well-rounded staging presence that comes across neither huge nor overly compact. It has no issues presenting intimate moments where vocals or effects need to sound 'in-the-head', nor does it struggle to toss effects well off into the distance. Channel-to-channel transitions are smooth and nuanced with great off-centre movement. I found it especially helpful when gaming, and it certainly helped with immersion when using the Summer for movies. I've been on a horror kick lately and a good set of headphones is either a blessing or a curse, depending on how you feel about scary stuff. The Summer also does a competent job of effectively layering and separating individual track elements to avoid congestion. It enables the listener to follow specific elements if they're in the mood to dissect their tunes, though these aspects are not class leading.

Overall the Summer is a nice sounding product. I'm a little disappointed at the graininess of the piezoelectric driver, but the improved dynamic driver performance is welcomed. The three transducer technologies in use are well-implemented and sound coherent which remains an impressive quality at any price point.

Compared To A Peer (volumes matched with a Dayton iMM-6)

Tin HiFi T5 (129.00 USD): The single-dynamic T5 has less bass emphasis with a more linear transition into the lower mids. It sounds less meaty, cooler, and more lean than the notably bassier Summer. The T5 comes across a bit speedier with similar texturing. The midrange of the Summer peaks just before 2k then slowly tapers down as you head into the treble whereas the T5 peaks around 2.5k then remains fairly even in emphasis until you slip into the presence region. These differences result in the T5 being considerably more detailed and crisp, but it comes at the expense of note weight and some realism. The Summer's timbre and vocal reproduction are more full-bodied and natural. Treble on the two is quite different with the T5's presence region bias giving it a huge advantage in detail retrieval and general clarity. The Summer pulls this region back in favour of a ~7k treble peak resulting in a more sparkly but distant presentation. Both earphones have a good sound stage with the T5 coming across deeper and more layered. Imaging is a touch tighter on the Summer, but they're both quite competent.

Overall I find both extremely enjoyable, though the T5 fits in more with my preferences for less bass and an upper mid push. I also appreciate the smattering of detail it outputs, though the Summer isn't a slouch by any means. If you prefer a thicker, warmer, bassier, more natural presentation, the Summer will be the better choice.

Dunu SA3 (139.99 USD): The triple-armature SA3 is a less bassy, more mid-range focused product than the Summer. Bass quantity is considerably less with the SA3's armatures unable to provide the same level of visceral impact and physical feedback, though they both extend plenty far. Expectedly, the SA3 is quicker and more textured, though I find it gets overwhelmed more easily on heavy basslines that the Summer's dynamic driver has no problems with. The SA3's midrange is elevated to a similar extent, but doesn't drop off after ~2k like the Summer. This plus a more reserved bass presence leaves the SA3 sounding quite a bit more mid-focused with vocals that remain prominent at times where they fail to stand out through the Summer. Timbre from the Summer is more accurate, but the SA3 does a much better job of reducing sibilance. They have a similarly thick presentation with about equal levels of detail. Treble is another area where the two vary widely. Beyond around 3.5k the SA3 really cuts emphasis, then brings things back a bit with a small peak at 7k. There's an almost 15dB difference in upper treble emphasis between the two. This leaves the SA3 sounding considerably more relaxed and much less aggressive with a dry tonality that only adds to the lack of energy. When it comes to sound stage the Summer takes my pick. Wider, deeper and with a less intimate default vocal positioning, it just sounds more spacious at all times. I also found the Summer to provide more precise imaging, alongside improved layering and instrument separation, especially at higher volumes.

Overall I found the Summer to be the more technically proficient of the two, and generally more enjoyable. That said, if you are treble sensitive or want something less v-shaped and closer to a typical “reference” sound, the SA3 is the clear choice. For everything else, I'd take the Summer without hesitating.


In The Ear The Summer trades in the Spring II's premium aluminum body for a lightweight, translucent plastic one, subtly enhanced with reflective metallic flecks throughout. The face plate features wavy ridges that remind me of Mazda's short lived Nagare design language. It was featured on a number of concept cars, with the 2012 Mazda5 being the first and last production vehicle to utilize the language. Even though it is plastic, the Summer still feels fairly substantial. The material feels stiff and dense. While light, it doesn't feel weightless. This all helps to ensure it doesn't feel cheap or compromised. Further adding to this is some excellent fit and finish. The face plate, main body, and metal nozzle all fit together tightly, free of gaps, misalignment, or excess glue. The 2-pin port up top is slightly recessed, though not quite enough to ensure the cable sits flush with the body. Overall a really nicely built earphone.

The cable is my favourite part inclusion. 8 strands, 18 cores with a nice tight braid. The tangle-resistant, flexible clear sheath does nothing to mask the silver plating and as such it has a very vibrant look to it. The hardware used is top tier and the same found on the excellent cable included with the Spring II. A compact metal, BQEYZ-branded straight jack is present with comfortable pre-formed ear guides that lead into compact 2-pin plugs adorned with clear channel labels. Strain relief at the jack is mediocre and absent at the y-split, but this style of cable doesn't really benefit from it anyway so no big loss. Lastly, the bead-style chin cinch from the Spring II has been swapped out for an aluminum ring and can be found resting just above the y-split. It does a stellar job of tightening up the fit when necessary and doesn't slide out of place. This is a fantastic cable, and just like the Spring II's, something that wouldn't seem out of place on a much more expensive product.

The Summer is a comfortable iem. The half-moon shape is similar to the Spring II, but ever so slightly longer and deeper, mostly due to a larger protrusion that locks into the antihelix of the outer ear. The angle of the nozzle is fairly natural angle, but also somewhat short. Those that prefer a deeper insertion or who find shallow insertion earphones unstable might want to consider some longer third party tips, like the Spinfit CP145. Despite similar ergonomics to the Spring II, I find myself adjusting fit less with the Summer. I suspect this is due to the drop in weight and added stability provided by the deeper shell.

Isolation is below average, not completely unexpected given the shallow fit and ample ventilation. With no music playing I can easily hold a conversation with someone, hear the snicking of key caps on my laptop while I type, and other ambient noise. Sounds are dulled but not blocked. Turning music on obviously helps, but in particularly noisy locations like a busy coffee shop, a bump in volume is necessary to listen to music comfortably. Foam tips certainly help with making the Summer a more suitable earphone to use in noisy environments and outdoors, so be sure to pick up a set if passive isolation is important to you.


In The Box The sky blue exterior sheath of the Summer's packaging has only the brand and model name on the front, with specifications and a small product image to the rear. Slipping off the sheath reveals a dark grey, textured cardboard box with BQEYZ printed in silver foil. Lifting the fitted lid you find a slender cardboard insert with a cutout showing off the lovely blue earpieces, safely nested in dense protective foam. Removing the cardboard insert reveals a semi-hard clam shell carrying case with an attractive faux-leather skin. Lifting out the foam insert, you find a series of ear tips set within individual cutouts. In all you get:

• Summer earphones
• 0.78mm 2-pin, 8 strand, 18 core copper silver plated cable
• Clam shell carrying case
• Cleaning brush
• Velcro cable tie
• 2x wide bore single flange ear tips

Overall a nice kit for the price. The carrying case is spacious but still small enough fit in most pockets. The cleaning brush is nice to have, even if you think you're never going to use it. The ear tips are of good quality but similar enough in design to be more or less interchangeable, at least in my experience. I would like to see BQEYZ replace one of the sets with something else, be that foams, bi- or tri-flange tips. Just a bit of variety for those who prefer something other than single flange tips.

Final Thoughts The Summer is another great release from BQEYZ, though I feel it is overshadowed by the Spring II given there is only a 30 USD price difference between them. The Spring II's improved build quality, considerably more refined piezoelectric driver, and better sibilance management make me feel it is worth spending the extra, despite the Summer offering slightly better ergonomics and improved bass quality. If the Summer was priced at 109 USD, putting it in direct competition with the Moondrop Starfield, TinHiFi T4, etc. it would be a much stronger offering. As is, it is certainly a wonderful product with a plethora of positives backing it up, just the pricing keeps it from standing out.

Taking price out of the equation, you get a good looking, well-equipped earphone with a fantastic cable. It is well-tuned and technically satisfying, and BQEYZ continues to showcase their tuning chops by making the three driver types in use sound tonally coherent. Other brands fail to match this coherency within multi-driver setups of the same type.

Overall, I like the Summer and I think it's worth picking up... if you can't spring [nyuk nyuk nyuk] for the Spring II.

Thanks for reading!

- B9

Disclaimer A huge thanks to Elle with BQEYZ for asking if I'd like to review the Summer, and for arranging a sample for review. The thoughts within this review are my subjective opinions and do not represent BQEYZ or any other entity. At the time of writing the Summer retailed for 129 USD: https://www.aliexpress.com/item/1005002351172998.html

Specifications

• Drivers: 13mm coaxial dynamic + nine layer piezoelectric + balanced armature
• Impedance: 32 ohms
• Sensitivity: 110dB
• Frequency Response: 7-40kHz
• Cable: 0.78mm 2-pin connector, 4 core single crystal copper wire with 3.5mm gold jack straight plug

Gear Used For Testing LG Q70, FiiO M3 Pro, FiiO BTR3K, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends

Greetings!

Today we’re checking out the Honeydew, one of two brand new products from Campfire Audio.

Hailing from Portland, Oregon where their products are designed and hand-assembled, Campfire Audio has been bringing high end in-ear-monitors to the public since 2015. It all started with the Jupiter, Orion, and Lyra. Since then their lineup has been expanded and refined with popular releases like the Andromeda and Atlas. The Andromeda in particular has become a staple recommendation for audiophiles looking to step up into the realm of TOTL (top-of-the-line) gear thanks to a balanced and technically proficient yet entertaining sound. It looks pretty cool too.

With the Honeydew and its sibling, Satsuma, we are seeing a shift in nomenclature from the brand. Whereas past products followed a celestial naming scheme, these two new models are titled after colourful, sweet fruits that make for a delicious snack during the warm summer months. Honeydew features a full-range 10mm dynamic driver with a liquid crystal polymer diaphragm set within a 3D printed acoustic chamber, all tucked inside the same brand new housing as it’s single armature twin. Where the Satsuma goes for a more balanced, mid and treble focused sound, the Honeydew pulls tuning queues from the Polaris II with an extremely entertaining, v-shaped signature.

How does it perform? Let’s find out, shall we?


What I Hear The Honeydew fits well into the Campfire lineup alongside models like the Vega 2020 and Dorado 2020 thanks to a monstrous low end that is the driving force in the characterization of the listening experience. Like those other models, the Honeydew’s bass digs impossibly deep to provide a very thumpy, visceral experience. Betraying it’s status lower down on the totem pole is some looseness and occasional mid-bass bloom that leaves some notes sounded a bit bloated and boomy. Thankfully it keeps up in terms of speed so rapid bass notes like those heard in Havok’s “Time Is Up” remain distinct. Texturing is extremely smooth which I would usually consider a negative, but given detail is still good and the rest of the frequencies are just as silky, I’ll chalk this up as a positive. It ensures the presentation is consistent and coherent top to bottom. I do want to note that the Honeydew scales fairly well with a balanced connection, clearing up some of the bloom and adding texture back. If you have the ability to run it balanced, do it.

The midrange of the Honeydew is unexpectedly linear with a warm and natural timbre that makes it oddly satisfying with live recordings like King Crimson’s “Cat Food”. I just love the way strings and woodwinds are reproduced. Everything is lively and energetic yet smooth and non-fatiguing. The same can be said for the Honeydew’s vocal performance. While recessed in comparison to the bass and to a less extent treble, I never had an issue understanding what was being sung or said, even amidst the clashing of cymbals, deep thrumming of a bass guitar, or massive digital bass. Voltage’s “Life Of A DJ” is a perfect pairing with the Honeydew with articulate, reggae-inspired vocals, warbling basslines, and clattering snares. Notes are thick and weighty which does result in less detail, but given the genres the Honeydew excels with (i.e. basically anything with heavy electronics use) and how refined the presentation is, I can forgive it. This isn’t an analytic earphone after all.

The Honeydew’s treble is also reasonably well balanced with small peaks in both presence and brilliance regions, with the larger of two in the upper treble. The presence peak is needed to ensure the Honeydew isn’t so smooth to the point of all micro detail being masked. While I personally would like a bit more of a lift here, I think most listeners will appreciate Campfire’s modesty as it results in a presentation that retains good detail while being far from harsh or grating. The brilliance region lift is more to my taste, however. There is just the right amount of sparkle on chimes and cymbals with plenty of space between notes. Attack and decay qualities are on the moderate side, further contributing to the Honeydew’s smooth presentation. Lastly, notes are extremely well controlled and tight with zero splash or sloppiness to creep in a ruin the experience. Nicely done.

The Honeydew’s sound stage is an area I think a lot of people will be quite pleased. This earphone sounds big. That big bass provides an expansive platform on which everything else is layered. Despite vocals setting things off with a fairly intimate way, effects get tossed way off into the distance. This dichotomy makes the Honeydew feel very dynamic when used for gaming and movies since it immerses you in the content in a way that few earphones do. The nuanced imaging with clean channel-to-channel transitions doesn’t hurt, nor does the depth of the layering. Instrument separation is generally quite good, though that mid-bass bloom can sneak up and smear things at times.

Compared to a Peer (volumes matched with Dayton iMM-6)

Periodic Audio Ti (199.00 USD): I’m sure you can imagine it came as a surprise when I popped in the Ti for a comparison, only to find that despite the Honeydew being a bit of a bass monster, the Ti was even more so. Both extend into sub-bass regions beautifully with the Ti having extra emphasis. As a result, it sounds slightly more skewed towards a thinner, more textured, and more visceral presentation vs. the Honeydew whose mid-bass has more impact and adds additional warmth. When it comes to speed the Ti is quicker. That said, I prefer the way the Honeydew lets things linger. Leading into the mids the Ti has an upper region lift that I really like. This gives vocals more presence than you hear from the Honeydew, although it comes at the expense of timbre quality and note density. The Honeydew just sounds more natural. Treble from the Ti is very much skewed toward the presence region with the brilliance region struggling to provide much shimmer or sparkle at all. While it provides more detail than the Honeydew, it is less refined with a graininess to it that takes away from the experience. The Ti is also less well controlled with notes lacking the same level of definition. When it comes to sound stage these two perform quite similarly. Wide, deep stages with accurate imaging, good layering and separation. I don’t really find one to be superior to the other.

Both of these products seem tailored towards fans of big bass, and in that regard they do not disappoint. That said, while I prefer the Ti’s midrange presentation, the lack of treble refinement and brilliance region emphasis holds it back. The Honeydew is simply more entertaining and refined. Add to that more comfortable and better built and you’ve got my pick of the two.

Sennheiser IE 300 (299.00 USD): The IE 300 doesn’t lack in the low end, but compared to the Honeydew the difference in elevation is quite evident. Campfire’s entry extends better and has a much heavier, thicker presentation that makes it considerably more visceral and punchy. The IE 300 in contrast has a sound that is quite a bit quicker, lighter, and more nimble. It is much less full-bodied. This lean, light feel continues into the midrange. While the IE 300 nearly matches the Honeydew’s warmth and excellent timbre, it provides more detail and vocal clarity. Unfortunately this comes with some vocal aggression on Tees and Esses that is nowhere to be found in the Honeydew. When I listened to these two back-to-back then looked at the measurements it didn’t seem right that treble emphasis was pretty close. The IE 300 sounds quite a bit brighter to me. I suppose it’s possible this effect is exacerbated by the lean note presentation and thinner brilliance peak that is concentrated at 7k vs. a smoother spread across 7k to 9k. Despite the IE 300 sounding quite a bit brighter, I don’t find either particularly fatiguing, though I do appreciate that the Campfire nearly matches the impressive clarity of the IE 300.

I like both, but I think the Honeydew is the one I’d like to use more often. The more full-bodied sound provided better compliments the tuning style and bass presence. The thicker, less fatiguing midrange also doesn’t hurt.

*Since the Satsuma and Honeydew provide the same external build and accessories, these sections will be the same for both reviews with slight alterations made where necessary.*


In The Ear The Honeydew features an all-new shell design for Campfire Audio, though one that still draws inspiration from the iconic angular design first introduced in 2015 with the Jupiter and Orion. While still rife with straight angles, the new shell is quite compact and petite. Along with a new shell design, this is the first product from the brand that I’m aware of to move to molded ABS plastic. While it certainly lacks the heft and quality feel of their other steel, aluminum, and ceramic models, fit and finish is definitely up to snuff. Seams are extremely tight and properly aligned without excess glue or whatever bonding material was chosen peeking out. The steel nozzles are similar in design to those of the 2020 Dorado and Lyra and protrude from the housings at a natural angle. Outside of the CA logo molded into each face plate, there isn’t much else of speak of. The design language fits in well with the brand as a whole, with the exciting colour (“Mellow Yellow”) really making everything pop.

The Honeydew comes with a new ‘Smoky Lite’ Litz cable. Outside of one small change, nothing else about the cable seems different from the regular Smoky Litz included with the Andromeda 2020, IO, and various other models. I might be just a tad thinner and the sheath more flexible, but even with the two cables side-by-side I’m not confident about this. Either way, the 90 degree angled jack is still smartly designed with an extension to permit compatibility with a wide variety of device cases, though the strain relief remains stiffer than I find ideal. That said, I still have yet to experience any issues with it on the numerous cables in my possession. My experiences with Campfire’s cables have shown them to be plenty durable. Within the small, reliefless aluminum y-split, the cable divides sending two strands on each side to the ear pieces. Slotting into the top of the split is a small plastic chin cinch. It moves much more smoothly here than on older Campfire cables and as a result is much more useful. The one change mentioned earlier is the preformed ear guides. They are now opaque black instead of translucent white as found on all previous versions of this cable. Functionally it is unchanged and does just as good a job of holding the cable securely behind the ear. I like this cable, even if above the y-split it can get a bit tangly.

All points where the shell meets the ear are smooth and rounded leaving this, in my experience, as Campfire Audio’s most ergonomic and comfortable design to date. The lightness provided by the use of ABS absolutely helps with this since the earphone doesn’t droop in the ear, or slip out of place while walking, running, etc. If you decide to take the Honeydew out into noisy environments, you’ll find that isolation is slightly above average for a vented earphone. When out in noisy areas, outside sounds are muffled effectively, though I still found myself upping the volume just a tad to counter. I recommend rolling with Campfire’s included Mushroom foamies if you require the most isolation possible.


In the Box The Honeydew arrives in the same packaging we have become familiar with from the last few releases from Campfire Audio. But is it really the same? When I first held the box, it felt a little different. I couldn’t quite put my finger on what it was until I removed the lovely Campfire Audio logo embossed sticker sealing the exterior sheath shut, then opened the lid of the interior box to reveal the inner contents. Ah ha! This packaging is smaller. Not by a lot, just a few millimetres, but they’ve definitely condensed it down slightly into a more compact experience. This is a change I can fully get behind since it uses less material and creates less waste, a philosophy more in line with the earlier, extremely compact packaging that came with models like the original Polaris, Comet, and Atlas.

Anyway, the theme this time around has changed. The large sticker that adorns the front of the sheath carries with it strong 80’s summer vibes thanks to the use of bright colour gradients set within various well-defined circles. Images of the Honeydew’s creamy orange shells are present and there is also a gemstone tucked into the bottom left corner. Don’t really see how that one fits into the theme, but it looks cool so I’ll let it slide. A smaller sticker can be found along one of the side panels and provides some basic information about the Honeydew, such as that it features a single balanced armature with Campfire’s T.A.E.C teach, a stainless steel spout, among other details. Removing the sheath to reveal the main box within sees Campfire’s traditional nighttime mountain scene has not been abandoned. ‘Nicely Done’ remains printed on the front flap as well, which always puts a smile on my face. Once inside the box, you find a compact half moon carrying case and yet another, smaller box containing the rest of the accessories. In all you get:

• Honeydew earphones
• ‘Smoky Lite’ silver-plated, copper litz cable
• Canvas zipper case (handmade in Portugal!)
• Mashmellow foam tips (s/m/l)
• Wide bore silicone tips (s/m/l)
• Final Audio Type E tips (xs, s, m, l, xl)
• Cleaning tool
• Campfire Audio lapel pin
• Mesh accessory bag (x3)

In all a very comprehensive accessory kit, as is always the case with Campfire Audio products. The only thing I would love to see added in the future is a set of bi- or tri-flange tips to satisfy the crowd that prefers that style. Going back to the new case, this is my favourite iteration of Campfire’s half-moon style case so far. Not only is it smaller and more pocketable than previous versions, without sacrificing the ability to comfortably hold the earphones and some extras, but the canvas material looks and feels fantastic in the hand and will certainly be able to take some abuse. Hopefully they carry it forward to future releases.

Final Thoughts The Honeydew is a very welcome entry to Campfire Audio’s lineup. It is their second most affordable model and does an excellent job of giving buyers an idea of what to expect if they want to move up to something more capable with a similar tune. It finds a nice balance between the mega bassy Vega 2020, and still bassy but more mid-heavy Dorado 2020. It does what the Polaris II did, but more affordably and that is nothing but good.

I also love the new shell design. While I wish it was made of something a bit more premium, giving that up for the outstanding ergonomics and lightness seems like a worthwhile trade. Plus, they still feel plenty durable, you won’t have to worry about paint chips, and they have those sweet chromed steel nozzles to give you something nice to admire.

Overall a quality product with a fun sound, and a worthy opponent in what has become a very congested and competitive market segment. If you want something in this price range with wicked bass in a comfortable, well appointed package, look no further.

Thanks for reading!

– B9

Disclaimer A huge thanks to Caleb at Campfire Audio for reaching out to see if I would be interested in covering the Honeydew, and for arranging a sample for review. The thoughts within this review are my subjective opinions and do not represent Campfire Audio or any other entity. At the time of writing the Honeydew retailed for 249.00 USD: https://campfireaudio.com/shop/honeydew/

Specifications

• Frequency Response: 5Hz – 18kHz
• Sensitivity: 94dB SPL @ 1kHz 18.52 mVrms
• Impedance: 46.40ohms @ 1kHz

Gear Used For Testing LG Q70, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams

Greetings!

Today we’re checking out the Satsuma, one of two brand new products from Campfire Audio.

Hailing from Portland, Oregon where their products are designed and hand-assembled, Campfire Audio has been bringing high end in-ear-monitors to the public since 2015. It all started with the Jupiter, Orion, and Lyra. Since then their lineup has been expanded and refined with popular releases like the Andromeda and Atlas. The Andromeda in particular has become a staple recommendation for audiophiles looking to step up into the realm of TOTL (top-of-the-line) gear thanks to a balanced and technically proficient yet entertaining sound. It looks pretty cool too.

With the Satsuma and its sibling, Honeydew, we are seeing a shift in nomenclature from the brand. Whereas past products followed a celestial naming scheme, these two new models are titled after colourful, sweet fruits that make for a delicious snack during the warm summer months. The Satsuma is a replacement for the Comet, Campfire Audio’s previous entry level model. The Satsuma shares the single, ported armature driver setup and utilizes an updated version Campfire’s patented T.E.A.C. (Tuned Acoustic Expansion Chamber) system via a 3D printed interior. While the tuning between the two models is virtually identical, I found the new housing to make a noticeable difference in the overall experience. It is much easier to achieve and retain a perfect seal giving the signature overall a smoother more detailed feel, especially in the treble, with improved bass texture and presence.

Let’s look at it in more detail, shall we?


What I Hear What I hear is a smoother sounding, more technically proficient Comet that comes in a way more ergonomic shell. This enables me to more consistently enjoy the uncommonly robust armature bass making the Satsuma a fantastic replacement to what was already a great earphone.

Since the bass is what I can appreciate most thanks to the new housing and ergonomics, let’s start there. For an armature, the one installed in the Satsuma provides a pretty darn robust and linear experience despite only a moderate boost over neutral. Extension is great with the deep tones in the opening of Kavinski’s “Solli” providing plenty of physical feedback that feels more akin to a small dynamic driver than a balanced armature. While the Comet could achieve this, the fit prevented it from being a consistent experience unless sitting still. The Satsuma also provides a hint more texture and note control while retaining the natural attack and decay qualities I heard in the Comet. Where the Comet was decent with bass-reliant tracks and genres, it never felt quite at home. I cannot say the same for the Satsuma. Thanks to the improved consistency of the presentation, it provides just as nice of an experience with jazz as it does hip hop and classical. This is a very versatile low end.

The mid-range of the Satsuma sees a moderate upper mid boost that gives vocals a confident presence without resulting in them becoming shouty. That said, like the Comet the Satsuma is not forgiving of recordings that already have an overly forward and aggressive mix, such as Aesop Rock’s “The Gates”. On this track especially, the vocal performance is unbearably fatiguing through nearly all but a few select earphones I’ve tested it on. When it comes to sibilance I found the Satsuma a bit more forgiving than the Comet. Once again we turn to the master of dense word play, Aesop Rock, and his track “Blood Sandwich”. Ts and Ss out of the Comet have a more sizzle to them when compared to the Satsuma leaving the newer model the superior pick. Another area where the Satsuma improves over it’s predecessor is micro-detail. The Comet was somewhat over smoothed in the mids which smeared minor details. The Satsuma does not have this problem giving it a more coherent overall presentation.

Continuing upward into the presence and brilliance regions, we see the Satsuma favouring the upper treble. Where I found the Comet to lack micro-detail in these regions, the Satsuma comes across slightly clearer with better detail retrieval overall, as noticed on Broken Bells’ “Mongrel Heart”. Thanks to the brilliance region bias, the Satsuma provides plenty of air and space between notes while bringing forth some shimmer and sparkle that avoids coming across as too aggressive. In addition to being slightly more detailed than it’s predecessor, the Satsuma sounds smoother without giving up an ground in terms of texture. Notes also attack and decay relatively realistically. While this leaves the Satsuma a bit less technically proficient than other armature based earphones like Brainwavz B200, it also comes across more natural.

Sound stage is where the Satsuma truly differentiates itself from the Comet. Where the Comet sounded wide but flat, the Satsuma really sounds things out and feels more spacious in general. Imaging is basically the same, which is to say sounds travel from channel-to channel smoothly and without any dead zones or vague spots. Layering and instrument separation are much improved with the Satsuma doing a great job picking apart messy passages like the ending few minutes of King Crimson’s “Starless and Bible Black”, a track which felt congested and somewhat messy through the Comet.

Compared to a Peer (volumes matched with Dayton iMM-6)

Meze Rai Solo (199.00 USD): The Rai Solo isn’t likely to be considered bassy by many if community comments are any indication, but next to the Satsuma it almost feels it. The Rai Solo has a less linear shift from sub- through to upper-bass regions with a faster roll off and more mid-bass emphasis. This along with tons of texture gives it a thick, weighty feel with plenty of punch. In comparison the Satsuma comes across quite light and nimble with a smoother presentation. I really like a strong upper mid bump. With the Rai Solo’s being around 5dB higher, it is better suited to my preferences since vocals are more prominent and well matched with the quantity of bass on offer. I also prefer the Rai Solo’s more raw texturing and detail. Still, I can’t argue with the timbre being more natural out of the Satsuma. In comparison, the Meze sounds somewhat cool and dry. Treble is where the two take drastically different directions. The Meze has a clear focus on the presence region which helps gives it all that texture and impressive clarity. Unfortunately it lacks sparkle and shimmer, especially compared to the Satsuma which feels considerably more well rounded with presence and brilliant regions that compliment each other quite effectively. The Meze has an amazing sound stage and strong technical qualities, so I was surprised to see it and the Satsuma going tit for tat. In the Meze’s favour we have a default vocal position a bit further outside the head with sounds trailing further off into the distance. It sounds quite wide with imaging accuracy to match this width. The Satsuma on the other hand comes across deeper with better instrument layering. The both separate instruments very well. I’ll give a slight edge to the Satsuma. The thinner presentation combined with the smoothness results in it being easier to track individual track elements.

While the Meze better matches my preferred signature and as a result I enjoy my time with it more than the Satsuma, Campfire’s product is the one that would likely be more of a crowd-pleaser. The signature is more balanced and less skewed towards certain frequencies. Plus, it sounds smoother and more refined.

DDHiFi Janus (199.00 USD): Bass from the Janus is thicker and more weighty with a slower attack and decay. Texturing is about on par. While the Satsuma offers more quantity and a much less drastic roll off into sub-bass regions, the Janus still manages to feel more visceral. Leading into the mids the Satsuma has a clear detail and clarity advantage. Vocals are more forward, clearer, and more articulate. While the Janus has a thicker presentation with a more natural timbre, it just doesn’t sound as crisp. It’s not so much of an issue when listening in a vacuum, but toss the Satsuma into the mix and I find the Janus a bit lacking. Treble from the Janus is completely biased towards the presence region with a small 7k peak being the only thing to give it any semblance of treble sparkle. The Satsuma is quite a bit more energetic. While overall detail retrieval is actually pretty similar, those same details are considerably more prominent out of the Satsuma. Despite the Janus’s somewhat dull treble presentation, it holds up to the Satsuma’s quickness and control. Sound stage is where the Janus shines sounding quite a bit wider and deeper than the very competent Satsuma. It helps that the Janus’ default vocals positioning is out of the head whereas on the Satsuma they’re parked just at the edge of the ear canal. Imaging I found more precise from the Campfire with layering and instrument separation being comparable.

These two earphones have extremely different presentations so picking one over the other is very much dependent on personal preference. If you’re treble and/or bass sensitive, the Janus would likely be the better pick since those aspects of the tune are greatly downplayed leaving the sound stage, mids, and accurate timbre to carry the beat. On the other hand, the Satsuma is quite a bit more versatile to my ears since frequency emphasis is comparatively more even leaving it a much less specialized and more well-rounded product.

*Since the Satsuma and Honeydew provide the same external build and accessories, these sections will be the same for both reviews with slight alterations made where necessary.*


In The Ear The Satsuma features an all-new shell design for Campfire Audio, though one that still draws inspiration from the iconic angular design first introduced in 2015 with the Jupiter and Orion. While still rife with straight angles, the new shell is quite compact and petite. Along with a new shell design, this is the first product from the brand that I’m aware of to move to moulded ABS plastic. While it certainly lacks the heft and quality feel of their other steel, aluminum, and ceramic models, fit and finish is definitely up to snuff. Seams are extremely tight and properly aligned without excess glue or whatever bonding material was chosen peeking out. The steel nozzles are similar in design to those of the 2020 Dorado and Lyra and protrude from the housings at a natural angle. Outside of the CA logo moulded into each face plate, there isn’t much else of speak of. The design language fits in well with the brand as a whole, with the exciting colour (“Orange Fizz”) really making everything pop.

The Satsuma comes with a new ‘Smoky Lite’ Litz cable. Outside of one small change, nothing else about the cable seems different from the regular Smoky Litz included with the Andromeda 2020, IO, and various other models. I might be just a tad thinner and the sheath more flexible, but even with the two cables side-by-side I’m not confident about this. Either way, the 90 degree angled jack is still smartly designed with an extension to permit compatibility with a wide variety of device cases, though the strain relief remains stiffer than I find ideal. That said, I still have yet to experience any issues with it on the numerous cables in my possession. My experiences with Campfire’s cables have shown them to be plenty durable. Within the small, reliefless aluminum y-split, the cable divides sending two strands on each side to the ear pieces. Slotting into the top of the split is a small plastic chin cinch. It moves much more smoothly here than on older Campfire cables and as a result is much more useful. The one change mentioned earlier is the preformed ear guides. They are now opaque black instead of translucent white as found on all previous versions of this cable. Functionally it is unchanged and does just as good a job of holding the cable securely behind the ear. I like this cable, even if above the y-split it can get a bit tangly.

All points where the shell meets the ear are smooth and rounded leaving this, in my experience, as Campfire Audio’s most ergonomic and comfortable design to date. The lightness provided by the use of ABS absolutely helps with this since the earphone doesn’t droop in the ear, or slip out of place while walking, running, etc. While out and about, you might notice how well the Satsuma isolates. The ear filling, low profile, completely sealed design does a great job of passively blocking noise regardless of whether or not you’re using silicone or foam tips. These would be lovely for commuters or anyone that simply wants to shut out the world around them to listen to their music, or focus on a task more effectively.


In the Box The Satsuma arrives in the same packaging we have become familiar with from the last few releases from Campfire Audio. But is it really the same? When I first held the box, it felt a little different. I couldn’t quite put my finger on what it was until I removed the lovely Campfire Audio logo embossed sticker sealing the exterior sheath shut, then opened the lid of the interior box to reveal the inner contents. Ah ha! This packaging is smaller. Not by a lot, just a few millimetres, but they’ve definitely condensed it down slightly into a more compact experience. This is a change I can fully get behind since it uses less material and creates less waste, a philosophy more in line with the earlier, extremely compact packaging that came with models like the original Polaris, Comet, and Atlas.

Anyway, the theme this time around has changed. The large sticker that adorns the front of the sheath carries with it strong 80’s summer vibes thanks to the use of bright colour gradients set within various well-defined circles. Images of the Satsuma’s creamy orange shells are present and there is also a gemstone tucked into the bottom left corner. Don’t really see how that one fits into the theme, but it looks cool so I’ll let it slide. A smaller sticker can be found along one of the side panels and provides some basic information about the Satsuma, such as that it features a single balanced armature with Campfire’s T.A.E.C teach, a stainless steel spout, among other details. Removing the sheath to reveal the main box within sees Campfire’s traditional nighttime mountain scene has not been abandoned. ‘Nicely Done’ remains printed on the front flap as well, which always puts a smile on my face. Once inside the box, you find a compact half moon carrying case and yet another, smaller box containing the rest of the accessories. In all you get:

• Satuma earphones
• ‘Smoky Lite’ silver-plated, copper litz cable
• Canvas zipper case (handmade in Portugal!)
• Marshmallow foam tips (s/m/l)
• Wide bore silicone tips (s/m/l)
• Final Audio Type E tips (xs, s, m, l, xl)
• Cleaning tool
• Campfire Audio lapel pin
• Mesh accessory bag (x3)

In all a very comprehensive accessory kit, as is always the case with Campfire Audio products. The only thing I would love to see added in the future is a set of bi- or tri-flange tips to satisfy the crowd that prefers that style. Going back to the new case, this is my favourite iteration of Campfire’s half-moon style case so far. Not only is it smaller and more pocketable than previous versions, without sacrificing the ability to comfortably hold the earphones and some extras, but the canvas material looks and feels fantastic in the hand and will certainly be able to take some abuse. Hopefully they carry it forward to future releases.

Final Thoughts When I heard the Satsuma was going to be a replacement for the Comet, I was pretty excited. That remains one of my favourite single armature earphones with only the ergonomics stopping me from using it on the regular. The hand-polished, stainless steel shells with a thing of beauty, but their weight combined with a somewhat long nozzle and standard barrel shape made them cumbersome.

With the Satsuma and it’s new shell design, Campfire Audio has gone above and beyond in addressing the ergonomic and comfort issues of the Comet, while keeping the excellent signature and refining it further. Outside of the shell material lacking the same quality feel of the rest of their lineup, there really isn’t anything I dislike about the Satsuma. The tune is well-balanced and technically capable with a nice sound stage and good detail. Timbre quality is excellent and bass kicks, especially for a balanced armature. This is a wonderful all-rounder and something I’ll definitely be rolling into my daily driver setup. This is a near perfect entry level model in my opinion.

Thanks for reading!

– B9

Disclaimer A huge thanks to Caleb at Campfire Audio for reaching out to see if I would be interested in covering the Satsuma, and for arranging a sample for review. The thoughts within this review are my subjective opinions and do not represent Campfire Audio or any other entity. At the time of writing the Satsuma retailed for 199.00 USD: https://campfireaudio.com/shop/satsuma/

Specifications

• Frequency Response: 5Hz – 18kHz
• Sensitivity: 94dB SPL @ 1kHz 18.52 mVrms
• Impedance: 46.40ohms @ 1kHz

Gear Used For Testing LG Q70, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark’s Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams

Greetings!

Today we're checking out Astrotec's newest premium earbud, the Lyra Nature Limited Edition (LE).

The lack of isolation, fitment oddities, bass presentation, and negative reputation built by crappy pack in earbuds that come with various electronics have left them as a niche product, though one that has its die hard fans. Just visit the Earbuds Anonymous group on Facebook, or earbud thread on Head-fi.org and you'll be amazed at just how much people love this style of earphone, going so far as to heavily customize and personalize existing models, or just build and tune their own. This is typically done with more budget oriented models, however, and the LE does not fit into that category.

Astrotec is no stranger to high end earbuds, having been one of the few brands to stick it out and keep making them through the years. Their Lyra lineup is one of the oldest and most consistent that I can think of, seeing gradual refinement with each new release. Earbuds aren't for everyone though, and premium ones even less so. Since the market for such a product is likely quite focused and narrow, a premium earbud can't afford to be mediocre. Thankfully, the Lyra Nature Limited Edition is far from mediocre.

Let's take a closer look, shall we?


What I Hear

Foams: The Lyra Nature LE sounds quite thick and warm with a very full low end when paired with full foams. I found clarity and detail to take more of a hit than I'd like, so I wouldn't recommend full foams. Donuts, on the other hand, find a nice medium. You get the extra bass and an increase in warmth without sacrificing clarity and detail. This was my preferred way to listen and what I used for testing. While I find the LE to sound at it's best with donuts, performance with no foams at all is still quite good. Bass presence takes a step back as is to be expected thanks to a looser seal, but remains plenty punchy with good extension. Clarity, detail, and overall airiness are slightly improved over donuts. Without foams I enjoyed listening to the LE in quiet environments where I could really appreciate its technical qualities.

Amping: The Lyra Nature LE is a high impedance earbud at 150ohms. Sensitivity is reasonably average at 108dB so getting it up to volume isn't too much of a challenge. However, it is recommended to amp and/or run it balanced. It doesn't change the signature, but when amped the sound is more effortless and instrument separation improves. When plugged straight into a phone or basic dap, you miss out on the airiness the LE is capable of.

One thing I love about ear buds is that they blend qualities of in-ear earphones (aka. iem) and headphones. From earphones they share their portability. From headphones, you get the feeling of a spacious, open sound that an iem can rarely replicate. The Lyra series has always done a fantastic job of this and the LE is no different. Countless times over the last few weeks I would forget I was wearing an earbud and when moving to stand up from my desk, would reach towards my ears as if to remove a pair of headphones, only to remember I was wearing the LE. The staging is wide and deep with an airiness that is less prominent on the regular Lyra Nature. Instrument separation is quite good, though congestion does seep in on very busy tracks like King Crimson's “Starless and Bible Black”, at least when running the LE with the standard 3.5mm cable. Using the 4.4mm balanced option removes this flaw and leaves the LE with top tier separation that bests even their previous flagship, the Lyra 150ohm. Layering is stellar leaving it quite straightforward to pull apart a tracks construction and listen to individual elements.

The treble quality of the LE is fantastic. The tuning curve feels very similar to the original Lyra Nature with some slight adjustments that result in a more balanced sound, not unlike a more full-bodied Lyra 150ohm. The brilliance region has been lifted slightly giving the LE more shimmer and sparkle than I hear from the standard model. Lower treble still receives the most emphasis but is smoother with better note definition further enhancing the already excellent clarity and detail provided by the standard Lyra Nature. This is readily apparent on Steely Dan's “Black Cow” and the live rendition of King Crimson's “Cat Food” where fine details and quiet moments are more dramatic and obvious through the LE. The LE also sounds a little faster with improved note control resulting in a more energetic presentation. I really enjoyed the difference here with Infected Mushroom's album 'The Legend of the Black Shawarma', and the tracks “Can't Stop” and “Franks” in particular. Overall a very smooth, refined sound that improves upon the already excellent Lyra Nature and Lyra 150ohm.

The midrange presentation builds naturally upon that of the standard Lyra Nature. The warmth and meatier note weight is maintained and gives vocals a strong presence and powerful delivery. Just toss on Daft Punk's “Touch (ft. Paul Williams)”, Celine Dion's “Ashes”, or Diva Plavalaguna's operatic display from The Fifth Element and you'll be pulled in by their emotional, articulate performances. One thing I was not expecting was that the LE steps up clarity and detail to match that of the 150ohm. The Lyra Nature is no slouch when it comes to these qualities, but the extra density to the mids does hinder them somewhat compared to Astrotec's prior, more premium offerings. The LE's speed, finer note control, and more spacious presentation brings it back without resorting to the leaner, lighter demonstration of the 150ohm. Texturing is also another strong point with the guitars on Steely Dan's “Haitian Divorce” sounding suitably funky. Lastly, timbre is outstanding and runs with the best I've heard. There is no metallic edge, dryness, roughness, etc., just accuracy and tonal precision.

One aspect of the Lyra lineup that really stepped up with the Nature was bass quantity. Even without foams in place, you got a good sense of rumble and physical feedback from some pretty decent extension. Tossing on foams just made it all that much better. The LE carries the torch with confidence offering up an enhanced experience regardless of whether you're listening with foams or not. On classic rock tracks like Lynard Skynard's “Free Bird” there is no lack of bass punctuating the wicked guitar solo. EDM is handled very well with the deep rumble on Darkzy's “Get Mad” feeling great as it thunders along below the shooting synths. Heck, I was even satisfied with the LE on Ludacris' “How Low” which through most earbuds sounds incomplete. In addition to having plenty of bass, the quality is good too. The driver is quick with excellent control leading to a punchy presentation. Texturing is aces as well with the LE handling the grunge and grit necessary for The Prodigy and Tobacco no problem. The HE 150Pro is still my benchmark for earbud bass quantity, but the Lyra Nature LE bests it when it comes to quality. Compared to the standard Lyra Nature the LE is better controlled and more textured with a more satisfying sub-bass rumble. The differences aren't huge, but they are noticeable. The 150ohm is about as articulate and technically proficient, it just lacks the emphasis.

Overall I'm pleasantly surprised at how much Astrotec improved the LE over the standard nature. It maintains all the positive qualities of that model while bringing in the improved technical performance and refinement of their previous flagship, the Lyra 150ohm.


In The Ear The shells of the Lyra Nature Limited Edition are more or less unchanged from the standard Lyra Nature. With a new green colour scheme and gold accent bands wrapping around the top and middle of the ear pieces, they retain the premium look and high quality feel I have come to expect from this lineup of earbuds. The design of the LE provides ample ventilation for the large 15mm dynamic driver through a series of large vents around the base, along with Astrotec's patented micro-pore, copper ball filter at the back. The distinctive filter system on the LE utilizes larger copper balls this time around giving it a slightly more industrial look. Carried over from the original Lyra Nature, the protrusion where the cables entered on the older Lyra models has been smoothed out and enlarged so they can accommodate the organically integrated MMCX ports, a feature that feels like it should have always been there. The materials feel expensive and the fit and finish of the component parts is nigh perfect. Overall the build of the Lyra Nature Limited Edition is about as good as it gets.

The standard single ended cable is pretty nice as far as secondary options go. While braided it remains fairly thin and light. The sheath does suffer from some memory and the braid is pretty loose, but in use neither of those things become an issue. The metal 90 degree angled jack is compact with excellent strain relief. Leading up to the y-split there is a lack of relief, but again, not really an issue since the split is quite small and only there to keep the division of the four strands organized as they divide and lead up to the MMCX plugs. A chin cinch is present and is always a welcome inclusion since it ensures a snug fit. The preformed ear guides are well done finding a welcome middle ground between being flexible while managing to maintain their shape and keep the cable securely behind the ear. The metal MMCX plugs themselves are quite compact with red and blue stripes to denote right and left channels. Overall a well-designed cable that looks nice and is comfortable to wear.

As nice as the secondary cable is, it doesn't hold a candle to Astrotec's 4.4mm balanced cable that is clearly the star of the show. The 8 strands are tightly braided with a pinkish hue that both looks and feels truly premium. This cable is quite weighty thanks to the sheer amount of material present, along with all the metal used for the hardware. Thankfully, it is not to the point of being detrimental to fit and comfort, something I experienced with the Penon BS1 Official a few years back. The hardware itself really adds to the premium impression this cable gives off. The straight jack looks fantastic with two chrome bands surrounding a silver carbon weave. Laser etched into one of the chrome bands, ensuring it will not wear off over time, is subtle Astrotec branding. The somewhat chunky y-split mirrors the chrome and carbon fibre design of the jack, though any form of branding is absent. Above it sits a cylindrical y-split that grips the cable firmly, but not so firm that it is tough to slide, or so loose it slides out of place. I have to say, I much prefer this to the beads that have been popular for a couple years now. They work well enough, but not this well. Leading into the long metal MMCX plugs are preformed ear guides. Just like on the secondary cable, they remain flexible without sacrificing the ability to keep the cable securely behind the ear. Overall a cable that feels befitting of the Lyra Nature Limited Edition's 399 USD price tag.

If you are familiar with earbuds and find them comfortable, there's a good chance you'll have no issues with the Lyra Nature LE. The LE's shells are more or less identical to the regular Lyra Nature, and therefore the fit is too. Note that because they house large 15mm drivers, the earpieces are quite wide and reasonably deep. This limits comfort with smaller ears, especially if foams are installed, or those with a more textured outer ear. I prefer more slender, somewhat abnormal designs like those from Rose, but there is little to complain about here. Everything about the fit is standard earbud so you either like it or you don't.

Earbuds by design do not isolate since they do not form any type of seal in or around the ear. The Lyra series is also open back. As a result sound is free to enter and leave at will and any form of passive isolation is virtually non-existent. Plus, if you listen at high volumes your listening experience will become a social event. They're not ideal for public transit or in loud areas, but perfectly suitable for listening at home, when out on an evening walk, or in other situations where outside noises pose little concern.


In The Box Astrotec is nothing if not consistent with the packaging of their Lyra lineup of earbuds. The exterior sheath of the LE's box is quite minimalistic. On the front you find the usual branding and model info, along with a bit of flair in the form of silver foil constellations dotting the bottom left corner. You may have noticed Lyra was spelled incorrectly on the sample I was sent. Don't worry, that has already been addressed with Astrotec's selected printer and won't be an issue on retail copies. Flipping to the rear of the sheath you find specifications and features, along with contact information for the brand.

Sliding the sheath off you find a lovely textured box with Astrotec and nothing else printed dead centre on the front. Pulling back the magnetically sealed flap holding the lid in place, you find a cardboard slip securing the contents within. Removal reveals a dense foam insert containing the earpieces, leatherette case, and a smaller cardboard insert surrounding some other accessories. In all you get:

• Lyra Nature Limited Edition earbuds​
• Leatherette carrying case​
• 8 strands, 128 cores 6N OCC Cable (4.4mm balanced plug)​
• 4 strands, silver-plated OFC Cable (3.5mm stereo plug)
• Silicone ear hooks (m/l)​
• Silicone ear guides​
• Cleaning tool​
• Donut foams x3​
• Mesh carrying bag for the earpieces​
• Velcro cable tie​

Overall a nice unboxing with a fairly comprehensive accessory kit. The carrying case is made from a very cushy faux-leather that feels great in the hand. The magnets that seal the lid shut are decently strong as well so unless you've overstuffed it, admittedly easy to do if using the 4.4mm balanced cable, it's unlikely to open unexpectedly. I really didn't make use of the silicone ear guides or hooks since both stock cables contain pre-formed ear guides. They're still nice to have in case you swap to a third party cable that doesn't have ear guides preinstalled. About the only thing missing is full foam covers. I wouldn't consider this a major oversight or anything since full foams can be ordered dirt cheap through places like AliExpress or Amazon. Plus, in my opinion the LE sounds best with donuts so if full foams were included, I'd probably end up converting them at some point anyway.

Final Thoughts The Lyra Nature Limited Edition is more than just a Lyra Nature with a new colour scheme and upgraded accessories. It is a true upgrade to the Lyra Nature, and a proper replacement for their previous flagship, the Lyra 150ohm. The LE merges the best of the 150ohm and Lyra Nature to create a very versatile, well-rounded earbud, one that does a better job than the 150ohm could at justifying the price tag.

In addition to sounding phenomenal and probably the closest thing to a headphone that I've heard from an earbud, the 4.4mm balanced cable is drop dead gorgeous and actually serves to improve the listening experience. The earpiece design carries on the Lyra tradition of looking and feeling expensive, though ergonomics aren't going to win over those who dislike how an earbud fits.

The Lyra Nature Limited Edition deserves to be a flagship earbud. If you're in the market for one of those, you might want to add it to your shortlist.

Thanks for reading!

- B9

Disclaimer A huge thanks to Astrotec for reaching out to see if I would be interested in reviewing the Lyra Nature Limited Edition, and for arranging a sample for review. The thoughts within this review are my subjective opinions and do not represent Astrotec or any other entity. At the time of writing the Lyra Nature Limited Edition was retailing for 399.00 USD: https://astrotecglobal.com/products/lyra-nature-limited-edition

Specifications

• Frequency Response: 15Hz – 40,000Hz​
• Sensitivity: 108dB/1mW​
• Impedance: 150ohms​
• Rated Power: 5mW​
• Max Power: 15mW
• Cable 1: 8 strands, 128 cores 6N OCC Cable (4.4mm balanced plug)
• Cable 2: Silver-plated OFC Cable (3.5mm stereo plug)

Gear Used For Testing LG Q70, DDHiFi TC35B, Earmen Sparrow, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams

Greetings!

Today we're checking out the BD005 Pro, Kinera's update to one of their most popular models from years past.

Kinera is one of those brands that seems to be very hit or miss within the community. They always look great, but their tuning choices often clash in a way that leads to mixed opinions. A love it or hate it affair you could say. More recently, starting with products like the Idun and Tyr, I've noticed a positive shift as Kinera refines their tuning while continuing to build upon their already top tier design choices. The new BD005 Pro takes the brand another huge step in the right direction with a beautiful design, low price, outstanding build quality, and a smart tune that has wide appeal without compromising character.

Despite listening sessions being mingled in with much, much more expensive products like the Dunu ZEN and Campfire Audio Dorado 2020, I've been thoroughly enjoying the set HiFiGo generously sent over for review months ago. In this sub-50 USD price range, the BD005 Pro does some heavy lifting and earns some well-deserved praise. Let's take a closer look, shall we?


What I Hear

Tips: The stock tips are high quality, but just so small. If they work for you, awesome, but if not you'll need to pick up something else. Keep in mind the nozzle diameter is smaller than average so you'll need to pick suitable tips. For my testing I used tips from EarNiNE which provided the same sound but were easier to get a reliable seal with. Since I'm not sure if you can buy those separate anywhere, Final Audio Type E tips fit well and sound almost the same as stock. Spintfit CP100 and CP145 fits, but thanks to the deeper insertion I find they occasionally get stuck in my ear. Sony Hybrids also sound similar to stock, but due to the super soft silicone used tend to pop off and get stuck in the ear. What I'm saying is tip rolling the BD005 Pro is a bit of a pain. As long as you have something with a medium to small bore that grips the small nozzle firmly, you should be fine.

Bass from the BD005 has good extension with a satisfying punch and visceral nature to it. Tossing on Kavinski's “Solli” it does a fantastic job reproducing the deep rumble that permeates the opening scene. With low-end reliant tracks in genres like EDM and Hip Hop, Kinera's little hybrid is a lot of fun. Texturing is plentiful, notes are well-controlled with a snappy attack and realistic decay, and bass bleed isn't something I'd be worried about. The BD005 Pro makes a great showing in the low end and should satisfy fans of quality bass.

The mids are also handled well. With the sort of upper mid boost that is quite common nowadays, vocals remain clear and coherent, unobstructed by the surrounding frequencies. Notes find themselves in that quality middle ground where they're neither thick nor thin which helps highlight the Kinera's good detail retrieval. Where I have an issue with the BD005's mids is sibilance. It tends to exacerbate existing aggression an on tracks that are already mastered hot, such as Aesop Rocks' “Blood Sandwich”, it can be uncomfortable. Compared to other products in the price range, the BD005 also sounds a bit unrefined with a hint of grain that can distract from the otherwise excellent performance.

The BD005's treble performance is overall quite positive. There is a brilliance region bias which gives the presentation sparkle and shimmer without going overboard. Notes for the most part are well controlled with just a hint of splash that usually doesn't detract from the performance. Kinera's 30095 series armature is nice and quick with snappy attack and decay qualities. Detail retrieval is also quite impressive as the BD005 Pro avoids sounding over-smoothed which tends to smear finer nuances. I have no issues using the Kinera for improve jazz passages whose chaos and complexity can weed out lesser products.

Sound stage is where the BD005 Pro falters. Sizing is quite average with an intimate default vocal positioning that pulls in the music. Imaging is fine with smooth channel-to-channel transitions, though I found it to get vague near the edges. This isn't one I'd rely on for games where sound is very important to your performance, but toss movies its way all day. Instrument separation is fine as I never felt the BD005 Pro sounding congested, but when it comes to layering it falls flat, literally. Tracks can lack dynamism and sound too level. The BD005 Pro's lacks the ability to pulls me in and immerses me within my music.

While you might not have gathered it from the above sections, I really do enjoy the BD005 Pro. Sure, it can't physically immerse me in my music like some other gear, but the energy it outputs never fails to entertain. Only when I start directly comparing against other products do its flaws stand out. When used as my sole earphone, I am perfectly happy rolling with the BD005 Pro as my daily driver. The fact that it excels in other areas, like design, build, and comfort, doesn't hurt.

Compared to a Peer (volumes matched with Dayton iMM-6)

TinHiFi T2 Plus (49.99 USD): While bass quantities are very similar between the two, the T2 Plus has an overall flatter, more “reference” style signature. Bass on the T2 is faster, more detailed with improved texturing and better control, though it doesn't provide the same physical feedback and slam thanks to a lighter, more dainty presentation. Leading into the mids the BD005 Pro has a stronger upper mid presence. This keeps vocals from being drowned out by the bass and treble, but it also results in sibilance. Not an issue on the T2 Plus. Timbre, detail, and clarity all go to the T2 Plus. While I find the Kinera quite competitive in it's price range, next to the TinHiFi it sounds a bit unrefined. I found this most apparent in the treble which, while slower, is tighter and smoother out of the T2 Plus. Detail and clarity are mostly on par though. When it comes to staging I find the T2 Plus a step up. It sounds about as deep but quite a bit wider. Vocals in particular are more intimate out of the Kinera giving it a more closed in feel. Imaging is slightly more nuanced and precise on the T2 Plus as well. Instrument separation qualities are similar with the TinhiFi offering a more dynamically layered sound.

Overall I much prefer the T2 Plus thanks to a more refined presentation and improved staging qualities. If you prefer a tune with a strong v-shape, the T2 Plus might come across a bit polite and boring. In that case you'd be much better off sticking with the Kinera. I also think the BD005's design is more attractive and ergonomic.

KZ ZAX (55.00 USD): Bass from the ZAX is bolder, slower, and less well controlled. It makes up for this with more physical punch in mid-bass regions and wobble on sub-bass notes. Texturing is quite similar between the two. Mids from the ZAX provide a bit more warmth giving it an edge with female vocalists and timbre accuracy. The BD005 Pro's mids come across a touch more forward and provide a hint more micro detail and instrument coherency thanks to a tighter, more controlled presentation. Treble on both skews towards the brilliance region with a 7k peak. I find the ZAX comes across a bit more refined thanks to cleaner, more defined notes and a smoother presentation. The Kinera displays a bit of splash. Both are quite quick in the treble with snappy attack and decay. The ZAX comes out ahead with slightly more detail. I would expect the ZAX's open back design to give it a large advantage in terms of sound stage, and to a point this is true. While overall size isn't hugely different with the ZAX sounding mildly wider and deeper, it steps way ahead of the Kinera when it comes to layering. The Kinera sounds flat and lacks the same dynamic ability to move sound within the staging space. Imaging is also sharper and more nuanced from the KZ, and it does a better job of separating individual track elements.

Overall I prefer the ZAX. When on sale, as it was at the time of writing, it would be the one I'd point users to almost every time. At it's regular price of around 80-90 USD...the performance of the Kinera is good enough to make the savings well worth it. Plus, the Kinera looks more elegant and in my experience is more ergonomic and comfortable to wear for long periods.


In The Ear Ever since the H3 I've been very impressed with the effort Kinera puts into making a good looking, well constructed product. At only 49 USD, the BD005 Pro is no exception and a true standout among its peers. As with many modern earphones they are crafted via a 3D printed process, however, unlike many of those products from competing brands you'd never know. The low profile design is smooth and seamless. The metal nozzle fits flawlessly into the design, as do the Shozy-like metal vents installed in the rear of each earpiece. The 2-pin plugs neither protrude nor recess into the top of the shell, resulting in a flush fit when the cable is installed. The face plate draws your attention thanks to Kinera's delicate cursive logo and light-reflecting silver flakes. The design and build quality here wouldn't feel out of place on a product costing two or three times as much. Heck, I can think of one 2,000 USD earphone that could take some pointers from what Kinera is doing here.

The cable is another standout area in my opinion. While it's twisted black sheath may not look like anything special, and quite similar to the cables TRN and TFZ pack in with a number of their products, this one is quite a bit nicer. It is very flexible and quite resistant to mild kinks and bends. Noise transmission from rubbing against you clothing or object is managed extremely well, in part due to the over-ear design and cozy pre-formed ear guides. The compact 90 degree angled jack is well-relieved, though this does not apply to the tiny y-split which has no relief whatsoever. The lack of a chin cinch is also a slightly disappointing omission. It's one I'm willing to accept in this case since the cable is equipped with a microphone which would limit travel and make the effects of a cinch minimal at best. Speaking of the mic, it's pretty good. Construction is nice with a metal shell and a clicky, easy to find button. I used it for a few days of Zoom training and never experienced any issues with my colleagues unable to hear or asking me to repeat statements.

Kinera put a lot of time and effort into the ergonomics of the BD005 Pro, and it shows. The low profile design is very compact, especially compared to similar designs from KZ, TFZ, FiiO, and others, and slots even more naturally into the outer ear. There are no odd protrusions to cause hot spots during long listening sessions. Stability is also fantastic meaning you likely won't need to reseat the earphone regularly when out exercising should you choose to use them for that purpose.

Since the BD005 Pro does a great job of filling the natural curvature of the ear I found isolation slightly above average, even with the ample ventilation provided by those rear-mounted vents. Foam tips kicked things up a notch, which is to be expected. Even so, with silicone tips I could comfortably listen outdoors in noisy environments at my regular, low volumes without the need to raise them.


In The Box The BD005 Pro comes in Kinera's now standard, hexagonal cardboard box. It really makes them stand out from the more traditional packages provided by other brands, and looks nice on display if you're into that. On the front of the lid is the usual branding and model information along with some stylized shots of the earpieces. Flipping to the rear you find specifications, a teensy, tiny frequency response graph, and images of earpieces in the three available colours; Murky Blue, Granite Grey, and Jewel Red. I was sent the grey option which looks really nice, though I definitely have an affinity for the blue. Lifting off the lid you're greeted by a hexagonal card welcoming you to the Kinera community with links on the rear. Beneath is a round, clam shell carrying case in which everything is stored. A neat little touch is recognition of staff members that contributed to the BD005 Pro printed on the inner roof of the lid. In all you get:

• BD005 Pro earphones
• 1.2 meter, 0.78mm 2-pin cable
• Single flange ear tips (s/m/l)
• Clam shell carrying case

Overall an attractive, but very basic unboxing experience. The included case is nice to have and I appreciate that the earpieces were placed in their own bags to avoid being scratched during shipping. The ear tips are a big negative unfortunately. If you're familiar with the Shozy Form 1.1, Form 1.4, or Shozy & Neo CP, you'll recognize these tips. They're all very small and provide a very shallow fit. The largest size can barely create a seal in my ears which usually work just fine with stock medium tips. Be sure to factor in buying some replacement tips when you order these. A link to HiFiGo's fairly priced ear tip selection is included in the disclaimer below.

Final Thoughts Kinera has been on a roll the last couple years with release after release seeing them improve their tuning. The BD005 Pro brings back a well-loved name and does it justice. It is well-tuned with a fun sound that doesn't skimp on much of anything. The sound stage is a bit flat, but other than that the BD005 Pro doesn't have any major knocks against it. Add to a quality tune some gorgeous, well-put together shells that put most products to shame ergonomically, along with a competitive price, and you've got a recipe for success. Based on how the community has received the BD005 Pro so far, I don't think I'm wrong in saying that.

Overall I think this is one of Kinera's most well-rounded and successful releases yet. Anyone who wants one should feel confident in their decision to pick it up.

Thanks for reading!

- B9

Disclaimer A huge thanks to Nappoler with HiFiGO for sending over a sample of the BD005 Pro for the purposes of review, and for being so patient in its release. The thoughts within this review are my own subjective opinions and do not represent HiFiGO, Kinera, or any other entity. At the time of writing the BD005 Pro was retailing for 49 USD: https://hifigo.com/products/kinera-bd005-pro-3d-printed-hybrid-in-ear-earphone

Ear tip Selection: https://hifigo.com/collections/eartips

Specifications

• Frequency Response: 20Hz-20kHz
• Impedance: 16 ohms
• Sensitivity: 108+/- 2dB
• Driver: 9.2mm beryllium coated dynamic + 30095 series high-frequency balanced armature
• Cable: 4 core silver plated, 0.78mm 2-pin

Gear Used For Testing LG G6, FiiO M3 Pro, DDHiFi TC35B, Earstudio HUD100, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Fleetwood Mac – Rumors
Tobacco – screw*d Up Friends

Greetings!

Today we're checking out the ZEN, Dunu's entry into what has become a very competitive, upper mid-range market.

Like Dunu's flagship Luna, the ZEN moves away from the hybrid and armature-only configurations that have become quite popular in recent years. This doesn't mean it's a simple product. The 13.5mm dynamic used in the ZEN utilizes technology derived from the Luna. The wide, cone-shaped dome of the ZEN's diaphragm is made from pressed aluminum-magnesium alloy with the addition of an amorphous carbon coating to fill in any imperfections. This further improves overall stiffness. Also borrowed from the Luna's driver design is the attachment of the voice coil to the bottom edge of the dome which serves to further enhance pistonic motion; the driver moves as one unit without any flex or bending which would throw it out of phase and cause distortion.

Paired with the Luna-derived driver structure is a new magnet system. The magnet is milled on a CNC lathe with a ring-like shape permitting greater than 1.8 T (Tesla) of magnetic field strength. To put that into perspective, the average strength of an MRI magnet is 1.5 T. It's no surprise that you can easily use one earpiece to lift the other, or push it across a surface if lined up correctly.

Dunu is calling the combination of these two technologies ECLIPSE. Why that? Well as they explained to me, there are a couple lines of thought that went into this name. Eclipses are far from trivial events, and the driver itself resembles that of the appearance of a total eclipse; the dome is the blacked out moon, and the surround the ring of light from the hidden sun peeking around the edge. Additionally, they wanted a name that toyed with the idea of surpassing the LUNA. Luna is Italian (and Spanish) for Moon. To eclipse is to surpass... you get the idea.

So we've got a high tech driver and a ridiculously powerful magnet with a clever naming convention for the two combined technologies. Are there any other tricks the ZEN has up it's sleeve? I'm glad you asked, because yes, yes it does. If you're familiar with the DK-4001 or their limited release 17th anniversary model, you might have heard of ACIS, or Air Control Impedance System. This spiral-shaped bass reflex port aids in achieving excellent sub-bass response without a loss of control. I haven't been lucky enough to hear either the DK-4001 or the 17th anniversary model, but the low end of the ZEN has a characteristic to it that I've only experienced on a select handful of other earphones and it's pretty awesome.

The ZEN has been with me for the last few months with listening intermingled among a handful of other premium products, some of which cost as much as, or more than double, the ZEN's 699.99 USD asking price. Despite this the ZEN has held my attention because, spoiler, it is a very good earphone. Let's take a closer look, shall we?


What I Hear

Tips: I didn't find tip rolling on the ZEN to have nearly as strong an affect as on other earphones, so my tip selection came down to comfort more than anything. You may experience differently. Of all tested tips, the included Sony Hybrids in medium sizing were my top choice. I used them on the DK-3001 Pro which ergonomically is very similar, so when I saw they were included with the ZEN I was quite pleased. The other single flange options were fine, but thanks to their use of a stiffer silicone lacked the plush comfort of the Sony tips. JVC's stock wide bore tips were also very comfortable, but I found they broke seal every once in a while. Spinfit CP100 and CP145 were also good, but the insertion depth was a little more than I like. Sennheiser bi-flange wide bore tips were another solid option. They sealed well and rarely required adjustment, but comfort wasn't quite as high as the included Sony Hybrids. Since I liked the hybrids the most, those were used for the following listening impressions.

Amping/Balanced: I don't find the Zen particularly difficult to drive or get up to volume thanks to fairly standard impedance and sensitivity ratings. It does however scale beautifully when run balanced. Staging qualities improve and it provides a better controlled and more refined experience overall. If you have the option to run it balanced, do so.

Since I find the Zen's bass to be absolutely phenomenal and very addictive, let us start there. Extension is outstanding with deep notes holding strong well past where I can no longer hear them and instead just feel the pulsing of the drivers. It easily hangs with bass-focused products like as the Campfire Audio Vega and Astrotec Pheonix in this regard. Where it one-ups both of those stellar performers (Phoenix to a lesser extent) is in texture and detail. The Zen's low end is packed with detail and has this enticing growl to it, especially on the sort of extended notes that sink or extend endlessly on drum and bass tracks, like Ownglow's “Back To You” and “Renaissance” from Culture Shock. In fact, this is probably my favourite earphone for drum and bass. It's got the punch, flawless control and just the right amount of speed while being completely rife with information in a way that few products can match. It also helps that the move from sub- to upper-bass regions is fairly linear without a significant skew of bias towards any one spot. I globbing love it.

The midrange is very enjoyable as well, even if I don't find it the most accurate or natural sounding thing I've ever heard. That's not to say the Zen is way off base, because it isn't, it just doesn't quite reach the high bar set by some competitors like FiiO's FA9 or more budget oriented models like the Etymotic ER2SE. While I hear a much needed hint of warmth, there is a dryness to the presentation that provides most of it's character, something I found most evident in music that relies on real instruments vs. purely electronic effects or heavily altered instruments. Personally I'm a fan of this as it is something that I've enjoyed in a more exaggerated sense from the in-house designed balanced armatures from Sony and EarNINE. Vocals are sibilance free even on albums with a very hot vocal mastering, such as Aesop Rock's 'Spirit World Field Guide'. Through most iems and headphones I find it nearly unlistenable. With the Zen I can enjoy Aes' newest masterpiece on the go.

Treble seems to be a bit of a point of contention among the community, but it sounds good to me. I hear a presence region bias with a small upper treble lift that gives the Zen just a bit of sparkle. It injects tons of detail and fantastic clarity into the overall signature. Where a lot of earphones get their energy from various treble peaks, namely 7k and/or 10k, the Zen leaves its treble in more of a support role thanks to the way things transfer relatively linearly in from the upper mids, peak lightly around 8k, then smoothly and subtly roll off. The killer bass and prominent mid range are where the excitement comes from. Extension is good enough to complete the sound experience without drawing attention away from where the Zen excels, or causing fatigue thanks to a level of aggression that overstays its welcome. Notes are extremely tight and well-weighted with enough spacing and airiness to avoid congestion. No splashiness here at any point, something that can quickly ruin my enjoyment of any audio product.

When it comes to staging size the Zen doesn't stand out among it's peers. Vocals have a reasonably intimate default position just inside the ear with everything else spreading out from there in a satisfactory way. Width is a little more apparent than depth but for the most part the Zen provides a well-rounded stage. Imaging on the other hand is an area where the Zen is a boss. Channel-to-channel transitions are extremely nuanced and precise. It is a breeze to accurately track sweeping effects, place instruments in live recordings, and become fully immersed in binaural novelty tracks, like those where you get a haircut or those specifically designed to test staging accuracy like those found on the 'STAX The Space – Sound – CD, Dummy Head Recording' test album. The Zen also does a very good job of layering track elements and places them an in appropriately dynamic way. There is none of the wall-of-sound effect I experienced on the original Campfire Audio Polaris for example. Instrument separation is less competent, at least when running the Zen single-ended. I found on busy tracks like King Crimson's “Starless and Bible Black”, the chaos wasn't as defined as I would like. Running the Zen balanced rectified this and tightened basically every performance metric up.

Overall this is one of the most pleasant general listening earphones I've used, with it excelling most in drum and bass and other electronic genres. The way bass in particular is presented I find very unique and engaging with a level of texture and control that is near unmatched.

Compared to a Peer (volumes matched with Dayton iMM-6)

FiiO FA9 [Tuning switches set to 1:OFF 2:ON 3:OFF] (599.99 USD): Where the ZEN makes due with one {advanced} dynamic driver, the FA9 features six balanced armatures backed by a crossover-based tuning system. It also contains an 80.6mm long sound tube for the bass drivers. Like Dunu's ACIS tech, it is used to enhance the overall quality of the low end. It does a great job too. I'm not normally a fan of how Knowles drivers do bass, but in the FA9 the 31618 driver provides very decent sub-bass response with nice texturing. The Zen's bass is considerably more enticing though. It doesn't give up anything in terms of speed or control while providing a ton more texture, visceral feedback, and punch in the initial attack. I found it quite a bit more versatile, especially since quantity is quite similar between the two. Leading into the midrange I found the Zen to have a more forward, intimate presentation with a cooler sound and leaner note weight. It provides a bit more detail, but it comes at the expense of timbre which isn't quite as natural as the FA9. The Zen transfers smoothly and with fair linearity from the upper mids into the presence region where I find the treble gets its character and most of the attention. It gives the presentation impressive clarity and detail that easily rivals the FA9's multi driver setup. Texture falls well into the Zen's favour though compared to the FA9's smoothed over feel. The FA9's sharper peak at 7k gives it the edge in airiness and sparkle. Things swing back into the Zen's favour when considering attack and decay qualities which are more aggressive and just as well controlled. Sound stage size goes to the FA9 which is wider and deeper. The Zen's forward mids place vocals firmly inside the outer ear while on the FA9 they're just outside. Imaging is smoother and more nuanced on the Zen, with the difference exaggerated by the more intimate staging. I also found the Zen to come across more layered and more realistically place instruments. Separation goes to the FA9. Note that you can improve staging qualities on the Zen by running them balanced. This is one of the few times where I notice a difference with a balanced output and additional power. Staging size doesn't see much of an increase, but imaging, layering, and instrument separation all take a step forward with improved definition. The Zen is an EDM beast when going balanced.

In terms of build I think both represent the best of their respective material and design choices with equally good fit and finish, so I won't say one betters the other. If you prefer metal, you'll prefer the Zen. Likewise for the FA9 if you prefer acrylic. The FA9's design is eye catching, the 3D printing accurate and neat, and ergonomics fantastic for a big earphone. The sealed design can lead to pressure build up though, and that can cause discomfort. Not a problem on the well ventilated Zen. When it comes to cables I prefer the lighter, more flexible sheathing of FiiO's inclusion. It doesn't have a Quick-Switch equivalent though, so whatever termination you get you're stuck with.

Overall I find the two complimentary. The FA9 provides a smoother, more spacious, but less impactful sound. The Zen I find a lot more exciting thanks to the impressive bass presentation and overall texture. It's also more comfortable for me thanks to the smaller shell and vented design. Both are compelling options for their respective price points and target audiences.

HiFiMAN RE800 Gold (699.00 USD): The RE800's heavy focus on upper mids and treble gives it a neutral-bright signature that appeals more to those that enjoy track analysis and detail. Upper treble on the RE800 is quite a bit more prominent than on the Zen leaving the presentation notably thinner, more airy, and sparkly. Notes are also presented with more aggression and energy, but without the same level of control as you find in the Dunu. Whereas I can listen to the Zen comfortably at slightly higher than normal volumes, the RE800's brightness inevitably leads to fatigue. Treble sensitive listeners should avoid the RE800. Dropping into the mids the Zen has a thicker presentation while nearly equalling the HiFiMAN's excellent detail. The RE800 provides more warmth though, giving it the more natural vocal and instrument presentation to my ears. The Zen has a dry edge that keeps it from sounding quite right. Bass is where the two see another great divide. While quantity is similar, the RE800's smaller driver suffers from sub-bass drop off and lacks the same physical rumble on the deepest notes. It also provides a smoother sound, though this comes at the expense of texture and slam which the Zen has in abundance, all while sounding no less refined. The Zen's bass simply kicks @$$. Sound stage and related qualities are where the RE800 regains my attention. The stage is wider, deeper, with a less intimate default vocal positioning. Imaging is just as impressive and nuanced with the lean note presentation helping it match or exceed the Zen's track layering and instrument separation.

When it comes to build the Zen walks all over the RE800. While HiFiMAN selected excellent materials, like gold-plated brass for the earpieces and silver-plated copper for the cable, they skipped out on making it look and feel as premium as the price would suggest, along with other short cuts. The cable is fixed with poor strain relief and hastily applied electrical tape covering the solder-points with the 3.5mm jack's removable sleeve. Admittedly this was addressed on a later revision, though they used bulky plugs that didn't mesh with the impressively compact design. The attractive gold-plating on my set is also rubbing off where the housing touches the ear. Where the Dunu feels extremely solid with thoughtful design in every area, the RE800 is this odd mixture of aspects of varying quality and attention to detail.

Overall I much prefer using the Zen. I don't worry about damaging the cable, the bass quality is addictive, it's not as fatiguing, and it's technical qualities are nearly as good. I will instead pick up the RE800 on those rare occasions where I want some extra detail and more natural timbre, such as on live instrumental recordings.


In The Ear I have yet to meet a Dunu that wasn't thoughtfully built and ergonomically sound. The ZEN does nothing to challenge this experience as the design follows closely in the footsteps of the Luna and DK3001 Pro, among other models in their lineup. To keep costs reasonable while maintaining durability and a premium feel, the ZEN's shells are made from CNC milled stainless steel. Moving from Campfire Audio's Vega and Dorado 2020 to the ZEN, I was quite surprised as how similar in hand the ZEN feels to those ceramic bodied products. Fit and finish is quite good. The seams that connect the three main components making up each shell (face plate, main body, nozzle) are visible but gaps are basically non-existent and everything lines up flawlessly. The glossy paint job is evenly applied with a look that is easy on the eyes and doesn't draw too much attention to itself. It's a bit of a fingerprint magnet though, something that shouldn't come as a surprise given Dunu includes a micro fibre cloth to keep it polished to a glistening sheen. The vent on the face of the earphone, in place to accommodate Dunu's Air Control Impedance System (ACIS), is the primary design element, blending naturally into the overall design below the horizontally oriented MMCX port protrusions. Yeah, the ZEN looks great with materials and construction quality that meets expectations set by the nearly 700 USD price tag.

The wearing experience of the ZEN is sublime. I was somewhat surprised to find that it was quite a bit thicker and larger in diameter than it's Luna and DK-3001 Pro cousins. Like the Luna it features a single dynamic driver instead of the five driver hybrid setup of the Pro so you'd think it would end up being quite compact. Regardless, it is still a fairly small unit, just bigger than anticipated. In the end it doesn't matter as the ZEN was just a nice to wear as other Dunu products. The sculpted interior ensures there are no hard edges to cause hot spots. Weight distribution, something that is quite important on a weighty product like the ZEN, is excellent thanks to the low profile, cable-over-ear design and natural nozzle angle of around 70 degrees. The one thing hindering this slightly is the weight of the cable, but we'll come back to that in the next paragraph. The nozzles themselves are a very standard diameter of 5mm. This combined with prominent nozzle lips means you can toss on the vast majority of standard tips, from Sony hybrids to Spintfit CP145s to JVC wide bores, and they'll all fit fine and stay securely attached. I've noticed a recent trend towards longer, more slender nozzles, or on 3D printed acrylic earphones an absence of nozzle lips, both of which hinder tip compatibility and the potential to find a setup that is comfortably ideal. I'm glad Dunu has avoided these trends with the ZEN, creating something with comfort that matches the branding.

While it is absolutely a high quality piece of kit with some awesome features like Dunu's Quick-Switch modular plug system and Catch-Hold MMCX connectors, the cable is a bit too beefy in my opinion. My experience with it is reminiscent of my times with the Penon BS1 Official and BGVP DM6. Both of those products had nice ergonomics but were saddled with cables that were too stiff and too heavy, throwing off the overall balance and reducing comfort. While the ZEN's cable is much more usable and doesn't hinder things to the same extremes, I would have preferred a lighter more flexible option. The 149.99 USD LYRE cable that came with the DK-3001 Pro is, in my opinion, a perfect pairing with the ZEN. If you can work it into your budget, I highly recommend picking it up alongside the ZEN. You don't give up the Quick-Switch system which means it'll work with the various plugs included with the ZEN, and the added flexibility and lower weight result in a better mobile experience. It doesn't look as nice, though that might be a positive if you want to fly under the radar.

Passive noise isolation of the ZEN is actually quite good, performing nearly identically in my experience to the DK-3001 Pro. I had no issues listening to music at my usual low volumes when grocery shopping or buying a coffee at the local and extremely noisy Tim Hortons. Voices and ambient noise still comes through of course, but it is all significantly dulled. There's no way I could hold a conversation with someone with the ZEN in place. If you need some extra isolation, use the included foam tips or turn to a third party option like Comply's Isolation T-Series of foam tips.

Overall I have nothing to complain about when it comes to the way thr ZEN is built and how it feels to wear. Standards for fit, finish, and material quality are extremely high, comfort is stellar, and isolation is quite good. If you have issues with the weight and flexibility of the included cable, Dunu's own LYRE is a perfect alternative.


In The Box The presentation for the ZEN's packaging is exceptionally clean and mature. On the front of the matte black exterior sheath you find the model name set in the centre with ZEN garden-like layered circles in the upper right and lower left corners. The use of gold for these features contrasts beautifully with the dark background. On the rear of the sheath you find typical details like specifications, product features, and contact information for the brand. Sliding off the sheath reveals a textured black cardboard box with Dunu branding recessed in glossy black writing, centred on the magnetically sealed lid. Lifting the lid reveals a strip of rice paper with DESIGNED BY DUNU printed in glossy silver. Removing the sheet you find a dense foam insert with the ZEN's earpieces and neatly coiled cable safely tucked within individual cutouts. Lifting this foam insert via two conveniently placed ribbons uncovers a slew of accessories. Down the left are the various included termination options for the Quick-Switch modular cable system. Centred is a plastic case containing two of the four sets of included tips. To the right is another cardboard holding the carrying case in which the rest of the accessories are stored. In all you get:

• Dunu ZEN earphones
• Leatherette carrying case
• 8 core, high-purity monocrystalline silver-plated copper Litz cable
• 3 plug connectors; 4.4 mm TRRRS Balanced, 3.5 mm TRS Single-Ended, 2.5 mm TRRS Balanced
• Sony-hybrid style tips (s/m/l)
• Dunu-branded translucent blue-grey single flange tips (s/m/l)
• White single flange tips (s/m/l)
• Foam tips with wax guard (m)
• Cleaning brush
• 1/4” adapter
• Airplane adapter
• Cable clip
• Cleaning cloth
• Mesh earpiece bag

Overall a very pleasant and premium unboxing experience packed to the brim with extras. If you aren't the kind of buyer to keep your packaging, there isn't a lot of material to recycle. If you do keep your packaging, it's nice enough to put on display. The accessory kit is extremely comprehensive with a ton of extras, most of which are genuinely useful, such as the case. The materials are visually and physically appealing with a durable, chunky metal zipper that is unlikely to fail. It is also not so large as to require an oversized pocket to carry. If I am to level a complaint at any aspect of this unboxing, it would be towards the included tips. The Sony Hybrids are a top tier inclusion and my preferred set with the ZEN, so they can stay. The blue-grey and white tips are similar enough to be redundant though. One of the sets could have been swapped out for bi- or tri-flange tips catering to those that prefer the extra insertion depth and isolation increase a multi-flange tip provides.


Final Thoughts When it comes to trickle down technology, the consumer wins. The Zen is a perfect example of this. It features technologies from their flagship products like the Luna's driver structure and the DK-4001's ACIS bass reflex port. Their developments to the magnet that is part of the ECLIPSE system has resulted in truly impressive driver control and speed. Innovative features like their Quick-Switch modular cable system are present. The stainless steel shells are extremely durable. Ergonomics have been refined and improved over the DK-3001 Pro resulting in a very comfortable fit despite the Zen being quite heavy. They didn't skimp on accessories either, giving buyers pretty much everything they'll need in the box, except multi-flange tips. That's a bit of an oversight in my opinion, but one that is easily rectified.

They also tuned it extremely well. The Zen is unbelievably detailed and textured with some of the most engaging bass I've heard to date. The midrange isn't the most natural sounding, but again, the detail and clarity is truly impressive and completely free of sibilance. The treble is very tight and well controlled, though maybe not sparkly or well-extended enough for the most demanding of listeners. The sound stage is fairly average, but it's backed by near class leading technical qualities. It all combines into a very entertaining, technically capable earphone that is fairly versatile, though I think it excels best with electronic music.

Overall I am very impressed with the Zen and have no issues recommending it. It's going to be one of my benchmarks at this price range moving forward. Excellent work Dunu!

Thanks for reading!

- B9

Disclaimer A huge thanks to Dunu for reaching out to see if I would be interested in reviewing the ZEN, and for arranging a sample. I also appreciate their patience in letting me take my time to use the ZEN as a daily driver to share my experiences with the community. The thoughts within this review are my subjective opinions and do not represent Dunu or any other entity. At the time of writing the ZEN was retailing for 699.99 USD: https://www.dunu-topsound.com/ZEN

Specifications

• Frequency Response: 5 Hz – 40 kHz
• Sensitivity: 112 ± 1 dB at 1 kHz
• Impedance: 16 Ω at 1 kHz
• Total Harmonic Distortion: < 0.2% at 1 kHz
• Driver Diaphragm: Magnesium-Aluminum alloy dome with nanoporous amorphous carbon coating (nanoDLC) and fully independent suspension surround
• Magnet Assembly: > 1.8 T External Ring-Type Neodymium Magnet
• Housing Material: 316 Stainless Steel with Patented Air Control Impedance System (ACIS)
• Cable Length: 1.2 ± 0.1 m
• Material: 8 Core, High-Purity Monocrystalline Silver-Plated Copper Litz Wire, Concentrically Arranged
• Cable Connector: Patented Catch-Hold® MMCX Connector
• Plug Connector: Patented DUNU Quick-Switch Modular Plug System; includes 4.4 mm TRRRS Balanced, 3.5 mm TRS Single-Ended, and 2.5 mm TRRS Balanced plugs

Gear Used For Testing LG Q70, Earmen Sparrow, Earmen TR-Amp, Asus FX53V, TEAC HA-501

Some Test Tunes

Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams